Drama Commentary by Lisa Lacy https://padlet.com/llacy2/mvamzsr50kzn Thesis statements and topic sentences en-us 2018-01-16 03:57:11 UTC 2022-03-18 12:54:58 UTC hello@padlet.com https://padlet.net/icons/png/1f3ad.png Jaden: The playwright establishes the slightly lopsided relationship between Evelyn and Diana through direct characterization, dialogue, and diction. https://padlet.com/llacy2/mvamzsr50kzn/wish/808402655 2020-10-06 20:59:07 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808402655 Athena: Ayckbourn uses contrasting diction, repetition, and consonance to establish a stilted and disconnected relationship between Evelyn and Diana in order to illustrate how self-absorption creates empty relationships in the long-term. https://padlet.com/llacy2/mvamzsr50kzn/wish/808403228 2020-10-06 20:59:26 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808403228 Jaden: In the exposition, both characters are described in both appearance and demeanor, hinting at their underlying personalities. https://padlet.com/llacy2/mvamzsr50kzn/wish/808406536 "Evelyn, a heavily made-up, reasonably well-dressed, expressionless girl..." (1.1.7)
"...Diana enters. She is older, mid to later thirties. She always gives the impression of being slightly fraught" (1.1.12)]]> 2020-10-06 21:01:02 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808406536 Hannah: Ayckbourn illustrates the relationship between Evelyn and Diana as strained to the point of awkwardness, as seen through stream of consciousness, anaphora, and mood set through parentheticals, to comment on how apathy destroys and prevents valuable relationships from building. https://padlet.com/llacy2/mvamzsr50kzn/wish/808408099 2020-10-06 21:01:39 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808408099 Jaden: The contrast in dialogue between Diana's long. rambling observations and Evelyn's unenthusiastic and short replies further demonstrates the state of their relationship. https://padlet.com/llacy2/mvamzsr50kzn/wish/808411937 DIANA: *long rambling comment*
EVELYN: 'Oh']]> 2020-10-06 21:03:36 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808411937 Hannah: Throughout the scene, Ayckbourn writes Diana's stream of consciousness through her dialogue, which shows how desperate she is for companionship. https://padlet.com/llacy2/mvamzsr50kzn/wish/808413926 "Him and his squash...Does John play squash?" (1.1.37-40)
"Oh well...Did you knit that little jacket for him?" (1.1.44-48)]]> 2020-10-06 21:04:25 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808413926 Taylor: The playwright establishes a tense relationship between Evelyn and Diana through an anxious tone, contrasting diction between characters, and repetition of phrases, which reveals how the lack of engagement in conversation leads to a weak, one-sided relationship. https://padlet.com/llacy2/mvamzsr50kzn/wish/808415570 2020-10-06 21:05:11 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808415570 Hannah: Ayckbourn's repeated use of the same words and phrases in Evelyn's responses reveals a lack of enthusiasm or interest in a conversation with Diana, preventing a bond from forming. https://padlet.com/llacy2/mvamzsr50kzn/wish/808417310 "'Does John play squash?' 'No'" (1.1.40-41)
"'Did you knit that little jacket for him?' 'No'" (1.1.48-49)]]> 2020-10-06 21:06:04 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808417310 Jaden: Evelyn's repetition of short, stagnant phrases and words reveals her lack of enthusiasm https://padlet.com/llacy2/mvamzsr50kzn/wish/808417707 "EVELYN: Oh." (1.1.36)
"EVELYN: No." (1.1.41)]]> 2020-10-06 21:06:15 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808417707 Sarah: Ayckbourn exhibits the divide between the contrasting presentations of Evelyn and Diana through imagery, contrasting dictation, and usage of dialogue. https://padlet.com/llacy2/mvamzsr50kzn/wish/808419451 2020-10-06 21:07:09 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808419451 Athena: Ayckbourn contrasts Diana and Evelyn through stark differences in sentence length and structure. https://padlet.com/llacy2/mvamzsr50kzn/wish/808426351 2020-10-06 21:10:37 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808426351 Brock: Ayckbourn exposes the tension in the relationship between Diana and Evelyn through the contrasting diction of the two characters, which is accentuated by the repetition of Evelyn's short responses and the short backstories of the two characters in the scene description. https://padlet.com/llacy2/mvamzsr50kzn/wish/808427840 2020-10-06 21:11:27 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808427840 Athena: Furthermore, Ayckbourn has both characters repeat key phrases of their dialogue, highlighting how neither is truly listening to other and would rather hear their own reply again. https://padlet.com/llacy2/mvamzsr50kzn/wish/808430063 2020-10-06 21:12:43 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808430063 Hannah: The lack of relationship between Evelyn and Diana is interpreted in the way Ayckbourn has characters perform, as shown through parentheticals, and sets a mood of tension in the room. https://padlet.com/llacy2/mvamzsr50kzn/wish/808430981 "'Oh well' [She looks about her.]" (1.1.25)
"[Pause.]" (1.1.34)

]]> 2020-10-06 21:13:14 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808430981 Athena: Lastly, Ayckbourn's use of breathy consonants for Diana's dialogue, as if she must get all her words out in one breath purposefully clashes with their use of simple, hard sounds for Evelyn's dialogue, mirroring her apathy. https://padlet.com/llacy2/mvamzsr50kzn/wish/808432137 2020-10-06 21:13:54 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808432137 Sarah: Even upon the first introduction, it is to be noted that while Diana is quite literally exclaiming at the mere sight of the child and the continuation of other enthused babblings, Evelyn has only managed to utter three syllables to match Diana's upwards of three sentences. https://padlet.com/llacy2/mvamzsr50kzn/wish/808434712 DIANA: Have you got him to sleep?
EVELYN: Yes.
DIANA: Aaah! They look so lovely like that. Like little cherubim's.
EVELYN [unenthusiastic]: Mmm.
DIANA: Just like little cherumbims. Should he be covered up as much as that, dear?
EVELYN: Yes. ]]> 2020-10-06 21:15:16 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808434712 Maria; Ayckbourn signifies an evidently strained relationship between Diana and Evelyn through the continuous use of contrasting diction, mood and repetition. https://padlet.com/llacy2/mvamzsr50kzn/wish/808557593 2020-10-06 22:37:43 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808557593 Alex: Ayckbourn signifies an awkward and uneasy relationship through the use of epistrophe and tense mood as emphasized through contrasting diction, as there is little to no connection present between Diana and Evelyn in order to demonstrate the importance of engagement with others in order to preserve relationships. https://padlet.com/llacy2/mvamzsr50kzn/wish/808709129 2020-10-07 00:23:46 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808709129 Alex: The unnatural flow of dialogue between Diana and Evelyn is presented as Ayckbourn depicts an uncomfortable relationship through the value of epistrophe. https://padlet.com/llacy2/mvamzsr50kzn/wish/808709704
 “ Diana: won't he get too hot? 
Evelyn: He likes it hot. 
Diana: oh i was just worried he wasn't getting enough air.
Evelyn: He's alright, he doesn't need much air “ ( 1.1 21-24) 
]]> 2020-10-07 00:24:06 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808709704 Alex: Within Diana and Evelyn’s relationship, Ayckbourn creates a tense mood in order to demonstrate their discomfort and awkwardness towards each other, as well as Evelyn’s own disinterest in the conversation. https://padlet.com/llacy2/mvamzsr50kzn/wish/808713423
“ Diana: not for ages. Well , I'm glad you could come this afternoon. Colin will really appreciate that, I'm sure. Seeing us all.
 [ pause ] 
Paul should be home again soon. I think he’s playing his squash again. 
Evelyn: Oh” ( 1.1 32-36) 

]]> 2020-10-07 00:25:55 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808713423 Alex: With the prominent use of contrasting diction, Ayckbourn further emphasizes the tense and unnatural relationship between Diana and Evelyn, resulting ones lack of engagement and presence with another. https://padlet.com/llacy2/mvamzsr50kzn/wish/808715247
“ Diana: Have you got him to go to sleep?
Evelyn: Yes.
Diana: [looking into the pram] Aaah! They look so lovely like that. Like little cherubims.
Evelyn: [unenthusiastic] Mmm
Diana: Just like little cherubims. Should he be covered up as much as that dear?
Evelyn: Yes” ( 1.1 15-20). 

]]> 2020-10-07 00:26:48 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808715247 Gabi: Ayckbourn establishes and emphasizes the tense and fretful relationship between Diana and Evelyn through repetition of similes, onomatopoeia, and the juxtaposition of contrasting syntaxes to reveal that one's inability to enthusiastically participate in a conversation leads to an empty and one-sided friendship https://padlet.com/llacy2/mvamzsr50kzn/wish/808766488 2020-10-07 00:51:39 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808766488 Gabi: Ayckbourn's repetition of similes from Diana reveals her attempt to connect with an uncooperative Evelyn. https://padlet.com/llacy2/mvamzsr50kzn/wish/808767488 DIANA: Aaah! They look so lovely like that. Like little cherubims.EVELYN: [unenthusiastically]: Mmm.DIANA: Just like little cherubims... (1.1.17-19).]]> 2020-10-07 00:52:03 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808767488 Gabi: Ackybourne’s use of onomatopoeia, emphasizes the contrast in personality and participation between Diana and Evelyn, resulting in a strained and superficial relationship. https://padlet.com/llacy2/mvamzsr50kzn/wish/808770116 DIANA: -now he’s squash mad. Squash, squash, squash. Can’t see what he sees in it. All afternoon hitting a ball against a wall. It’s so noisy. Bang, bang, bang...Does John play squash?
EVELYN: No. (1.1.38-41).

]]> 2020-10-07 00:53:14 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808770116 Gabi: Ayckbourne's juxtapositioning of contrasting syntaxes further demonstrates the awkward and tense relationship between Diana and Evelyn, therefore revealing the effects of one-sided hostility in a frienship. https://padlet.com/llacy2/mvamzsr50kzn/wish/808771984 DIANA: ...Should he be covered up as much as that, dear?
EVELYN: Yes. (1.1.19-20).
DIANA: Oh well… [she looks about her.] Well, I think we’re all ready for them. John’s on his way, you say?
EVELYN: Yes. (1.1.25-27).

]]> 2020-10-07 00:54:07 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/808771984 Maria; Throughout the exposition, the use of contrasting dialogue between Evelyn and Diana’s interactions showcases an awkward aura that can indicate an almost non-existent relationship between them. https://padlet.com/llacy2/mvamzsr50kzn/wish/809079809 Diana: Oh, well. He probably doesn’t need it….After my mother left him. [Looking into
the pram.] Did you knit that little jacket for him?
Evelyn: No.

]]> 2020-10-07 03:44:30 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/809079809 Maria; Evelyn and Diana’s strained relationship is proven even more through the uncomfortable mood set in place by Evelyn’s apparent disinterest to keep a conversation going with Diana. https://padlet.com/llacy2/mvamzsr50kzn/wish/809080731 Diana: Him and his squash. It used to be tennis –....No fresh air at all. It can’t be good for
him. Does John play squash?
Evelyn: No.
Diana: Oh.

]]> 2020-10-07 03:45:12 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/809080731 Maria; The use of repetition from Evelyn fully depicts the disconnection between her and Diana’s relationship because of how short/blunt her responses are in comparison to Diana’s inquiries. https://padlet.com/llacy2/mvamzsr50kzn/wish/809082158 Evelyn: He’s all right. He doesn’t need much air.
Diana: Oh well... [She looks about her.] Well, I think we’re all ready for them. John’s on his way,
you say?
Evelyn: Yes.
Diana: How is he these days? I haven’t seen John for ages.
Evelyn: He’s all right.
Diana: I haven’t seen either of you.
Evelyn: We’re all right.

]]> 2020-10-07 03:46:10 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/809082158 Brock: The scene description of the play establishes the differences between Evelyn and Diana and portrays them as their own people that act in their own ways. https://padlet.com/llacy2/mvamzsr50kzn/wish/812631136 "At the start, EVELYN, a heavily made-up, reasonably trendily dressed, expressionless girl, is
sitting by a pram which she is rocking absently with one hand whilst gazing blankly out of the
window... [DIANA] smiles occasionally, but it’s painful. Her sharp darting
eyes don’t miss much after years of suspicions both genuine and unfounded" (1.1.7-9, 13-14).]]> 2020-10-08 04:22:15 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/812631136 Brock: The contrasting diction of the two characters demonstrates the differences between the two characters and the tension that their relationship holds. https://padlet.com/llacy2/mvamzsr50kzn/wish/812652542 Diana: How is he these days? I haven’t seen John for ages.
Evelyn: He’s all right.
Diana: I haven’t seen either of you.
Evelyn: We’re all right.
Diana: Not for ages. Well, I’m glad you could come this afternoon. Colin will really appreciate
that, I’m sure. Seeing us all.
[Pause.]
Paul should be home again soon. I think he’s playing his squash again. (1.1.28-35).]]> 2020-10-08 04:35:12 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/812652542 Brock: The repetition found in Evelyn's short responses portrays Evelyn as aloof, whereas Diana's long and conversational responses make her appear more almost desperate to make a connection. https://padlet.com/llacy2/mvamzsr50kzn/wish/812657651 Diana: Have you got him to sleep?
Evelyn: Yes.
Diana [looking into the pram]: Aaah! They look so lovely like that. Like little cherubims.
Evelyn [unenthusiastic]: Mmm.
Diana: Just like little cherubims. [Anxious.] Should he be covered up as much as that, dear?
Evelyn: Yes.
Diana: Won’t he get too hot?
Evelyn: He likes it hot.
Diana: Oh. I was just worried he wasn’t getting enough air.
Evelyn: He’s all right. He doesn’t need much air.
Diana: Oh well... [She looks about her.] Well, I think we’re all ready for them. John’s on his way,
you say?
Evelyn: Yes.]]> 2020-10-08 04:38:23 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/812657651 Claire: Alan Ayckbourn's juxtaposing diction, imagery, and characterization illustrates the extent of how one's actions and demeanor can lead to disconnect and tension in relationships. claireku26 https://padlet.com/llacy2/mvamzsr50kzn/wish/815459880 2020-10-08 21:14:46 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/815459880 Claire: Alan Ayckbourn employs contrasting diction through dialogue syntax to emphasize how the difference between Diana's stream-of-consciousness phrases and Evelyn's stagnant replies contributes to the detached manner of their exchanges. claireku26 https://padlet.com/llacy2/mvamzsr50kzn/wish/815722211 "DIANA: Him and his squash. It used to be tennis - now he's squash mad. Squash, squash, squash. Can't see what he sees in it. All afternoon hitting a ball against a wall. It can't be good for him. Does John play squash? 
EVELYN: No" (1.1.37-41).]]> 2020-10-09 00:32:23 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/815722211 Claire: Alan Ayckbourn's imagery reveals Diana and Evelyn to have qualities in personality, speech, and dress starkly distinct from the other that prevent them from interacting amiably. claireku26 https://padlet.com/llacy2/mvamzsr50kzn/wish/815738097 "EVELYN, a heavily made-up, reasonably well-dressed, expressionless girl..." (1.1.7).

"...DIANA enters. She is older, mid to later thirties. She always gives the impression of being slightly fraught" (1.1.12-13).]]> 2020-10-09 00:45:41 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/815738097 Claire: Through characterization, Alan Ayckbourn strongly conveys Diana and Evelyn's foil natures to highlight the tense and unnatural aspects of their meeting. claireku26 https://padlet.com/llacy2/mvamzsr50kzn/wish/815754142 "DIANA [looking into the pram]: Aaah! They look so lovely like that. Like little cherubims. 
EVELYN [unenthusiastic]: Mmm.
DIANA: Just like little cherubims. [Anxious.] Should he be covered up as much as that, dear?" (1.1.17-19).]]> 2020-10-09 00:58:19 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/815754142 Taylor: Ayckbourn utilizes an anxious tone in the playwright to reveal the weak relationship between the characters, and the discomfort they face when communicating. https://padlet.com/llacy2/mvamzsr50kzn/wish/816298929 "DIANA: Well, I'm glad you could come this afternoon.  Colin will really appreciate that, I'm sure.  Seeing us all.
[Pause.] 
Paul should be home again soon.  I think he's playing squash again.
EVELYN: Oh" (1.1.32-36).]]> 2020-10-09 10:23:57 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/816298929 Taylor: Ayckbourn's contrasting diction between characters emphasizes that apathetic, one-sided conversations create empty relationships. https://padlet.com/llacy2/mvamzsr50kzn/wish/816306535 "DIANA: Him and his squash.  It used to be tennis, now he's squash mad ... Does John play squash?
EVELYN: No.
DIANA: Oh" (1.1.37-41).]]> 2020-10-09 10:31:45 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/816306535 Taylor: Through the repetition of empty dialogue, Ayckbourn reveals the lack of interest in conversation, and furthermore how it can prevent relationships from being formed and maintained. https://padlet.com/llacy2/mvamzsr50kzn/wish/816313012 "EVELYN: No" (1.1.41).
"EVELYN: No" (1.1.49).]]> 2020-10-09 10:38:07 UTC https://padlet.com/llacy2/mvamzsr50kzn/wish/816313012