THE SLAB BOYSACT TWO

ACT 2: KEY SCENES

Hector’s makeover concealed and revealed.

Sadie’s chat with Lucille.

Phil’s mother’s escape.

The denouement.

FARCE

farce, a comic dramatic piece that uses highly improbable situations, stereotyped characters, extravagant exaggeration, and violent horseplay.

http://www.britannica. com/EBchecked/topic/201791/farce

FEATURES OF FARCE

Physical humour Violence Speed Many entrances and exits Highly choreographed – precise Absurdity Requires to be ‘set-up’ Multiple characters

KEY SCENE: HECTOR’S MAKEOVER CONCEALED AND REVEALED.

Hector’s appearance at the window up until his exit to go and see Curry.

WHAT MAKES THIS SCENE FARCICAL?

Physical humour – Hector looks ridiculous, Hector appears at the wrong time

Violence –Hector’s cut ear, Hector threatened with a knife, Hector fainting

Speed – characters move on and off stage quickly

Entrances and exits – The window and cupboard act as bizarre entrances and exits. Hector always appears at the wrong time. Other cast members enter and exit quickly so there is always a chance of discovery.

WHAT MAKES THIS SCENE FARCICAL?

Highly choreographed – precise and rapid dialogue and movement

Absurdity – Hector’s ‘makeover’ is ridiculous; Lucille thinks he is a ‘gargoyle’.

Requires to be ‘set-up’ – the set up happened in Act 1 with the talk of the ‘staffie’ and the slab boy’s manipulation of Hector

Multiple characters – all the characters in the play appear at one or more point in this scene.

WHY IS FARCE USED HERE?

For light and shade - a comic moment before and after more serious moments.

To increase dramatic pace. As catharsis – a release of emotion for the

audience. To entertain. To trivialise the serious issue of bullying - do

we like Phil and Spanky more or less here? So Phil and Spanky pay the consequences of

their actions - neither gets a date with Lucille. So Alan can witness and criticise their

behaviour – sets up more conflict with Phil.

CONFLICT

Conflict - a state of opposition. Opposition - a clash of views, beliefs, ideas,

interests, forces, cultures… Inner conflict – a struggle within the self,

often between beliefs and desires.

Class/groups could identify areas of conflict within the play.

Each group could take responsibility for finding examples of each type of conflict.

Does Phil experience inner conflict – what is it?

CONFLICTS WITHIN THE PLAY

Dreams versus reality – Phil’s desire to go to art school versus the slab room, Hector’s dream to take Lucille on a date versus his lonely life.

Rebellion versus conformity – Phil and Spanky’s cheek and opposition to Jack and Curry, Phil’s hatred of Alan, the slab boy’s laziness.

Social inequality/class divisions – Alan’s appearance and education along with his easy access to work and higher wages opposed to the boy’s poverty and lack of opportunity.

Age versus youth – Sadie and Curry hang on to values of the past. Phil, Spanky and Lucille are modern/fashionable.

Treatment of mental illness in the 1950s – Phil’s anger with the way his mother is treated as opposed to how he feels she should be treated.

PHIL’S INNER CONFLICT

Aspires to be part of the educated and privileged classes he despises – stays on for Highers but hits a teacher; doesn’t ask for support and guidance about his folio and application.

Knows he could succeed at work but won’t allow himself to – he gets in his own way by being lazy, disrespectful and confrontational.

Fancies Lucille himself but feels guilty for Hector - asks her out on Hector’s behalf.

Loves and worries about his mum but hates her behaviour and the consequences of it.

Phil’s conflicts result in self-destructive behaviour

CULTURAL CAPITAL

The cultural knowledge you need to fit in with and succeed in social groups.

Each social group has different kinds of shared capital.

You demonstrate your capital and membership of the social group through the way you dress, speak, act, what you consume…

Look at the dialogue between Lucille and Alan – does he have the right cultural capital? What does this reveal about Alan?

Why does Phil lie to Alan about the poster?

JAMES DEAN, AMERICAN ACTOR, FEBRUARY 8, 1931 – SEPTEMBER 30, 1955

HIS MOST FAMOUS FILM IS ‘REBEL WITHOUT A CAUSE’ WHERE HE PLAYED A DISILLUSIONED TEENAGER.

HE ALSO STARRED IN THE LEAD ROLE IN THE FILMS ‘EAST OF EDEN’ AND ‘GIANT’.

HE WAS DEVELOPING A CAREER IN CAR RACING WHEN HE HAD A FATAL CAR CRASH IN HIS PORSCHE.

PHIL’S MOTHER’S ESCAPE: THE CLIMAX OF THE PLAY

Climax• Phil’s frustration and rebellion is at its most

pronounced.

• Phil’s mother has escaped from hospital – he reveals the extent of her illness and its effect on him in his outburst to Alan and Spanky.

• Phil makes clear his resentment of Alan and the class system - tries to assault him but is held back.

• Phil and Spanky square up to each other – Phil thinks Spanky has conformed to the system.

• The phone call about his mother was not the news he expected (anti-climax).

KEY SCENE: PHIL’S MOTHER’S ESCAPE

1. with close reference to Phil’s comments in this extract, discuss how the dramatist reveals Phil’s frustration and/or anxiety on learning of his mother’s escape. 3 marks

Reference to three appropriate contributions from Phil with sensible comment on how each contributes to anxiety/frustration.

Avoid focusing on the description/word choice/imagery/ideas of Phil’s lengthy speech on his upbringing.

Evidence Analysis

‘You mean it really was the hospital?’ Implies disbelief/he is unwilling to accept the problem

‘Christ’ Blasphemy suggest his frustration/anger

‘Not to be alarmed?? What if she turns up here?’

Questions in quick succession suggests his mind is in turmoil

‘She’ll probably put a hatchet…to give me a showing up.’

Black humour and exaggeration indicates anxiety at potential consequences – a dread of what could happen.

‘Jeesus Christ, how come I couldn’t have a sensible maw like you guys eh?’

Repeated blasphemy and tone of regret demonstrate his frustration, self-pity and anger at his mother’s condition.

Repeated use of ‘stupid’ Implies anguish when reflecting on his upbringing with his mother.

‘I bet you his isn’t/ I bet you he doesn’t!’ Parallel sentence and exclamation reveal sense of injustice at his situation

Repetition of ‘what do you know?’ Reveals Phil’s sense of isolation and alienation from Alan.

Use of Alan's correct name plus stage direction ‘with derisive emphasis’.

Phil needs a scapegoat for his anxiety and frustration.

KEY SCENE: PHIL’S MOTHER’S ESCAPE

2. Discuss how language and/ or ideas are used in this extract to rouse sympathy for Phil and his mother. 4 marks

1 mark for each appropriate reference with comment. Reference only= 0

There must be a discussion of both Phil and his mother but this does not have to be an even treatment.

Evidence Analysis

Dramatic device of the phone call.

Anti-climax as Phil’s eagerness for news from art school is deflated when he hears of his mother

Description of mother’s violent nature ‘hatchet’, ‘open wrists’, ‘bopped’, ‘razor blades’ etc.

The shocking descriptions of violence create sympathy for Phil as he has directly witnessed them

The wide range of things that worry the mother ‘money’, ‘mass’ etc.

Sympathy as the mother has high levels of anxiety and can’t cope with raising her family

Phil’s long speech about his upbringing

Harrowing long list of bizarre behaviour evoke sympathy in the reader

KEY SCENE: PHIL’S MOTHER’S ESCAPE

3a Identify the tone used by Phil following Alan and Spanky’s attempts to calm him down. 1 mark

Possible answers: Bitter, resentful, mocking, ironic, derisive, scathing, vitriolic.

KEY SCENE PHIL’S MOTHER’S ESCAPE 3bReferring closely to the text, discuss how this

tone is created. 2 marks

SUMMARY OF RESOLUTION/DENOUEMENT P39-46

Phil is free to go but still waiting for his phone call from the art school.

Curry and Phil discuss his mother’s illness – Curry is sympathetic.

Phil and Spanky pity Hector as they believe he’s been sacked – they put together a collection to present him with.

Spanky asks Lucille out but she rejects him – ‘I’m booked’ Phil asks Lucille out – she considers it when she thinks it

might be with Phil but rejects it when she hears it’s Hector. Hector reveals he has been promoted to the design room. Alan reveals he has a job in the slab room. Lucille reveals she has a date with Alan. Alan reveals Phil didn’t get into art school. Curry comes in with a rush job but Phil refuses to work. Phil has harsh words with Curry. Phil leaves after an impassioned speech about class.

DENOUEMENT

Loose ends are tied together Conflicts and questions are resolved The central character has changed A sense of closure

WHAT CONFLICTS AND QUESTIONS HAVE BEEN RESOLVED?

Conflict/question Resolution

Has Phil’s rebellion succeeded? Yes – he is free and leaving the factory. No, he does not have a job or a place at art school.

Have Phil’s dreams come true? No, but he still dreams ‘Giotto used to be a slab boy.’

Have Hector’s dreams come true? No, he’s going to the ‘staffie’ with Curry but he has a surprise promotion.

Has Phil overcome his conflict with Alan (class)?

No, Alan has triumphed (superficially) and Phil is still angry about the class divide.

Has Phil overcome his conflict with Curry (authority)?

No, he still rebels – leaving with some final cheeky comments.

Is Phil’s mum safe? Yes, for the time being, she’s back in hospital.

Who does Lucille go to the staffie with? Alan - but is this who she really wanted?

ALAN’S ROLE Dreams versus reality – Alan represents the reality

that life is unfair - some people will have a better chance to get on.

Rebellion versus conformity – Alan represents conformity - he mimics the older generation and doesn’t know about youth culture.

Social inequality/class divisions – Alan represents the middle/upper classes. His way through life is easy due to ‘connections’. He has an air of entitlement.

Age versus youth – Though Alan is young he represents more old-fashioned values.

Treatment of mental illness in the 1950s – Alan is sympathetic but has not experience of this. Phil asks ‘what do you know?’

QUESTIONING ALAN’S ROLE

Alan could be described as the antagonist to Phil but does he really stand in his way?

In what way does Alan act as a mirror held up to Phil’s bad behaviour?

Why does Phil vent his anger on Alan? Why does Lucille pick Alan? In what way is Alan a winner? In what way is Alan a loser?

CURRY’S ROLE

Dreams versus reality – Curry represents the reality of hard work and discipline.

Rebellion versus conformity – Curry is a symbol of conformity. He hankers after the past discipline and ethos of his military career. He acts as a focus for Phil’s rebellion

Social inequality/class divisions – Curry is working class but respects and looks up to the upper classes. He fawns over Alan.

Age versus youth – Curry’s age means he is horrified by youth culture and attitudes.

Treatment of mental illness in the 1950s – Curry is sympathetic about Phil’s mother – not judgemental.

JACK’S ROLE

Dreams versus reality – Jack represents reality ‘some of us have to live in the real world’

Rebellion versus conformity – Jack conforms, follows orders, is a company man. Phil resents his conformity

Social inequality/class divisions – Jack is working class, looks up to his ‘superiors’

Age versus youth – Jack is young but is teased about his appearance

Treatment of mental illness in the 1950s –

LUCILLE’S ROLE

Dreams versus reality – Lucille is the object of many dreams but does she have dreams of her own?

Rebellion versus conformity – Lucille conforms by dating Alan but does she dream of rebellion with Phil?

Social inequality/class divisions – Lucille is working class but attracted to Alan’s middle class qualities.

Age versus youth – Lucille represents youth. Her love of James Dean suggests a hint of rebellion.

Treatment of mental illness in the 1950s –

SADIE’S ROLE

Dreams versus reality – Sadie dreams to save enough in her bank book to be independent from her husband and throw him out.

Rebellion versus conformity – Sadie conforms to the work environment and plays her roll. She chastises rebellious behaviour in the slab boys.

Social inequality/class divisions – Sadie represents the working class woman. She works hard but has little to show for her efforts. She is stoical in the face of difficulties.

Age versus youth – Sadie represents the older aspects of society - her disillusionment with love and relationships conflicts with Lucille’s positive outlook.

Treatment of mental illness in the 1950s – though not mentally ill, Sadie has faced physical illness and is not self-pitying.

SPANKY’S ROLE

Dreams versus reality – Spanky’s dreams are less ambitious than Phil’s – he knows his limitations.

Rebellion versus conformity – Spanky rebels up to a point but knows when to put the work in and avoid the sack.

Social inequality/class divisions – Spanky is working class and mocks the upper classes – to an extent.

Age versus youth – Spanky represents youth and youth culture.

Treatment of mental illness in the 1950s – Spanky is sympathetic and protective of Phil over this situation.

PHIL’S ROLE

Dreams versus reality – Phil has big dreams that surpass the walls of the factory.

Rebellion versus conformity – Phil’s disrespect, lack of work ethic, bullying and anger all stand for his rebellion.

Social inequality/class divisions – Phil is conflicted over class. He despises the upper classes but resents the limitations of the working class.

Age versus youth – Phil represents youth and youth culture.

Treatment of mental illness in the 1950s – Phil is highly resentful of his mother’s treatment.

QUESTIONING PHIL’S ROLE

Does madness run in Phil’s family or is it self-destruction?

Is Phil an admirable character? When and why do we admire him?

Is Phil an disagreeable character? When and why do we find him disagreeable?

Is Phil justified in his hatred of Alan? Is Phil justified in turning against Spanky? Would you like to work with Phil? Justify your

reason?

ANSWERING THE 10 MARK QUESTION

Candidates must analyse the given extract in some detail referring to at least two examples of dialogue/stage directions.

They should then relate the given extract to at least two other scenes in the play where we can see evidence of the chosen theme/relationship. Candidates should quote/refer to specific points in the play.

PHIL’S MOTHER’S ESCAPE 10 MARK QUESTION

Phil’s description of his family circumstances and his hostility to Alan are used to highlight the theme of social inequality.

Discuss how this theme is explored in the text as a whole. 10 marks

EXPLORING THE THEME OF SOCIAL INEQUALITY Jack/Curry’s differing attitudes to Alan and the slab boys. Phil’s frequent use of upper class imagery and language to

mock Alan The contrast in the boy’s perception between the work in

the slab room and the privileged world of university and art school.

Phil’s mother as an example of how poverty and hardship can ruin lives.

The fact that Spanky and Phil see the slab room as a dead end.

The slab boy’s precarious financial situation compared to Alan’s (Parker pen, different dress code, wallet, dad’s MG).

Alan ‘winning’ in the pursuit of Lucille. Alan’s rapid appointment to the slab room and wages

compared to the slab boys waiting for a desk. Sadie’s problems show the negative side of a working class

life.

THE 10 MARK QUESTION – WHAT YOU MAY BE ASKED ABOUT

Social Class Mental Illness Dreams and escape Rebellion Generation gap Bullying Relationship between Phil and Spanky, the

slab boys and Alan, Phil and Curry Sympathetic characters Whether or not Phil is a likeable/unlikeable

character