Good Muslim Boy Flashcards
One actor used one expressive skill and one convention of carciature
Rodney Afif used movement to properly articulate Osama’s father. As this character was portrayed as an elderly and wise stereotype, Rodney would move his body as if it was fragile. He would slant his body down, put weight in his walking stick, and jitter his leg as if it were about to collapse. Rodney would also stroll around his space with his head rotating around in complete awe, to signify his character’s knowledge and appreciation of the world around him.
Rodney would then completely reverse his movement techniques to portray more absurd and satirical characters as such with the cab driver, office lady or security guard. Rodney used the limited amount of props around him such as seats, weapons or even the set itself to blend himself into the characters.
The transforming set also influenced Rodney’s change of movement considering how each transformation highlighted a new location and thus a new caricature. This can be seen when Rodney portrays a stereotypical cab driver. He sits on a chair with his posture being laid back and his movements exaggerated to emphasis the satirical nature of a foreign cab driver.
When the minimal set transforms again, Rodney would then quickly transform his physicality and focus onto either more serious or comedic caricatures. Immediately into the play, Rodney was also responsible in portraying a mundane caricature, waiting at a tram stop, where he implemented passive focus while the audience were finding their seats.
Rodney did not satirise this character but instead moved around as if he was some ordinary bystander. His movements simply consisted of subtle leg movements and slow circular walks to portray his slow boredom of waiting for the tram. Rodeny’s initial caricature and all his other caricatures identify his range of energy in transforming his characters.
Analyse and Evaluate how one theme incorporated one dramatic element was applied to enhance the non-naturalistic style
The theme of the ‘generation gap’ was incorporated by the contrast between Osama and his father. The theme highlights Osama and his fathers distant relationship from each other. Throughout the performance, there is a obvious however subtle conflict between Osama’s fathers love for culture and his sons indoctrination with modern ideals such as technology and social media.
Osama’s father moved around his space with complete innocence and respect whereas osama disrespectfully wonders around the same space with his disinterest. We can see this generation gap when the two enter prophet muhammands masque.
Osamas father kisses the mosque as a form of tradition while Osama glues his eyes on his phone with disinterest. After Osama’s father passes awayy, the generation gap begins to influence Osama’s character arc and eventually makes him the ‘good muslim boy’ that his father wanted him to be. Osamas slow realisation about himself and who he is culturally and what he has become makes the audience feel a level of pathos towards him.
His initial ignorance of the traditions, changes after his situations in the story which then forces him to change his ways and become a better person. The generation gap is also developed and helped understood by one Brecth;s techniques of non- linear story telling.
At the beginning on the play we are introduced to Osama narrating and recollecting his experiences of him traditionally to say no 3 times as a way of being polite. The performance reveals this information while Osama and his friend play video games , which symbolically highlights the contrast between Osama’s modern ways of living and the historic background of his traditions.
This contrast is used to a comedic effect due to its absurdity, and also how it links to us an audience since we too would find it absurd to follow cultural traditions in the modern age. The theme however is implemented for dramatic purposes as such with Osama’s character arc, and is also used to highlight how we as an audience should out families beliefs and traditions.
Explain how the stagecraft of lighting was implemented
Lighting was applied to enhance the non naturalistic stlye of the play by a means of colour tempature and how the intensity of the light source helped identify the mood. Lighting helped the audience identify different moments of time in the play and also signalled emotional moments.
The colour temperature was a crucial factor in guiding the audience to where we are in the story. Although there were projected titiles in the set design, we as the audience were able to know whether we were in a interior setting or exterior. If for example, the colours of the lights were harsh and magenta, it would signals that we are outside in the middle eastern setting as such when Osama and his father were strolling around in the markets.
However, in contrast when the lighting shifted to a more mundance and interior space such as the Australian Embassy, the colours would shift to a more blueish and colder temperature. Lighting was also applied to enhance the mood of the scene. If for example, lighting was ‘low key’, meaning that one key light shines onto the subject, then the scene would often be a moment of emotional wieght and drama as such when the spotlight shined onto Osama after realising that his father just passed away.
In contrast however, High Key Lighting, which encompasses multiple key lights and black lights was used to signal more comedic and light hearted scenes such as when Osama was partying at the revolver nightclub, or when Osama was recollecting his cultural traditions of being polite. Lighting also signalled moments of the play where there was actor- audiece relationships. When Osama for example, narrates his story by facing the audience, one spotlight will shine onto him to identify his aside and his narration.
This signals to the audience to listen in on Osama’s own personal thoughts. The stage craft element of lighting fits in Brechts epic theatre stlye considering how the lighting highlighted essential scenary only, and helped the audience identify elements of the set design. It also supported one of Brecths techniques of a non- linear structure
One Actor Performance skill
Rodney Afif used the performance skill of focus to portray an insignificant bystander waiting at a tram stop. Rodney was deeply focused in portraying this character as he would quietly and gracefully walk around the space , not acknowledging the audience. This level of focus allows the performance to immediately begin when every audience member has sat in their seats.
Energy
Rodeny’s initial caricature and all his other caricatures identify his range of energy in transforming his characters.
Osama was very energetic and hyper to connect to his rush in the story
Actor Audience relationships
Osama begins his story his story with a direct address and then narration. It creates an effect that Osama is talking to us and addressing his personal story. This makes the audience connect. Although Osama appears to be communicating his story through narration,there is still an unbroken 4th wall. The stillness and silence also created pathos especially with Osama learning of his fathers death. This creates an emotional response from the audience to feel his internal and external conflict.
