Top Girls

1. Top Girls Caryl Churchill

2. Learning Objective • To become familiar with the wider context of the play • To understand the characters and their function

3. Reminder of the Paper 2 expectations • Format of Paper 2 • Paper 2: Essay • Duration: 2 hours • Weighting: 25% Studying 3 texts but answer a comparative question on at least two of the following texts: • A View from the Bridge • HeddaGabler • Top Girls

4. Reminder of the Paper 2 objectives • Consider the changing historical, cultural and social contexts in which particular texts are written or received • Demonstrate how the formal elements of the text, genre and structure can not only be seen to influence meaning but can also be influenced by context • Understand the attitudes and vaules expressed by literary texts and their impact on the readers

5. Context- Churchill’s Questions • Quotes by Churchill: • ‘Playwrights don’t give answers, they ask questions.’ – Discuss this and feedback. Consider the other plays we have studied-were Miller and Ibsen asking questions. • She asks quite a few questions in ‘Top Girls’ which we need to answer for ourselves.

6. In ‘Top Girls’ Churchills asks, ‘Is it more important to break out of a cycle of poverty and ‘make something of yourself’, or to fulfil your responsibilities to your family and community? • If you are a woman, are you more likely to answer this question in a certain way? • How can a woman balance the demands of a career and motherhood? • What actually constitutes success in life?’

7. Top Girls has become emblematic of contemporary woman’s struggle! • Churchill wrote the play as a response to the election of Margaret Thatcher. • Some thought that her rise to power in politics was as indicative of progress for women. • Churchill worried that Thatcher’s right wing politics benefited a minority of wealthy Britons while leaving the less fortunate behind. • The play voices her concerns regarding social emphasis on capitalist success over sisterly solidarity. • To confront the era’s broad ranging political dilemmas, she compares and contrasts the lives of two sisters.

8. Churchill wrote ‘Top Girls’ in opposition to Thatcherism. Having become politicized during the 1970’s, Churchill saw the 1980s shift from a socialist mind-set to a capitalist emphasis as an ominous change. This difference became clear to her when comparing British and US concepts of female equality.

9. The Sisters – Marlene and Joyce • Each of the sisters has different answers to the questions the play asks: while one sister decides to follow a path that emphasizes her career at the expense of her family life, the other maintains close familial ties but continues to lead a life of economic drudgery. • Churchill avoids idealizing either path, but her portrayal presents an opportunity for her audiences to examine their opinions regarding gender and class. Discuss this and feed back to the class.

10. Churchill Experiments with style and form • She establishes the principle of overlapping dialogue, a technique that has become widespread in British Theatre. • The play presents scenes out of sequential order, thereby requiring the audience to actively participate by connecting the play’s plot lines. • Discuss other writers who do this – think about Toni Morrison and consider what her purpose was.

11. Let’s get to know our characters…and our playwright • Isabella Bird (1831-1904) • Lady Nijo (b.1258) • Dull Gretis the subject of the Brueghel painting ‘Dulle Griet’ • Pope Joan • Patient Griselda • Playwright = Carol Churchill Task: • Use the internet to find basic information about the characters above. • In addition, find out some more about our playwright Caryl Churchill.

12. So what do we know about our characters… • Isabella Bird (1831-1904) lived in Ediburgh, travelled extensively between the ages of 40 and 70 • Lady Nijo (b.1258) Japanese, was an Emperor’s courtesan and later a Buddihist nun who travelled on foot through Japan • Dull Gretis the subject of the Brueghel painting ‘Dulle Griet’ • Pope Joan, disguised as a man, is thought to have been Pope between 854-856 • Patient Griselda is an obedient wife from Chaucer’s ‘The Canterbury’s Tales’

13. Act 1 • The first act depicts a trans historical tableau in which Marlene, an eighties’ career woman, hosts a dinner party for a table full of disparate women drawn from history, literature and art.

14. Reading Synopsis of Act 1 p.vii

15. Act 1 p.1-7 • Roles- Marlene, Isabella, Nijo, Waitress, Gret and Joan • Reading roles up to page 7 – ‘Waitress is bringing the first course’ • We will watch/listen to the dialogue as we read along. At points we will stop so you can annotate the text • Video link - http://www.youtube.com/watch?v=ZsDr1FSZWDc&feature=player_embedded

16. Act 1 p.1-7 tasks • There is no attempt to explain how these women from different cultures, ages and myths come together. Task: • Use the LinoIt link to plot what your thoughts are on the style of Churchill’s play? Is it successful? Is it there to confuse? What is her intention? http://linoit.com/users/MrWalker2012/canvases/Top%20Girls%20-%20Churchill%27s%20style 2. What is the significance of setting the play in a restaurant? • What does the opening of the play convey about Marlene and her social status? • What do you think might be gained or lost by preserving the overlapping structure of the dialogue in performance?

17. Act 1 p.7-14 • Roles- Marlene, Isabella, Nijo, Waitress, Gret and Joan • Reading roles up to page 14 – ‘Waitress is bringing the first course’…to… ‘ They laugh and drink a toast.’ • As we continue to listen to the dialogue, be focused on annotating to explore the references to the struggles the women have faced in their patriarchal societies. • We will discuss this at the end of the section

18. Act 1 p.7-14 tasks Task: • Make a start on the character chart • What do you think is the role of the Waitress in this play so far?

19. Act 1 p.9-32 • Task: • In pairs, you are going to be given responsibility of a specific section in Act One. • You will need to annotate the section to focus on the adversity the women have faced. • Be prepared to share your notes with the group Group 1 – Katherine, Anisha, Sam and Jemima– p.9-14 Group 2 – William, Michelle and Eunice – p.14 -19 Group 3 – Sabrina, Ollie, Katrina and Jason – p.19-24 Group 4 – Erika, Nick, Natalie and Claudia – p.24-32

20. Act 2 and 3 • The next two acts focus on Marlene’s career and family life during the 1980’s, with the last act being set a year before the previous act. • In the production, actors were cast as both contemporary and historical characters, a precedent which subsequent productions have followed. This process opened up possibilities for audience members to construct their own comparisons and contrasts between different characters’ situations and perspectives. • The play’s radically non-linear narrative structure and multiple interpretations, encouraging viewers to compare and contrast recent and historical moments.

21. Act 2 Scene 1 Learning Objective: • To assess the tension that exists between Joyce and Angie . • To examine how Angie interacts with Kit. Summary • This scene takes place in Joyce’s backyard and begins with Joyce calling for Angie (aged 16) who is sitting in a shelter with Kit (aged 12). • Angie ignores Joyce’s calls and she and Kit discuss going to the cinema • Angie tries to scare Kit by telling her stories about ghosts and poltergeists. It doesn’t work and the girls quarrel • Joyce calls again but they ignore her. Angie talks about running away to London • Joyce comes out to fetch the girls in. Kit and Joyce talk about Angie and the future.

22. Act 2 Scene 1 • The scene will be divided up into sections and in pairs/3s you will read and act out different parts of the scene. Practise it and discuss character interaction/dynamics. Try to consider how to show status/control/age of the girls/. Experiment with levels/voice/proxemics ( how close you are/who is more upstage/downstage etc) • Section 1 – two characters – opening of Act 2 to Angie :The dead one top of page 35 • Section 2 – two characters - Angie :The dead one top of page 35 – to bottom of page 37 • Section 3 – three characters -top of page 38 to middle of pg 40 Kit : Good • Section 4 – two characters – middle of pg 40 Kit : Good to page 42 when Joyce comes out • Section 5 – three characters – page 42 when Joyce comes out to page 44 Joyce: I know you’re a clever pet • Section 6 – Three characters – page 44 Joyce: I know you’re a clever pet to end of scene.

23. Act 2 Scene 1 task p.35-46 • In pairs, read through the scene and discuss character interaction/dynamics. • Try to consider how to show status/control/age of the girls/. Think about staging levels/voice/proxemics ( how close you are/who is more upstage/downstage etc)

25. Learning Objectives: • To consider the dramatic function of each of the interviews- link to themes • To consider the last section and the effect of Angie’s presence in the agency. • To consider the significance of the title of play and agency.

26. Something to consider • “What use is female emancipation, Churchill asks, if it transforms the clever women into predators and does nothing for the stupid, weak and helpless? • Does freedom, and feminism, consist of aggressively adopting the very values that have oppressed your sex?

27. Task • In pairs you will be given a section of scene two • Act/read it through. • Then consider these questions • What does the section reveal about the characters and how is this achieved? • How does the section relate to any of the themes listed below? • Can you connect it to any other part of the play?

28. Task • Page 46-52 – Nell and Win (Katherine and Katrina) • Page 52-56 – Marlene and Jeanine- Interview 1 (Claudia, Nathalie and Eunice) • Page 56-59 Win and Louise – Interview 2 (Sabrina and Jason) • Page 59-63 arrival of Mrs Kidd – Marlene and Angie (Erika and Sam) • Page 63-66 Arrival of Mrs Kidd to exit of Marlene on (Anisha and Nick) • Page 66 -70 Interview 3 – Nell and Shona (William and Jemima) • What does the section reveal about the characters and how is this achieved? • How does the section relate to any of the themes listed below? Themes • Social responsibility / moral responsibility • Conflict of class • Conflict caused by gender- sex roles and sexism • Choices and consequences • Success and failure • Can you connect it to any other part of the play? • Page 70-73 – Angie , Win, Marlene and Nell (whole class reading)

29. Churchill’s Achievement • She achieved the balance of addressing feminist politics and appealing to popular audiences. • She placed women’s concerns unapologetically centre stage in a male dominated theatre environment. • The play gives female actresses a chance to portray complex characters. • Dimple Godiwala (theatre scholar) argues that the all-female production meant that ‘the writing of ‘Top Girls’ was the single most conscious intervention that British feminist dramaturgy was to make on the patriarchal mode of dramatic discourse’. It is still without equal in the feminist or mainstream canons. Respond to this .

30. Feminism and Churchill • In the 1960s and 70s women had been involved in protests against Vietnam and wanted to take revolutionary goals further, breaking with the traditionally domestic role of women. The women made a series of demands that became foundational to the 1970s Women’s Liberation movement: equal pay, equal education and opportunity, 24-hour nurseries, free contraception and abortion on demand. Second wave feminists intended these goals to be the starting point for achieving far-ranging equal rights. • Spend 5 mins considering what inequalities still exist today between men and women- you may need to do some research

31. 1970 – Miss World • The movement became more public when the ‘women’s libbers’ demonstrated at the Miss World Contest of 1970, and soon after staged their first large march in London. By protesting against the sexist beauty standards of beauty contests, the British feminists were joining their US counterparts, who in 1968 had famously protested against a Miss America Pageant. Later derided as ‘bra burners’, the women took objects that they felt symbolised women’s oppression – bras, girdles, high-heeled shoes, ‘Playboy’ a women’s magazines – and threw them into a rubbish bin. Women’s theatre groups performed pieces that could stand on their own as forms of protest. Plays such as ‘My Mother Says I Never Should’ (1975), about teenage sexuality, also toured schools, in an effort to offer progressive education. • How are women still objectified today? E.g seen as nothing more than a body and a face.

32. American Feminism • Churchill recalls that her initial motivation to write Top Girls stemmed from confronting different understandings of feminism: ‘ When I was in the states in ‘79 I talked to women who were saying how well things were going for women in America now with far more top executives being women, and I was struck by the difference between that and the feminism I was used to in England which is far more closely connected with socialism.’ In order to understand Top Girls political implications, it is useful to keep in mind that although it is common to refer to feminism as a unified movement, there are in fact many kinds.

33. Different types of FeminismThe main three • Radical Feminism – support separation from male-dominated culture, emphasizing women’s unique and superior characteristics. • Bourgeois Feminism – seek equality with men within existing social structures, and minimizes the differences between the genders. • Both feminisms focus on the individual, which differentiates them from socialist (or materialist) feminism’s emphasis on the group.

34. Socialist or Materialist Feminism • Churchill considers herself a socialist feminist, which is also referred to as materialist feminism, stemming from Karl Marx’s focus on economic relationships. The Feminist Theatre Scholar Sue-Ellen Case explains what differentiates materialist feminism from other feminisms: ‘Rather than assuming that the experiences of women are induced by gender oppression from men or that liberation can be brought about by virtue of women’s unique gender strengths, that patriarchy is everywhere and always the same and that women are ‘sisters’, the materialist position underscores the role of class and history in creating the oppression of women…Not only are all women not sisters, but women in the privileged class actually oppress women in the working class.’ (1982) Discuss in terms of the playand Thatcher

35. The connection to Thatcher and Marlene. • Case’s description particularly parallels Churchill’s examination of sisterhood, with Margaret Thatcher and Marlene in Top Girls both being rejected as ‘sisters’. Although both women could be seen as having achieved success from a bourgeois feminist perspective, they engage in ‘intra’ gender oppression of their working-class counter-parts.

36. British v American Feminism • US and British branches of feminism developed differently, resulting in British feminists being more sympathetic to socialism while Americans assumed a more bourgeois perspective. • The US emphasis on bourgeois concerns led to the movement being criticized for ignoring the concerns of blue-collar workers and minority women. Identifying as a socialist in the USA often bore a stigma because of the Cold War antagonism against any form of ‘Reds’, women in Britain were more likely to associate themselves and be aware of class solidarity and conflict.

37. British Success • British efforts towards legislative reform were generally successful, with the Equal Pay Act passing in 1970 and instituted in 1975, while the year that Top Girls premiered, the Equal Rights Amendment was defeated in the USA. • However, a mid-1980’s survey of British employers revealed that many were avoiding or unaware of the implications of passed equal pay and opportunities legislation. By 1988, women in Britain still made up only 6% of directors and 10% of senior managers.

38. Churchill’s Views • Churchill sees socialism and feminism as intimately conjoined. • ‘Top Girls’ builds to a debate between ‘us’ and ‘them’ that harks back to Marxist concepts regarding class structure.’ • From a Marxist perspective, ‘us’ means those who are economically downtrodden, and ‘them’ to the members of the upper classes who profit off the labour of the masses. • In 1984 the miner’s strike crystallized the class distinction of ‘us’ and ‘them’, polarising support of the left against Thatcher’s government.

39. Thatcherism • Churchill states that the play was closely linked to Thatcher’s rise to power: ‘ Thatcher had just become prime minister; there was talk about whether it was an advance to have a woman prime minister if it was someone with policies like hers: She may be a woman but she isn’t a sister, she may be a sister but she isn’t a comrade. And, in fact, things have got much worse for women under Thatcher.’ Thatcher, born in 1925, did not want to be seen as a women in politics, more a politician who happened to be a woman. She had little sympathy with the post-war generation’s preoccupation with women’s rights and wrongs.

40. Parallels between Thatcher and Marlene • Thatcher’s father was a grocer and she was an outsider to political circles. However she worked her way through the political ranks. Like Marlene, she found it necessary to leave class markers behind her, taking elocution lessons in college. As PM she spoke in an upper -class accent and adopted the royal ‘we’ on occasion. She gained the ‘iron lady’ and later her ‘TINA’ nickname for her repeated assertion ‘There is no alternative.’

41. Thatcher’s Politics • She believed in ‘monetarism’, trying to control the money supply and inflation. Budget cuts functioned to disband the Welfare State. She pursued privatisation, selling off nationally owned utilities, she viewed private ownership as more efficient. • She was very hard on Education and the Arts. • While women who were able to enter well-paid professions, start businesses, or buy property could do well in the 1980s, the lower paid counterparts had increasingly less security. Unemployment more than doubled between Thatcher’s election and the play’s premiere, reaching over three million, which represented more than 11 per cent of the population. • Her policies affected low-income mothers in immediate ways, with cuts in maternity provisions and ending of free school meals. Mothers had to increasingly fit their family responsibilities around multiple part time jobs. Tax cuts were uneven: the richest 7% received 34% of the total tax cuts, while the poorest 10% received only 2%.