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Flashcards in live production - Jane Eyre Deck (41)
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1
Q

introduction

A

I saw Jane Eyre, live at the National Theatre on the 17th October, 2017. Directed by Sally Cookson, this original and thought-provoking production aims to rework the traditional story of Jane Eyre through discussing themes such as patriarchy, spirituality, and non-conformism. It aimed to portray the inner tumultuous journeys of Jane as she takes control of her life. Through its ingenious use of stylised ensemble movement, physical theatre, and stylised acting it used an expressionist style to convey these aims.

2
Q

performance skills

A

Set and story were epic - Brechtian

Plain, playground/scaffolding-like set - musicians on stage

Physical theatre - comic methods employed

Multi rolling

Ensemble cast - ensemble for important than the individual

Breaking of fourth wall

Symbolic set - the flying veil, the changes of lighting to reflect the mood…etc.

3
Q

bertha moment

A

I Convey a modern take on the character Bertha and give the audience some insight into her hidden and crazy character and how it paralleled with Jane’s

D Bertha stood stock still, with a upright posture and hands by her side staring motionlessly out to the audience whilst Jane hung to the ladder with all her might. She silently climbed around the edge and flung her chest out, holding onto the ladder with her hands, freeing herself from the worries of Rochester and instead focusing on her character. This paralleled with the haunting rendition of Gnarls’ Barkley’s ‘Crazy.’ Bertha sung in pure swooping tones, articulating the ‘does that make me crazy’ posing the question to the audience and standing there, seeming almost innocent or unaware of her condition. Both characters connected with each other, as they had both been under the effect of Rochester’s illusive and erratic character.

E This was signalling Bertha and Jane connecting

A bertha’s singing created an almost hypnotic effect on the audience, who were entranced by her beautiful singing. The fact that Bower chose to use a modern song, alludes to the modern day intepretation of jane eyre. Now, with mass immigration and more knowledge surrounding mental health Bertha’s character would have been more understood, which is perhaps why she was chosen to be represented in a more suppressed and hidden character. This is shown through the song crazy and mad about the boy.

4
Q

Jane at the beginning

A

I to show Jane’s loneliness as a child yet ability to adapt to any situation and endure hardship,

D the other children are taken inside and given cinnamon buns but Jane is left outside in the rain, she swings on the bar playfully, jumping up with a determined grimace and letting her body hang loosely, kicking her tattered boots into the air to propel herself. She innocently says ‘what have I done Aunt Reed’ when Aunt Reed comes out to question her and pinpoint undeserved anger on Jane. Her voice is high pitched with a heavy Northern accent, the ‘done’ is on a higher pitch and she articulates the words ‘aunt reed’

E Jane’s frail and small figure is out shadowed by Aunt Reed, also Clifford’s ability to adopt the characteristics of a small child

A the audience immediately empathise with Jane, who has done nothing wrong yet still seemingly provides a burden for Aunt Reed. We are also curious to see how she will grow up in this atmosphere and rebel against her Aunt

L this is the beginning of Clifford’s portrayal therefore it is lighter and more innocent as Jane is a child, the emotional response is of empathy and curiousity

5
Q

jane at lowood

A

I to establish lockwood as a place that Jane associates with order and complete conformity. To show how Jane adapts and begins to learn her place as an orphan in the world and accepts this. Jane has now seen the ‘make do’ attitude of Helen and the other students and assumes that this is normality as she has nothing else to compare it with

D the orphans are all lined up with a straight posture and hands to their sides, Jane drops a book and stands uncertainly as the other all students rush backwards Jane is called out form the line and made to stand on a stool, her face remains straight, she looks out to the audience as if challenging them. She remains silent with low set eyebrows and a straight posture, refusing to make eye contact with anyone else

E it shows how Jane has been changed by this experience and has learnt not to question Brocklehurst or others around her as an orphan. We see how Jane doesn’t want to reveal any emotion or weakness

A the audience can see how jane is repeatedly told what to do by others in positions of authority, and how fundamentally society is balanced against her as an orphan girl. Thus we want her to suceed even more and overpower this system, we feel compassion and bravery towards Jane as we watch her grow

L we have now established a strong emotional link with Jane as we see her grow up, therefore we have an interest in seeing her succeed and feel a deep pathos towards her and her treatment

6
Q

jane at the windows

A

To convey a restlessness within Jane, and a longing to progress within her life. Perhaps alluding to the Bronte’s lack of social standing within society, and inability to progress beyond governess. The three sisters were also forced to write under a pseudonym. It shows her overcoming prejudice’s and standards in society

D the same orphans that she was once a part of, crowd around Jane chanting in a cacophany ‘je suis, tu es, il est, elle est, nous sommes, vous etes, ils sont, elles sont’ ‘Charles the 1st died on Monday 31st of January 1649’ one by one they each hold up a wooden frame in front of Jane’s face. The lines are repetitive of what Jane herself learnt as an orphan. On the line ‘enough, I must have liberty, and if I cannot have liberty I must have change’ Jane frantically pushes the frames out of the way and clears the air. Her voice cracked on the ‘enough’ conveying an emotional and restless being. Jane had a yearning and passionate facial expression, with upturned eyebrows and distant eyes, as she stared out into the audience.

E This moment is symbolic of Jane taking control of her future and breaking out of her normal routine. The windows are literally representative of her entrapment at Lowood school. It is the first sign of her meeting Rochester and improving her social standing in life. She is moving away from her old life and treatment as a child.

A This moment is extremely aesthetically pleasing and positive

7
Q

jane with st john

A

I showing a new stage in Jane’s life, one with St John. Illustrate how cannot seem to progress from the role of a teacher.

D Jane stands rigidly and briskly places books down on the ramp. Her movements are precise and quick, Jane stands above her pupils who all sit obediently at her feet, she reads in a clipped and monotone voice ‘good morning children’

E Jane maintains a proffesional and composed exterior, yet her actions are banal and menial – she is internally unhappy

A the audience cannot help but notice how similar this is to jane’s role at Lowood and Thornfield. We can see Jane’s internal reilience and strength and wonder how she will strive in this new role

L emotional response overall is of unhappiness

8
Q

the proposal

A

to represent the climax in Rochester and Jane’s relationship as Jane confronts Rochester and subsequently Rochester proposes to Jane. In this moment, Jane is having an external struggle, between the fulfilment and love she finds in Rochester’s, whilst thinking that nothing more will ever come from this relationship due to Blanche Ingram’s presence

D Rochester is positioned on the stage and he spits into the air ‘You are like a frantic bird tearing at it’s feathers’ his eyes wide with passion and longing, his arms rest by their sides but one of his fists is clenched. In return Clifford shook her head furiously and glared directly into Rochester’s eyes as she shouted to him ‘I am no bird and no net ensnares me, I am a free human being with an independent will that now exerts to leave you’ her shouting was loud and domineering Rochester ‘Marry me! Marry me!’ . Clifford’s voice: rich with passionate anger, cracking, an irregular ry

E this is the only moment when Jane has truly wanted to stay where she is, instead of move onto a different place (eg. From aunt reed’s house to Lowood.) Rochester is one of the only people that she

has formed a strong relationship with and in return Rochester defies social expectations and proposes to Jane.

A The passionately tense and romantically potent relationship they had developed was illustrated to the audience the audience are happy for Jane’s engagement to Rochester, however we are in a position of dramatic irony as we know of Bertha’s present in the household.

L It is a moment of aspiration and suggests that change is possible for Jane

9
Q

jane and Rochester reunited

A

I to show Rochester and Jane united, for Jane to finally be emotionally and physically at ease/content. A happy ending despite all the hardship she has been through (relate to context of Charlotte Bronte who always made her endings happy as a response to the depressive conditions she lived in..)

D Rochester reaches his feeling hands out to touch Jane’s face - he gently caresses the contours of her face with his finger tips - with a passionate, trembling cry of hopefulness and excitement he exclaims “Are you real?” - on the confirmation of this he forcefully embraces her body and she his, pulling her into his arms, standing strong and upright.

E they are not normally so physically extrovert and expressive

A a rare moment of happiness, the audience are left on a positive note – for both Rochester, who was left with nothing, and Jane who choose to return to Rochester

L emotional response – probably the happiest moment of the play and peformed vividly and effectively by Clifford

10
Q

journey to lowood

A

I To physically represent Jane moving away from her Aunt Reed and embarking on a new stage of her life, despite being shunned as a child

D ‘A strong rhythm’ kicks in from the band. With Jane at the front and the ensemble forming a V formation from behind her they all lift their legs and run on the spot in unison. Their arms are pumping at their sides with their eyes all focused on the horizon. The rhythm changes to double time and they all adapt running faster. They all stop to relieve themselves and the moment is comedic and Jane squats and doubles over, lifting her skirt unashamedly.

E this moment is more fast paced and positive, contrasting with the depressive atmosphere of Aunt Reed’s house. The physicality of the ensemble, with Jane leading, was dynamic and in perfect unison, providing an aestically pleasing moment for the audience

A/L the effect was to elevate the pace of the play and show a clear transition from Aunt Reed’s house, it was a moment of strength and adventure for the audience

11
Q

being whipped in the orphanage

A

I To represent the damned and futureless life these orphans have, and how power can be corruptive for characters such as Brocklehurst

D Helen is to be whipped, she stands with her hands out resolutely whilst the rest of the orphans shuffle together in defiance, they all cower in unison and shout out mirroring Helen’s pain – which she cannot articulate herself as that would be showing weakness. They all turn their shoulders away from Helen and lean back slightly. the teacher brings down a ruler swiftly and harshly onto Helen’s still, tender arms

E this is a moment of unison and shows the orphans collect experience, surviving against the evil Brockelhurst. Lowood was known to be a school with terrible conditions

A the audience pity the orphans yet have strength as they see how they still manage to function despite the pious, authoritative and strict Brocklehurst.

L the effect is to convey Jane’s stage of life as an orphan and her seeing a key principle that she has always been told – to do as she is told and not ask questions. Lowood and the other students merely amplify these thought with their expressionistic and repetitive behaviour. Jane is inquisitive and confronts Helen after this moment

12
Q

actress jane eyre

A

nadia clifford

13
Q

actress adele grace poole helen

A

hannah bristow

14
Q

actor rochester

A

tim delap

15
Q

actress bertha

A

melanie marshall

16
Q

places in jane eyre

A

gateshead
lockwood school
thornfield hall
moorhouse

17
Q

structure

A
intro; 
production aims 
style and genre 
techniques used 
themes 
brief plot 

paragraphs
IDEAL, incl. theatrical techniques and terms, critical appreciation eg. adjectives, evaluation, audience response

conclusion:
overall effectiveness

18
Q

I Development of relationship as we see Jane’s internal conflict as she does not know what Rochester’s motives are and if he likes her or not

A

D ‘we’re going to have a conversation, now speak’, his body language is extremely relaxed as he sits with his legs crossed on the sofa, his elbow resting on the arm of the chair and his hand resting casually into the air holding a glass of alcohol. In terms of proxemics they are far away from each other, conveying an awkwardness and cautiousness to their relationship. His voice is drawling and haughty as he commandingly speaks to Jane. His eyebrows raised and flicking his eyes over to scrutinise her awkward silence as she sits upright on the chair, her eyes lowered, unsure of what to say. ‘what about sir’ she finally responds, in a quick blurt, looking hurriedly down afterwards as to avoid his gaze. Her inflection rising at the end nervously.

E symbolic of the hierarchy they live in. Rochester humouring Jane and scrutinising her, unpicking her as she has no experience with love, making fun of her.

A we pity Jane and her awkwardness, she does not know how to react to Rochester’s provocative behaviour.

L jane’s first proper conversation with her master, shows her complete inexperience with the world

19
Q

performance techniques in Jane Eyre (9)

A
  • Multi-rolling (adele)
  • Direct address (it’s a girl)
  • Thought tracking (asking the mirrors) and plotting subtext of her lines
  • Ensemble movement/choreography in the orphanage and MIME
  • Rochester’s paternalism
  • Voice, posture, gesture, stage positioning, facial expression
  • Playing an animal (pilot)
  • Idiosyncracies – adele, babbles, Jane, wipes her mouth and brushes her hair out of her face, shouts/rants often, voice cracks
  • VOICE: pitch, pace, pone, projection, phrasing (pauses), rhythm
20
Q

Rochester’s apology to Jane

A

I reversal of roles once we reveal Rochester’s secret, illustrating the growth of Jane and pressure she feels to conform to societal norms,

D ‘I should not have deceived you. Live with me as my wife’ the two side by side, sitting on the floor. Defeated. Jane cannot accept that Rochester lied to her. They rest on the floor, leaning against the post and physically close to each other yet refusing to make eye contact. Rochester stares at Jane, who looks down at the floor, ashamed. Jane is still for once, controlled, diminshed and embarrassed by Rochester’s actions

E it shows that she will not accept a relationship unless the are honest and equal with each other. Ultimately a defeat for Jane, she cannot live with Rochester if they are not married, betrayal

A we pity Jane, whe has constantly grown up in a world where she was not in control and finally through Rochester she found happiness but now this has been ruined. This is saddening and poignant as it seems that Jane lives in a world where everything is turned against her, as an orphaned, lower class, female

L she has been influenced by her childhood and Helen as she chooses to conform to societal expectations

21
Q

jane and rochester’s marriage

A

I expose Rochester’s hamartia, illegality, face Jane with yet another obstacle and shatter the fantasy of the relationship they could have had

D Standing DSR whilst the vicar stand above them on the platform CSL, they staring into the light, hands poised by their side, stoic, upright. frowning and intimidated by the vicar who speaks in a loud booming voice ‘if either of you knows of any impediment’ Awkward body lang, they hold hands but stiffly and uncomfortable, Rochester is slightly in front and returns to his status as controlling and dominant. They are still, uncertain ‘this marriage cannot go on’ ‘proceed’

E seemed extremely regimented and unconventional of their relationship which has always been very precarious and unaffectionate.

A Pathetic fallacy for the audience who are on edge, we know that their wedding is about to ruined and can physically feel it in the tense atmosphere of the wedding

L enforces the idea of a patriarchy as Rochester has managed to hide this character for so long

22
Q

production aims for a question about jane

A
how we are influenced by our childhood and our environment 
the constant battle Jane faces to survive and be accepted into a patriarchal society as an orphaned, lower class girl.  
her internal battle between following her instincts and emotions or conforming to gender norms and societal expectations
23
Q

production aims for a question between jane and rochester

A

convey the struggle between abiding to societal expectations or following your emotions and instincts (eg. jane is a governess and rochester is her master)

scrutinise and criticise Rochester’s behaviour towards Jane, as he hides Bertha from her ultimately betraying her and himself as she then refuses to marry her

24
Q

production aims for ensemble question

A

convey how we are influenced by society around us

convey the cyclical and unoriginal nature of life in the 19th century for the lower class, especially female, with poor career prospects of having to be a governess

convey society as one expressionistic body with no power for social change eg. all the orphans multirole and do the same actions…they are under the control of mr brocklehurst

25
Q

‘do you mean it now’

A

I To show how Rochester has lost control of their relationship and highlight the discipline

D
desperation, kissing her neck passionately. Rochester almost cradles Jane, holding her face in his hands, extremely close proxemics and their body language is unrestrained, close, and passionate, however Jane pulls away, accepting defeat shouting ‘I do’

E No physical barriers separating them but again Jane returns to the core principles of humanity she has been taught to survive. She cannot accept a half complete relationship - they won’t be respected. rochester is unable to control his lovestricken emotions.

A we can connect with Jane’s moral dilemma and feel sympathetic for her as well as seeing Rochester’s actions as betraying and extremely painful

L

26
Q

key quotes - Jane

A

‘flap, flap, flap’
‘I am glad you are no relation of mine, I will never call you aunt as long as I live’
‘I should resist her’
‘i must have liberty and if i cannot have liberty, I must have change’
‘ I thought you said Mr Rochester was not peculiar?’
‘oh well we will try again tomorrow’
‘what about sir’
‘i am no bird and no net ensnares me’

27
Q

key quotes - Adele

A

‘i am, as the teacher said, slatternly’

‘good night jane’

28
Q

Key quotes - Rochester

A

‘I should not have deceived you, live with me as my wife!’ ‘Do you mean it now’
‘pilot off’
‘we’re going to have a conversation, now speak’
‘you are like a frantic bird tearing at his feathers’
‘i was twenty one, Jane and sent halfway across the world to marry a bride already courted for me’
‘Are you real’

29
Q

moments which shows specific performance skills

A
direct address - it's a girl
ensemble movement - journey to lockwood, washing themselves, helen being whipped, the fire
characterisation - pilot 
being played by an actor
multi roling - helen/adele/grace poole 
singing - bertha 'crazy'
30
Q

washing in lockwood

A

I to allude to the cyclical and regimented nature of life at lowood as well as suggesting that it is repressive

D all of the orphans chanted in loud, yet unhappy voices ‘september, october, november’ whilst they brought their hands up to their face in slow , cleansing movements, as if washing their face with water, then slowly tying their pinafores’ they cough in unison ..all at the whim to disease
E extremely immersive experience as the orphans are placed evenly on the stage and mirror each others movements, as if they were all one and suffer collectively under the influence of Brocklehurst
A repetitive and habitual movement, we pity the orphans and the harsh regime that is inflicted upon them at Lock wood
L

31
Q

slatternly

A

I Jane seeing that it possible to accept our flaws and not always try to defy those around us
D Helen sits subdued on the floor, as Jane inquisitively comes up to her and sidles down next to her she asks ‘i should resist her if she struck me with that rod’ her bold, childish voice contrasting with Helen’s meek and enunciated tone. ‘ i am as the teacher said, slatternly’ looking down with a humble and self-depreciating acceptance, eye brows raised and knees drawn up to her chest
E the beginning of Jane’s first friendship, she is learning to not merely reject everyone who surrounds her
A we empathise with her and this is a soft and tender moment and provides a contrast to the harsh and abysmal conditions that they are normally constantly reminded of.
L jane’s character development from a child

32
Q

helen offering jane bread

A

I jane accepting Helen as a friend
D Jane stands resolutely on the chair, her eyes staring out into the audience with a straight posture, still. Suddenly Helen comes roughly splits bread in half offering it to her
E comes directly after moment in which Jane has been whipped, a peace offering and appeasement of their tension
A this is a caring and gentle moment, their friendship as clearly developed and it is an acknowlegment of the suffering that they have both experienced
L now jane has an investment in her friendship with Helen as she has helped her in times of trouble

33
Q

helens death

A

I Jane accepting that religion exists otherwise it would be as if she had lost Helen forever,
D they both sit next to each other on the blanket,
feebly Helen say ‘good night Jane’ to which Jane replies ‘Good night Helen’ and leans her head on Helen’s. Helen gets up and walks down the ladder leaving Jane content and asleep. physical and vocal skills.
E poignant, symbolic, soft
A sadness for jane who has lost one of her only friends
L character development from as a child when she rejected all religion

34
Q

jane ranting at her aunt

A

I her rejection of her social standings and family, establishes jane as a corrosive and strong minded girl who is ready to leave home
D ‘I am glad you are no relation of mine, I will never call you aunt as long as I live’ on the platform, spitting with vehement anger,
E important as it is just before she leaves for Lockwood therefore is suggestive of the fact that she will never return back their and is rejecting aunt reed from her life
A we are shocked by the pure anger and power that Jane is conveying, it is clear that it has been detrimental to her upbringing to not have a mother or father as she has had no one to guide her morally
L

35
Q

adele and jane - teaching

A

I to show how Jane has developed yet now is more abiding to societies standards as she has chosen to remain as a governess
D ‘oh well we will try again tomorrow’ adele taunting her and repeating ‘un, deux, trois, quatre’ in french as opposed to english. jane is humoured as she is reminded of herself when she was a child. adele embodies a child with a squealing and defiant voice, sticking her tongue out and raising her eyebrows triumphantly, as if challenging Jane to fight her
E her behaviour is much more rowdy and uncharacteristic to the orphans showing how she is with a different social class now
A playful and poignant for the audience who see jane in adele
L

36
Q

moments of comedy

A
journey to lockwood 
pilot off 
we're going to have a conversation 
i thought you said he wasn't particular 
'bonjour'
37
Q

thought tracking moment

A

I show jane questioning societal standards again and perhaps alluding to the fact that she has never been in love
D ‘i should be happy’ ‘adele is a good pupil’ the ensemble surround her with mirrors, reflecting her inner thoughts as they surround her in a circle and boldly hold up mirrors so she can scrutinise herself
E shows her questioning her life at Lockwood, still doens’t feel content
A we want Jane to succeed and find strength courage in her questioning her actions
L reminds us of how she has used to always reject those who surround her

38
Q

pilot out

A

I To convey humour and reveal a different side to Rochester that we haven’t seen yet, show that he is capable of love even if it is only to a dog
D pilot lies unmoving on the floor, his body stock still, a full grown man playing a dog. Rochester looks at him contuemptously and with a withering stare, his eyebrows raised and leaning backwards
E his movements are completely unrealistic and asbsurd - expressionist, provides comic relief
A the audience are humoured
L

39
Q

jane and rochester moments

A

we’re going to have a conversation, now speak
the proposal ‘you are like a frantic bird tearing at its feathers’
the wedding
i was sent halfway across the world
i should not have deceived you
jane and rochester reunited

40
Q

rochester opening up to Jane

A

I jane losing the only thing that truly made her happy, Rochester.
D ‘ i was twenty one, jane, and sent half way across the world to marry a bride already courted for me’ they both sit defeated and drained on the floor
E the stage felt depressive and drained of emotion
A feel pathos and immense sorrow for Jane, as everything she had done has turned against her/she has always lived in hardship’
L

41
Q

returning to gateshead

A

I to remind us of the likeable Bessie and the sentimentality she feels towards Bessie
D Jane questions Bessie’s son ‘qu’est ce qu tu lis?’ he merely responds with ‘bonjour’
E exemplifies the distance jane feels from gateshead as she is no longer welcomed
A moment of comedy
L