When I first began reading, the most confusing dramaturgical choice Vogel employed seemed to me to be the constant driving instructions being spoken at the end of each major point in the script. In hindsight, this choice had a very clear purpose, but with my first light skim of the script, I didn't really pick up on it until later in the script. The boldfaced lines at the end of each major plot point or scene in the script are an obvious representation of a shift in perspective of the play, or allude in some way to the similarities between Li'l Bit's driving lessons and her relationship with Peck.
Tuesday, February 5, 2013
How I Learned to Drive Blog Post
The choice by Vogel to include a small "Greek" chorus in How I Learned to Drive is essential to the effect that the story has on the reader or audience. The chorus play all of the non-essential roles, as in, every role apart from Peck and Li'l Bit. By doing so, the chorus diminish the value of the characters that they play, and through this diminished value, the reader/audience is forced to focus solely on the relationship of Peck and Li'l Bit. The focus remains on these two throughout the play, and leaves the reader/audience with a sense of uncertainty. The lines between normal and absolutely goddamn creepy are very blurry by the end of the play, and I feel that if the supporting roles were actually filled by actors as opposed to chorus members, the nonchalant approach to the molestation of Li'l Bit would be much more alarming.
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Your last sentence of your first point stuck out to me most. The nonchalant approach to the molestation of Li'l bit, to me, would be more present if you had a character for each person. Mainly because the REAL parent/aunt wouldn't do anything about this disgusting familial relationship. Whereas, if they were just blurs as people, then it focuses on how creepy it actually is. But hey, that's just my opinion. Good blog, Newsie :)
ReplyDeleteYou're definitely right about the greek chorus diminishing the value of the seemingly superfluous characters. The greek chorus was really effective in making the outsiders ineffective; meaning that they seemed to have no bearing on the actions of the main characters. They were portrayed exactly how a memory should be--only the two people involved could change the course of action. Additionally, I like the connection that you made between the periodic titles and Li'l Bit's relationship with Peck. I also found it clever that you used the word "shift" to describe the changes throughout the play "How I Learned To Drive".
ReplyDeleteYou also forgot another important function of the driving puns at the end of each scene/transition. They literally foreshadow what is coming next. Not just a change in tone, but will tell you whats about to happen. "Speed up girl!" is saying that a future scene is about to occur. "Put it in reverse." means we're jumping to the past, and they give a crack about "defensive Driving" right around where the actual molestation scene happens.
ReplyDeleteI completely agree to all you said. The greek chorus does help us get a clearer view on Peck and Lil' Bit's relationship so there is less focus on everyone else in the play. I enjoyed that Vogel chose to do this. Also, I enjoyed what you said about the driving titles connecting with Peck and Lil' Bit's relationship. Even though I saw it and read it, I never really took the time to think about it so thank you for pointing out such a huge part of the play to me.
ReplyDeleteI think that you are right in pointing out that the chorus highlights the relationship between Peck and Li'l Bit. By choosing to not have the other character portrayed as individual actors, the focus and tension was kept between the two main characters. I think the driving instructions serve as a kind of heartbeat to the play, with so much to mentally comprehend, it is nice to have a constant throughout.
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