Top Girls - State Theatre Company of South Australia

Top Girls - State Theatre Company of South Australia

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Posted 2012-12-14 by Inactive Accountfollow

Fri 17 Aug 2012 - Sat 08 Sep 2012

With her striding and feminist movement Marlene (Ulli Birvé) drives a confident vibe through her collinear posture and feministic attitude. Her prologue and collaborated set design drives a thought of six identities at a ceremonial dinner of celebration. The viewer is reminded of Marlene as her constant ideals dwell the stage throughout the storyline. Director Catherine Fitzgerald's analytical, yet delightful presentation of Top Girls is persevered to be an unconventional play from the first sight of movement.



An opinion is driven towards Marlene as being our main protagonist, the journey through her very thought and vision. She is the provider and evidence to the feministic, socialistic and equality themes through the notion of 'working hard to get where she is at'. This concept is embroidered in the first scene. The surrounding woman were of actualities from history who have exerted and sacrificed portions of their lives to be as vibrant, dynamic and reminisced in their epoch, even though their gender resembles little. Isabella Bird (Eillen Darley) arrives to the celebration in a classic styled bicycle as this conspicuously distinguishes her to be a Victorian explorer. Her approach to the stage is perceived to be discreet and unfulfilling. Darley's character never attracted attention and would tend to feature Bird in the midst of the other characters. Though, her attention seeking vibe is presented through her tricycle and puffy costume. Pope Joan (Antje Guenther) the fourth to arrive is a somewhat detached character, yet her entrance, dialogue, moment and costume are of greater notice. Joan creates pertinent and intellectual declarations through the table discussion. All identities around the table reflect an aspect of Marlene and her life style.

The stylistic and universal opening provokes a dreamlike surrounding, while the other scenes depict an embellished regularity. The unconventional display embodies three main focuses. Feminism is portrayed as Churchill explores the triumphs of the prior cohort and present what was misplaced. Top Girls critiques the standard rights of women had gained and their place among masculine civilisation. Churchill queries if these rights have transported the gender to be of greater liberation, contentment and opportunity; or rather simply defining them as individuals with more possibility but countenancing them fewer privileges regarding judgement; in their attempt to associate their career and personal lives. Churchill also expresses the concept of socialism and of a community that is fragmented to concentrate on the individual. The effects of the middle class among an economy and pretentious by an ideology of eccentricity are explored. Joyce and Marlene are used to illustrate the altered choices in life and how these choices affect Angie. Churchill also demonstrates the approaches and motivations necessary to truly accomplish equality. Equality is also explored through the comparison of supposed equals. This is exemplified through the women's wellbeing for their very rights and discharging anyone's priorities dissimilar from theirs.



The design of the set portrays a conceptual, aesthetic and functional purpose. The glass was used in feminist discourse, the metaphor to pronounce an invisible barrier that stops those who are inferior from becoming a high ranking individual due to their gender discrimination. It was featured to demonstrate the success or difficulty to succeed in certain scenes. The circular centre was placed to evoke a sense of cycle and continuity. The remaining section of the stage was rough, unsympathetic and tediously disguisable. This eliminates the restriction of women and their endurance amongst the virile domain. The quickly paced movement in projections meant a change from the wealthy to the poor. This was highly evident in the backdrop of the stage. Every scene featured realistic and contemporary illustration to associate the accompanying focus. Lighting had also complimented this by adding a dim or bright impression to the atmosphere.

Costumes throughout the play were both current and aged. The clothes provided a characteristic and essential personality for the actor wearing them. The pieces were of 'heightened naturalism' which shaped a relation to the audience. Moore's pieces evoked a 'power dressing' technique which was a heightened trend in the eighties. Accessories such as shoulder pads were infamous among women as they provided a shoulder broadening, thus creating a masculine appearance. This allowed Moore to break the rules in her costumes by adding her personal touches to culture and past styles. Moore's coloured scheme complemented the set by the collaboration in colours on the clothes, projected backdrop and furniture. For example, clothing in the last scene engaged with the wooden-like furniture. As such, costumes were of dreary, grey, auburn and brownish colours and were never organic.

Elements of the soundtrack played a substantial role in the development of the play. Shifting from scene to scene meant fluctuating and altering styles of music. The only time for the soundtrack to be featured was at these specific periods. The continuous rhythm in the song London Calling (The Clash) provided a working a progressive touch. The title and beat of the tune translates to working at a durable standard to be part of a major capital. Certain echoes and voice temperaments also contributed to the atmosphere of the scene.

Top Girls embodies the truths of women and their unearthing and sacrifice to live an unbiased and accomplishing existence. The palpable themes of socialism, feminism and equality are explored in depth. The struggles for women over the years are just as educating and progressive as some of the main discrimination of certain persons today. Progression is the outmost important factor in which the world must do to evolve and Churchill is to be praised for bestowing and realizing these struggles.

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!date 17/08/2012 -- 08/09/2012
%wnadelaide
190851 - 2023-06-16 03:29:59

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