W!LD RICE- personae and facades in the Singapore theatrical scene

Gabriel Tan & Ong Juin Khai (4H1)2-12

DIRECTION AND SCOPE

Direction of research

• To extract greater literary value with the use of psychoanalytic theory• Interested in the

performance of the concepts of the persona and the self in theatre  

SCOPE

METHODOLOGY

Formation of identity• Identity is not monolithic (Winnicott, 1960)– Performance of our thoughts, ideals and

experiences through our appearance, behaviour and speech.

*Applies to both identity of persona and self

Sexuality(La

Cage)

Social stature (Earnes

Jung’s Persona Theory

1. Persona’s dynamic relationship with the selfa. Draw on elements of the self to

retain “authenticity”b. But portrays a different image of

ourselves, often “contradict[ing] the original sense of self”. (Winnicott, 1960)

2. Function of the personaa. Self will “suffer” if not for the

defence of the persona (Wehr, 1988)

b. Compromise between one’s definition of the self and societal expectations – ideal image (Adler and Hull, 1967)

Research Questions

With regards to main

characters-

1.Is there a contradiction

between the identity of the

persona and the self?

2.Does the persona fulfil its

purpose of preserving the

self?

IS THERE A CONTRADICTION BETWEEN THE

IDENTITY OF THE PERSONA AND THE SELF?

1st research question

• Za Za (the self), identifies as female, is mother of Jonathan, star of gay night club.

• Albin (persona), identifies as male supposed ‘uncle’ of Jonathan

Extroverted, expressive,Gender-confident

Self conscious, shy, awkward

La Cage aux Folles

Contradiction of sexuality

• Identity is a performance of engagement with sexuality (Witt & Wood, 2010; Wood, Christensen, Hebl, & Rothgerber, 1997)

Emily of Emerald Hill

Contradictions between the personae and the self

• In Emily’s case her true self can be taken as the “screaming girl-child” that she once was

Self (child)Childish

Emotionally fragile

Lack of self-worth

Incompetent

Personae (Matriarch)

MatureManipulative

Self-esteem in being matriarch

Capable

“I learned that a woman is nothing in this world that men have made, except in the role that men demand of her. Your life is meaningless, you have no value, except as you are a wife and mother: then be the very devil of a wife and mother...So that you control them and keep them in the palm of your hand. So that the whole world knows your worth- so that a screaming girl-child, long ago, may be reassured that her life has some significance, that no-one is going to throw her back into the gutter.”

Contradiction in social stature

• Tension between well-to do aristocrat and young, earnest child • Existence of power relations

within identity (Witt & Wood, 2010; Wood, Christensen, Hebl, & Rothgerber, 1997)

Contradiction between personae

“Good morning Mr Chai. I would like to order one honey-baked ham for the Chinese New Year. Eleven pounds will be excellent, please deliver it to Emerald Hill.”(Speaking to Cold Storage staff)

“Hei, Botak! What are you doing ah? What kind of fish you sent to me yesterday? All rotten ones lah! …You don’t know ah, how can you not know – all right. You give me good ones today. If not all right I bring back I throw at your head…”

(Speaking to fishmonger)

Categorizes her relationships

Posh and refined mask for those she considers to be of a higher class

Dropping of formalities when speaking to friends/acquaintances, treats them casuallySets herself up as a loving

mother and caring wife, treats family with sugar-coated kindness

Can be a dominating matriarch- ordering servants around

Cross-dressing

• Colour scheme: pink and purple,

• Feminine beauty: Jewels, necklaces and bracelets.

• Tremendous skin exposure of the arms and the legs racy and ‘bear it all’ appearance

• Feathers – flamboyance,

• It’s midnight, yet he’s wearing sunglasses, a hat, a scarf, and carries an umbrella. What is he hiding from?

Manipulation of colours and messages

•Different colours carry different messages, inciting different emotions and reactions (Lamancusa, 2003)• Colours are a performance of identity (Lamancusa, 2003).

Usage of cross-dressing in Emily

• Draws out notion that Emily is never showing her true self • Gender is the most fundamental building block of a person’s identity- and in this case it is not consistent with the character’s gender

• Emily played by a man - draws out the more masculine aspects of Emily’s character - role as the head of the family • “a woman is nothing in this world that men have made”

Stage Direction in Emily of Emerald Hill

“Emily ‘manjas’ like a cajoling, wilful little girl.”

“She rises gracefully, steps back and watches with side-long satisfaction.”

“Emily takes her place beside Kheong in the state chair, with a girlish giggle.”

“She turns with a little-girl pout and shake of head to amused father-in-law.”

“Hiding triumph, Emily accepts the homage of the brother and sister-in-law.”

DOES THE PERSONA PREVENT THE ANNIHILATION OF THE SELF?

2nd research question

Societal judgement

Societal expectations are annihilated, not Za Za

• However, the self is still preserved. • Everyone rallies round Za Za

and calls Dr Tan out for conservatism and bigotry• Struggle between societal

expectations and Za Za, society ‘breaks down’. • Is a persona really necessary?

Will the self be annihilated without a persona?

Albin is obsolete

• Reverts to being Jonathan’s ‘mother’ – ie the self, Za Za • “Za Za is

here!”

‘I am what I am…’

‘It's my world that I want to take a little pride in

My world and it's not a place I have to hide in’

Ironically, Emily’s personae destroys her self

• Her true self is largely concealed throughout the production

• Jungian persona ‘ease of the persona’, should not overwhelm the original sense of self. (Hopcke, 1989)

• However, Emily finds greater comfort in switching between her many personae, rather than dwelling in the self. In that sense, the self has given way to her many personae.

Unlike Za Za, Emily has multiple

personae

True

self

Matron

Friend

Aristocrat

Mother/Wife

Stage Direction in Emily of Emerald Hill

“With overwhelming graciousness” “With great cordiality” “Cordial and sedate to male acquaintance” “With real warmth” “With fake warmth, guard well up” “She flies to the door, she ‘manjas’”

Showcases ability to swap between entirely different tones for different people within the same social setting

Persona preventing annihilation of the self

• In Emily’s case, her personae are not preventing the annihilation of the self• Instead, they are facilitating the

destruction of the self• Her many personae have drowned

any sense of self, ironically causing her self to fade away

Necessity of the persona

• It is necessary for Emily to create a persona

• Her self is fragile, and a persona is necessary to protect it

• However, Emily goes overboard and creates personae in excess

• It is only necessary to have one persona to protect the self- Emily instead creates many, causing the annihilation of the self

WHAT CAN WE SAY ABOUT THESE PERSONAE?

In conclusion….

Contradiction between persona

and the self presentLa Cage aux Folles Emily of Emerald Hill

Experience with sexuality

Power relations within the household

CROSS DRESSING AND THE MANIPULATION OF COLOUR

Persona does not defend the self

La Cage aux Folles Emily of Emerald Hill

Obsolete as society, as captured by Dr Tan, is forced to give way

Personae lead to the annihilation of the self as its use increases in frequency and intensity

Concluding statement

• The nature of these personae and its relation to the self is normal• However, the function of these personae has evolved.

Significance of research

• Use of psychoanalytic theory–Humanize these characters, making them more relatable–Point of reference

• Character-centric analysis–As compared to thematic analysis–Brings closer attention to the inner turmoil and struggles of characters

Significance of research

• Complements the artistic motivations behind these productions–Deliberately portray the struggle between persona and the self–‘La Cage aux Folles’ and ‘The Importance of Being Earnest’ are plays “about facades where everybody is pretending to be something than what they truly are”. To study the idea of personae in these plays is thus “very interesting”

THANK YOU

References• Adler, G., & Hull, R. (1967). Two Essays on

Analytical Psychology. The Collected Works of C. G. Jung (). United Kingdom : Routledge & Kegan Paul.

• Bracphysical activities. Journal of Sport and Social Issues, 26(4), 403-420.e-Govan, J. (2002). Looking at bodywork: women and three

• Demaris S. Wehr, Jung and Feminism (London 1988), page 57.

• D. W. Winnicott, "Ego distortion in terms of true and false self," in The Maturational Process and the Facilitating Environment: Studies in the Theory of Emotional Development. New York: International UP Inc., 1965, pp. 140-152.

• Innes, C. D. I. (1972). Erwin piscator's political theatre: The development of modern german drama.

• Jung, C. G. J. (1989). R. Hopcke (Ed.), A guided tour of the collected works of C.G. Jung (p. 88).

• Merton, R. K. M. (1949). Social theory and social structure.

References

• Shackelford, S., Wood, W., & Worchel, S. (1996). Behavioral styles and the influence of women in mixed-sex groups. Social Psychology Quarterly, 59, 284-293.

• Witt, M. G., & Wood, W. (2010). Self-regulation of gendered behaviour in everyday life. Sex Roles, 62, 635-646.

• Wood, W., Christensen, P. N., Hebl, M. R., & Rothgerber, H. (1997). Sex-typed norms, affect, and the self. Journal of Personality and Social Psychology, 73, 523-535.

• Wood, W., & Eagly, A. H. (2002). A cross-cultural analysis of the behaviour of women and men: Implications for the origin of sex differences. Psychological Bulletin, 128, 699-727.

• Lamancusa, K. (2003, January 1). Emotion Reactions to Colour. Retrieved August 21, 2014.

Why these productions?

‘Localized’‘Relatable’

Glen Goei – Director at W!ld Rice

Presence of personae and facades-

‘play about facades where everybody is pretending to be something than what they truly are, the idea of facades and masks is very interesting.’ –Ivan Heng in an interview

Use of cross-dressing

• Za Za is the true self. Albin is the persona 1. Jungian persona – persona was

developed (based on ‘other people's expectations’). (Hopcke, 1989)

o As a male, Albin is expected to act masculinely. However, Za Za identifies as a female. The character is forced to conceal Za Za, which falls short of the norms of behaviour for men, and put on a front- Albin.

• Albin is constantly in the hiding, fearful of exposure

• Dresses extremely conservatively - All black appearance (he looks like a fugitive, no?)

• It’s midnight, yet he’s wearing sunglasses, a hat, a scarf, and carries an umbrella. What is he hiding from?

WHAT THEATRICAL TECHNIQUES AND PLOT DEVICES ARE EMPLOYED TO CAPTURE THE PERSONAE OF CHARACTERS?

2nd research question

1. USE OF CROSS-DRESSING

1. USE OF CROSS-DRESSING

2. STAGE DIRECTIONS

vs

La Cage aux Folles