As a recurring symbol throughout the play through

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as a recurring symbol throughout the play through untraditional and metaphoric poetry in her dialogue you’re beautiful like a flying leopard’. The chorus acted in juxtaposing this rejection of societies ideals, projecting conservative ideals through repetitive and nursery-like rap, singing and raised levels of blocks No matter how hard she tried, she tried hard not to know. But she was a minor poet, until the day she died’. Davidson articulates a society where the female domain was valued as inferior through Kenny’s degrading domestic violence to Fiona which is created on stage through exhausting tension ‘ You’re leaving me?’ and the brutish, colloquial language he employs ‘ give us a beer’ which remains stereotypically Australian reinstating it’s cultural relevance. In a performance I witnessed, the interaction of Kenny and
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Kate where Kate held an inferior position on stage and Kenny stated dialogue such as ‘in the old days if a man didn’t give his wife a thrashing she wouldn’t respect him’ evoked feelings of anger from myself. In ‘The Chapel Perilous’ Sally’s quest enables Hewett to explore the consequences of non-conformity on the individual and society. Reflective of the sexual freedom of the 1970’s, Sally uses her sexuality to attempt to find herself. The parallels of lovers Judith and Sally and their juxtaposed reactions to their issues of their context, allows audience to witness the outcomes of conformity. Played with dramatic tension, Act two the Court Room scene has Judith enter symbolically ‘ from behind Sister Rosa’s Mask’ , a prop used to represent conformity and suppression and question Sally’s lifestyle ‘ Still demanding that I bow?’
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  • Fall '19
  • Sally, The Removalists

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