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Emily of Emerald Hill by Stella Kon

Emily of Emerald Hill by Stella Kon. Benefits of a Dramatic Monologue. entire 2-act play is performed by only 1 stage actress who narrates, reviews and enacts her life as daughter, wife and mother immediate, personal, reflective depth of character is brought out

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Emily of Emerald Hill by Stella Kon

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  1. Emily of Emerald Hill by Stella Kon

  2. Benefits of a Dramatic Monologue • entire 2-act play is performed by only 1 stage actress who narrates, reviews and enacts her life as daughter, wife and mother • immediate, personal, reflective • depth of character is brought out • greater development of character’s views and thoughts

  3. Challenges Undertaken by the Actor • relaying plot, conflict, emotions, characterization, relationships through one character • sustaining the audience’s interest throughout

  4. Peranakan Culture • focus is on the Chinese Peranakans who are economically affluent, matriarchal and liberal in tastes and style, yet conservative in customs • premium placed on family achievements, complexity and dilemma of her loyalties to her family expectations and those of her own

  5. Language and Class • play is peppered with Peranakan Malay, English and Hokkien • differences in class (master vs servant), lifestyle (party vs market) and kinship (seniors and matriarchs vs the young) • multiple roles a single woman adopts to adapt and assimilate into the culture she has been brought up with and consequently inherited

  6. Dilemma of an Ambivalent Existence • daughters are bartered goods in marriages and sons, treasured offspring • but women take on an almost automatic role as matriarchs of the household, making important financial, education and lifestyle management decisions • in the background, her husband carries on a public affair and her beloved son, Richard, goes against her wishes

  7. Historical Timeframe of the Play • golden period of high living before the war – the good old days in the house on Emerald Hill, the French classes and ballroom dances • re-enactment of the dual life of public Western entertainment and private domestic conflicts • the infiltration of Western tastes in music and fashion before the war ironically contrasts with the Western values and influences that Emily eventually feels have taken her children and husband away from her matriarchal clutches

  8. Westernisation & Conservatism • Emily’s pride in her hostess role in her community, her eldest son, Richard and her achievement as mistress of the house (other aspects of her personal identity) • issues of insecurity, betrayal, a hardened sense of futility and the tragic plight of a woman who seeks personal self-fulfilment through extrinsic means

  9. Mother and Son Relationship • Emily’s eldest son, Richard, is her pride and joy as his birth establishes Emily’s role in the Gan household as the dominant female who produced the first grandson • mothers him with a strict affection, directing his educational and enrichment paths to success • when Richard decides to substitute University education with his love for horse-riding, pressures between his mother and his sense of filial piety culminates in his suicide

  10. Culture and Kinship • Emily’s identity is made up of her Peranakan heritage, exposure to Western tastes, rags-to-riches upbringing, acceptance into the Gan family, kinship ties as wife, mother, daughter and daughter-in-law, unique personality traits etc • crucial to note that each aspect of her identity relates to how she perceives herself and how people see her

  11. Significant Episodes in her Life • Married to Gan Joo Kheong at the age of 14 years old • Birth of four children: Richard, Charlie, Edward and Doris • Eldest son, Richard chose to become assistant to his riding school owner instead of studying law • Richard committed suicide

  12. …cont’d • Her husband took on a mistress • Tricked him into coming back • Husband died of heart attack and refused to see Emily when he was dying • Other children got married and moved away

  13. Character Study of Emily • Domineering Pg. 5 “I know all your plans when I make my arrangements.” Pg. 15 “I’ve made quilts for all the family. Every night,…wrapped up in my patch-work quilt.” Pg. 16 “Molly – wasn’t your husband coughing badly last night? Of course…don’t you think he should see the doctor?”

  14. …cont’d • Doting yet controlling Pg. 5 “All I want is for you to be a good boy and make me proud of you.” “ You don’t worry about your friend. After all…you both won’t remember each other.” Pg. 16 “I’ll see to everything you need. You don’t have to worry…let Mother do everything for you.”

  15. …cont’d • Efficient Pg. 7 “So I keep myself busy, running the household, looking after all the family.” • Strong-willed Pg. 11 “So they tried to bully me but I didn’t cry.”

  16. …cont’d • Scheming / Cunning Pg. 11 “The only one I want to worry about is my mother-in-law.” Pg. 12 “I’m so free lah, no children. I can help Mother.” “Oh Mother you’ve lost. Shall I massage you?”

  17. …cont’d • Traditional Pg. 17 “A woman must look after her husband.” “…when you get married you must know how to cook and look after your family.” • Insensitive Pg. 25 “Richard, you better listen to my advice.” “You have made the right decision.” Pg. 26 “You understand that my plan for you is the best.” (Is she an efficient mother?)

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