My mother said I never should Presentation Transcript
MY MOTHER SAID I NEVER SHOULD Play by CHARLOTTE KEATLEY
Waste ground: place where only little girls can play.
Chant: indicates some kind of control over the girls
What girls are made of: all nice things
Objective: (Rosie) killing their mothers
Margaret: lack of communication: Tea time
Rosie and Jackie: conspirational
Not killing Doris’ mother
Taboo: Margaret: I’m not having babies: I’m not getting married
CHRISTMAS:1940 Doris 40 - Margaret 9
1- Significant colors White and red/Baby piano
Setting: wartime:Planes over flying the place
Churchill- Hitler Margaret feels fear for the danger of war Doris a strict mother when she asks Margaret to practice Beethoven instead than the chant she likes
how they could get shelter from the planes bombs
2- Doris 61- Jackie 9
juxtaposed with the previous scene. Jackie under the piano: how it feels to hide under the piano Doris: more open and understanding—change
They talk about things getting older: I like your house
Doris_ tell your mother.
3- contrast with part 2: Doris will give margaret the same cocoa she can’t afford to throw it away
Wasteground: secret place… innocence---curse their deductions about what they see….questions: live- death image fears….they need to emulate adult behavior.
Play doctors and nurses: sexual implication: examine each other….issues: domestic issues how babies are conceived…. The role of husbands.. (to blame)
Fear of getting pregnant
All this anticipating their conflictive relationship with men
Jackie and margaret tension: jackie stayed at her boyfriend’s house
she does not do what she expects: fears: pregnency-drugs. A levels in jeopardy---- don’t have a good relatioship
Doris 61 Jackie 9 Margaret:30
Jack off stage not present
Margaret to fetch jackie… J made a cake Doris and J: Excellent relationship
Margaret's miscarry (Windermere)
Doris & Margaret -reproaches: Job—miscarry
Suky: like a baby
Margaret 40 Jackie 19- Rosie 3m
Moses basket: Jackie gives her baby away---- Margaret's prophesy done
Jackie very sad---- Margaret reproaches J her attitude… J asks her mother to do things she (Rosie ) likes-
Margaret: will tell when she is 16…
Jackie ‘s grief when she sees the babies’ clothes
Margaret holding Rosie ..who seems to bring her memories back about raising Jackie
1951 Manchester margaret20- Doris 51
Margaret in love.. Doris does not approve… Margs’ boyfriend American she want to live in London…..lack of communication--- weather----
Margaret wants to lead a different kind of life: she doesn’t want to be a housewife…
Doris tells her experience--- she had a job but sacrificed everything to be a housewife
Sheet: source of communication
Thunder: tense relationship –Margaret snatches the sheet connection lost
Waste ground: Rosie chant: how love equates suffering--- Jackie lack of maturity
Love: suffering- painful
Blood: agreement true is honesty---you can never lie to me now: Dramatic I anticipates betrayal
Doris: 71 Margaret 40 moses (Rosie)
Role of lies: telephon e conversation
Doris: intuition something is wrong with Margaret yet. She does not insist ..she ends the conversation Doris: you are not hiding anything from me??
Last scene: rosie’s birthday (8) Ken’s park
Rosie’s monologue: digs suky…she does not need it.. Suky misbehaves Jackie does not….brings a big cake Mothers give their babies away… anticipating what she will learn about Jackie's experience…
Jackie 27. marg. 28
brings a big cake …. Rosie complains ..margeret is mean…..
Jackie-marg argue: how to blow the candles
Marg. Jacki alone….. Rosie she needs me? NOT.
Jackie compensates her lack of presence with gifts… cheque which Margaret rejects…… conflict.. Rosie hears the argument and gets angry with Jackie
At the end of the scene Jackie digs out the doll and puts on the other red sock (Rosie ’s )
ACT 2 (NO SCENES)
Manchester : Rosie ’s monologue addresses her grandfather. reproaches him having let the house to Jackie
Presentation of object that function as a connection with their past lives: the piano, the baby’s clothes, the rose, mug (cocoa), the Solitarie, etc.
act 2 cont .
Past emotions, guiltiness, lies, arise as a result of the objects that the actions of the characters show
Objects that now gain the real dimension ..the wedding try( the mug) the piano that will be sold.
Doris: resentful Jackie's possessions now…. 50 years of housewifery does not count.
Act 2 cont
Rosie and Margaret fold sheets…
Rosie a more global conscience
( nuclear war/ environment, peace)
Doris tells Jackie to claim for her daughter
the babies clothes (lie) Jackie’s or Rosie’s ?
Doris find the solitary
ACT 3 (8 SCENES)
Margaret visits Doris. Doris perceives something is wrong…why is she not working? Margaret is upset. She finally confesses Ken has left her because he did not want to share her with her job and Rosie…. Doris confesses Margaret how her father hit her mother: love- suffering
Object of Connection : the earth (the geraniums
Doris shares her secret about her mother (which Margaret already knew)
London 1997 (4 days afterwards)
Margaret’s office Jackie & Rosie visit Margaret who looks quite indifferent and detached from the girls
Rosie appears first…she will move with Jackie.. Untidy and not a good care taker kike Margaret.
Jackie appears, Rosie cute and clever…
Margaret’s new job. she had been promoted..
Margaret's health… Marg hides the truth about her illness
Margate reproaches Jackie how many years of Rosie she had lost Margaret refuses to visit Rosie and Jackie but then she gives in.
Waste ground :short
power of earth
Doris & Jackie
What happens when people die?
Spell: to kill Margaret.
Doris wants to undo the spell
Jackie says it’s too late for that
Margaret's in hospital agonizing and under the effect of anesthetics she’s become a voice.. monologue
she’s dying she’s looking for a door to heaven…a place that is comfortable there’s a cold wind. her parents guilty & Duty but she will be different sugar and Spice wants to be different…
What happens when you die?
1997 early morning Jackie and Rosie
After Margaret's death . Jackie arrives Rosie upset she has discovered the truth….. Through the documents her mother had
She throws away the photos of her childhood that represent the lie she lived…
Jackie tries to explain the facts ( Long monologue) but it’s too late :You loved your life more then mine
Rosie tell Jackie she’s decided to move with her grand
Waste ground. Margaret and Jackie
Margaret the king, does not allow Jackie to pass over the river to take dinner to her father (obstacles?) first she has to dare….
but finally she takes Jackie's hand invites her to go to her secret place…. Jackie lets it go and walks away
Doris and Rosie
Doris is working with Rosie. They are making kites (Rosie’s job
Display a close, loving relationship no more lies. there's confidence Rosie's birthday. Jackie sends a painting Rosie remains indifferent ….with the money of the campaign (Greenpeace) Rosie will buy a table for Doris
Doris prepared a cake and Rosie for the first time feels she can be happy and can trust somebody
Act 3 scene 8
Doris monologue: when she is a girl and she discovers love in the man that will be her husband (Jack)
She tell her mother how happy she is and how jack will ask her hand before they begin dating
She is full of hope and anxiety for her future life. They made plans about their life together.
Rosie, meanwhile is trying to solve the solitaire asks for help but Doris refuses she makes her an independent girl…..
Doris reflects about how mothers make mistake when raising their children
They share private feelings and emotions.
The last century saw massive changes in the lives of women – the right to vote, more working women, the contraceptive pill, soaring divorce rates, female role models – and these are reflected in the way the characters live their lives.
But there is also a great deal of similarity in how the mothers and daughters interact, no matter what age they are born in.
The action of the play takes place in Manchester, Oldham and London; in domestic rooms, an office, gardens, and a childhood-linked space known as the wasteground. As Keatley makes clear in her stage directions, the setting is not meant to be naturalistic , but should be instead be a “magic place were things can happen”.
Within the present moment of theatre time and the actuality of the stage space the play’s time and locations shift and jumble so that past and present event become neither linear or simultaneous , but something in between.
The waste ground is the most magic of the play locations, and it is here that the play begins. .
In the waste ground the characters, Doris, Margaret, Jackie and Rosie, (4 generations of women) come together, not as great-grandmother, grand-mother, mother and daughter, but as children.
The erasure of mother- daughter status, in the wasteground scenes and the plasticity of time throughout, “My mother” have the effect of giving the play equally to all four characters. No single perspective predominates.
Memory is evoked Through the objects they create the varied locations: a piano, and a swing, for example, white flowers a wartime Utility mug, a transistor radio, a baby’s red sock, a doll, a pile of sheets.
Always present –always there to be handled by the actors and seen by the audience-these objects are at once solidly real and enablers of transformation. Their time is always identical to the time of the performance, and yet they are the means by which the various time-scales are given form.
Act Two shows how the past is continually surfacing in the present .
Fifty years of history is stored in the objects and clothes in one room and these trigger unresolved memories as the women move about trying to clear up the past
The objects in the play are very ordinary but take on extraordinary powers because of the way they appear and reappear.
The symbolism comes out of the use of the objects, not the other way round.
Objects become symbolic by being part of an emotional event as in Jackie keeping one of Rosie’s red socks when she gives Rosie away to Margaret.
When the object reappears, such as Jackie taking the red sock from her pocket at the end of Act One, it brings the emotional history on stage.
Rosie is not intimidated by the past: she explores the bedroom, tips out bags of clothes, and asks about the objects. She stirs up Doris to question her past with Jack and the values that he represents. Rosie seizes the emblem of Jack's career:
Rosie : (sniffs) the silver smells funny. I hate old things.
Doris : You hate dead things, not old things, Rosie (Pause). So do I. (Pause) I'm old.
Time is presented non-chronologically; it is spliced with five scenes where the character meet in a place outside all chronology: “this is not a play about the past, but about how the past continually interrupts the present …this is a story that questions why certain life changing decisions are made……
By juxtaposing different time periods the author makes us see the contrast in the lives of the 4 women
Stage time in this play is structured to belong equally to the four characters
The non-linear plot structure used by the author makes the classical patter structure : exposition, foreshadowing, inciting force…etc, impossible. The climax does not take place at the end, but somewhere between Margate's death and Rosie’s realization of who her mother is
The structure makes shifts between different times and places, changing the ages, needs and interest of the characters
The structure determines the meaning of he play: its dual structure is important to establishing the women’s relationships over time and whilst , at the same time illuminating the cross-generational issues of women’s role in society
She disrupts this chronology by fitting scenes in the women’s lives together to illustrate the cynical pattern of intergenerational conflict where new opportunities give way to fresh challenges.
The structure of Act One dramatises the process by which we learn about the past. It is about how the past is continually alive inside, and can be called up at any moment.
Having invented the family, Keatley structured Act One so that the audience learns about the four generations in the jigsaw puzzle way pieces of a family's past are given to a child.
Keatley maintains that as we grow up, we are fed bits of information factual and emotional, in the order that our families present them to us
In family life we don't learn about the past in chronological order, although at school we are taught history in this order, and we don’t usually tore memory in chronological order either, but in an order I call emotional chronology ; the most important events in our past are usually the ones we remember first.
The child scenes ARE clearly related to the subject of the scene before and after it. The child scenes are the deepest memory but are just as much part of the present story.
My Mother Said I Never Should manages to say something about both how things change and how they stay the same — that the changing role of women has deeply altered the way women view themselves and their lives, as well as showing us that mothering a daughter is the tie that binds.
My Mother Said I Never Should is about women and womanly relationships, and it is also about particular people who each have their own personalities and pleasures and limitations, each distinct, yet each connected by family resemblances. And it is a play about the way women relate to men and what it was, at different times, to be a wife and mother. And it is a play about possessions — the value things gain — and lose — through time.
The themes are so universal to women’s lives – marriage, children, work, relationships – that a lot of the audience must think the same, and an interview with the play’s author (Charlotte Keatley) in the programme confirms that people often tell her they find the storyline reflects their personal lives.