What impression of Rita does Willy Russell create in Act One, Scene One Essay Example
What impression of Rita does Willy Russell create in Act One, Scene One Essay Example

What impression of Rita does Willy Russell create in Act One, Scene One Essay Example

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  • Pages: 10 (2553 words)
  • Published: September 22, 2017
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During the late seventies, Willy Russell authored Educating Rita, a play lauded with enthusiasm upon its early eighties debut. By employing humor to convey pressing issues in a time of societal instability, Russell succeeded in appealing to numerous audiences, eventually earning widespread popularity. Key to this union of comedic and solemn tones is Rita, who embarks on a quest to discover her true identity.

The essay examines how the author establishes a lasting impression of Rita in the opening scene and portrays her growth in subsequent scenes of the play. The first scene is crucial as it must engage the audience's interest and set up the characters, primarily Rita and Frank, who are the only ones we encounter in the story. The audience's perception of these characters is shaped from this point onwards. They must be compelling but also

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believable to keep the audience engaged. It is in this scene that we meet Rita, the main character, and form our initial impressions of her. Subsequent scenes reveal her character development throughout the story.

Upon entering Frank's study, Rita exclaimed, "I'm comin' in, aren't I? It's that stupid bleedin' handle on the door. You wanna get it fixed!" This served as an introduction to her character, as her accent, clothing, and overall demeanor aligned with the stereotypical image of a confident and bold Liverpudlian. The only unknown factor was whether or not she was considered unintelligent.

Upon her entrance, we are caught off guard and made to wait in suspense. Despite being the student and Frank the teacher, she loudly complains about the state of Frank's door handle, reversing our expectations of teacher-pupil relations. Thi

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unexpected authority reversal makes a lasting impression on us and even leaves Frank momentarily confused until he recovers and responds. Despite this, Rita then reprimands him for not fixing the handle, emphasizing the role reversal. Later, we learn that Rita's bold and overconfident persona compensates for her nervousness about starting the OU course.

Both the stage directions and Rita's constant questioning reveal her nervousness. As she walks around Frank's study, she inspects items like the bookcase and picture, making witty comments without realizing it. One example of this is her humorous observations on the nude religious scene depicted in the picture, which showcases her candid persona, despite Frank's slight discomfort. "That's a nice picture, isn't it?" she asks, to which Frank awkwardly responds with a hesitant "erm - yes..."

"It could be considered quite sensual," was the response to the statement, "It's very erotic."

Frank seems uncomfortable with the directness of the comment about the painting's eroticism: "There's no suppose about it. Look at those tits... Y'don't paint pictures like that just so people can admire the brushstrokes, do y'?" However, it is likely that Frank is simply unaccustomed to this type of blunt language.

Despite Rita’s desire to belong to the middle class, she lacks knowledge of their social norms and etiquette. The window overlooking the real students sitting on the grass symbolizes the social and physical divide between them. Frank and Rita's backgrounds often cause confusion, leading to comedic moments. For instance, when Frank asks, "And you are?", it confuses Rita who responds with "I’m a what?" – a phrase uncommon in working-class settings.

After Frank finds the form with Rita's name on it, we discover that

'Rita' is a pseudonym, possibly chosen by Susan White to start anew. Unfortunately, the inspiration for the name comes from the author of a trashy novel, Rita Mae Brown. This reveals Rita's initial inability to distinguish between books and literature, a skill she later acquires. The play largely revolves around educating 'Rita', the persona that Susan White adopts and develops into. Despite this, for this essay, she will continue to be referred to as Rita. Our initial stereotype of her quickly dissolves once she starts sharing her thoughts on various topics.

Describing the Open University's lenient admission policy, Rita makes clever observations such as joking about "degrees for dishwashers." Her inquisitive nature and eagerness to learn reveal her intelligence, despite her limited education. In Act One Scene Two, Rita recounts a childhood filled with a broken school system where she learned the dangerous and violent aspects of life. Rita succumbed to peer pressure and familial expectations that deemed studying as a waste of time for girls. Instead, she was expected to be interested in music, fashion, and finding a partner.

"The real qualities of life" became apparent to her when she recognized that she had the potential to live a more satisfying life on both intellectual and personal levels. She came to the conclusion that a change in oneself is just as significant as a change in one's outward appearance.

The primary turning point in the play, which may be viewed as the most significant one as the others mark stages in Rita's education, is exemplified by the motif of the 'new dress'. This repetitive element emphasizes the superficiality of the working-class perspective Rita is encouraged

to hold. Despite her intelligence and strong opinions, Rita seems to lack the conventional means and abilities to express herself proficiently. The initial scene serves to introduce the audience to the two main characters and portrays how their relationship commences with a bang.

Although Rita and Frank come from different social classes, they form a strong bond with each other. The saying "opposites attract" rings true in this case as their friendship is built on mutual understanding that goes beyond education and background. Their relationship endures until the end of the play because of this connection. Frank admires Rita's genuine and enthusiastic personality, describing her as "the first breath of fresh air in this room for years." Despite their mutual respect, however, there may be times when Frank does not treat Rita appropriately.

At first, the protagonist is taken aback by the protagonist's lack of knowledge despite eventually developing an appreciation for her. This could be due to his subconscious belief in his own superiority based on their differing social status. When Rita asks about assonance - a basic literary technique - Frank laughs without thinking. Although Rita knows she has intellectual shortcomings, she defiantly urges Frank not to belittle her and remains proud. While the class divide does not generally affect their interactions, it becomes apparent during specific conversations.

Russell employs several misconceptions to add humor and ease the mood of the play. One such instance is illustrated in the dialogue: "As soon as I walked in here I said... 'He's a Flora man'." To which the response is "A what?" The reply given is, "A Flora man." The confusion continues with the question, "Flora? Flowers?"

and the clarification provided, "No."

...the margarine that is bleeding...

While conversing with Rita, Frank realizes her eagerness and enthusiasm for their lessons and how much this means to her. He displays his insecurities by refusing to continue tutoring her due to feelings of inadequacy, though it is already apparent that they can learn from each other. Despite being opposites, they share a fundamental struggle to overcome the constraints of their social class, which is a main theme of the play. Rita is weary of the shallow and limited options that come with her working-class background.

The strength of Rita's relationship with her tutor is a sign of their future, as shown by her refusal to have a different tutor. With this, Rita's education truly begins. Her initial essays are subjective and appreciative rather than critical, indicating how much she has to learn. She rejects Howard's End after being insulted by its apparent disregard for the needs of the poor, as she views the issue from a Marxist perspective. Frank helps her understand how to interpret literature without sentimentality and teaches her that "Literature can disregard the needs of the poor". Howard's End shares similar themes with Educating Rita, including class division that Rita must overcome to attain her goals. Throughout the first act, each scene begins with Frank providing feedback on Rita's progress through her essays, an effective way of showing the passage of time.

Rita is acquiring fresh knowledge from Frank during each encounter, yet she seems to interpret it too literally. Consequently, she reproduces it exactly in her forthcoming project without contemplating the significance of Frank's lessons. Even though Rita and Frank have established a good

relationship, she still holds him in high regard and strives to imitate him in every possible manner while retaining her sense of humor. Act One Scene Four highlights why Rita is so discontented with her working-class life during her conversation with Frank about "working-class culture."

Because there is no meaning...

It seems that a type of illness is present and unfortunately accepted as typical.

There have been instances of vandalism, violence and burnt houses. The entities expected to represent us such as the Daily Mirror, the Sun, ITV and the unions are aware of this.

. Encourage individuals to acquire additional funds and purchase more dresses frequently.

According to the speaker, the disease is concealed, and she finds nourishment from art and literature that provides an escape from the stereotypes imposed on the working class. During the seventies, unions were influential in attempting to counter these stereotypes under the Labour government. However, the 'winter of discontent' resulted in a recession, economic crisis, and unemployment.

Amidst great suffering of the working class, Rita criticizes how unions and other representatives advised them to distract themselves with shallow activities. Feeling frustrated with this triviality, she turns to education to escape it. Frank highlights the significance of Forster's phrase 'only connect' by pointing out how Rita's speech exemplifies it. This prompts Rita to explore Frank's teachings beyond their literal meaning and find her own understanding.

During this point in the play, we discover that Rita's husband Denny is against her education, representing the opinions of the working class. Denny shows his opposition by burning Rita's books, causing issues in their relationship. Although Frank discourages her from pursuing education, as he fears it will replace real-life experiences,

Rita persists in order to escape her societal class. Rita's appreciation for literature is awakened after viewing Macbeth performed professionally.

Rita's exuberance regarding a significant occurrence was evident in her dramatic entrance and breathless account of what she had witnessed. This moment marked the beginning of Rita's exploration of culture, leading her to frequent art galleries and theaters. Frank extended an invitation for her to attend a dinner party, which presented an important opportunity for Rita to experience middle-class life for the first time. However, the outcome of the party had a negative impact on her, causing Rita to opt out and ultimately recognize that she did not belong at either the party or her former pub. This realization indicated that she was in a 'half-caste' phase positioned between two classes.

When faced with a pivotal decision, she must choose between forsaking her education, which serves as her only opportunity for self-realization, or persisting and distancing herself from her former life. This critical moment in the play centers on Frank's assessment of Rita's Macbeth essay as "brilliant and worthless", indicating that he must modify her in order to pass exams. Despite Frank's reluctance to eliminate her distinctiveness, which was what drew him to her initially, Rita elects to pursue her goal. Consequently, the scene concludes with Rita's unwavering declaration of "starting over". In essence, Rita's newfound conviction is revealed through a new act and is magnified by her attendance at summer school.

Although her new clothes are second-hand, they represent a fresh start for Rita. She still feels a slight sense of unease about her transformation. The most significant change in her life has been leaving Denny and

moving in with Trish, an elegant woman who serves as another inspiration for Rita. Rita attempts to encourage Frank to join the students outside, but he resists. Despite her efforts, Rita has not yet overcome all of her barriers. Nonetheless, she is no longer wary of the students and is keen to move forward in her personal growth. Meanwhile, Frank appears to be moving backwards as Julia, his partner, departs. Despite their differing trajectories, Frank and Rita continue to have a strong relationship.

Frank possibly wants to keep the old Rita, whom he found refreshing, from disappearing because of his affection for her. Despite his efforts, it seems to be happening in the next few scenes. Rita now talks about literature in a more conventional manner and converses with students on the grass without any fear, even engaging in arguments with them. She no longer views them as superior and they have accepted her as their own, even asking her to join them on vacation. This indicates that all barriers between Rita and the students representing a different social class have been removed, but it is also causing her to drift further away from Frank.

Frank requests that Rita analyze one of his poems, finally grasping the fact that she has undergone a transformative experience. The audience senses that he is testing her to determine the extent of her growth. In contrast to her former self in Act One, who would have disregarded the work as "a heap of shit," this new Rita is able to comprehend the deeper meanings and references in the piece. This realization sparks a tense conversation between Frank and Rita, with Rita

becoming upset because she believes that Frank can no longer look down on her as he did before - "you can no longer."

"Observing me, you will see a look of amazement in my eyes... I possess knowledge of appropriate attire and literature."

At this moment, the spectators are left to ponder whether Rita has truly evolved or simply adopted a new persona - much like a middle-class dress or an alternative song. Frank echoes the inquiry, and the scene comes to a close without a clear resolution. Mockingly, Frank cites the names of female writers considered "classical" after realizing that Rita has discarded her previously deemed "trashy" pen name. The final scene depicts Rita's growth as she contemplates their argument, and Frank's departure prompts her to realize that she does not want him to perceive her in the same light as their last encounter. Rita has genuinely undergone another transformation.

Susan's transformation and personal development can be attributed to various factors. These include her argument with Frank, passing her exam, and most notably, her flatmate's suicide attempt. Susan has fulfilled her goal of gaining a sense of perspective and choice. Trish's attempt at suicide was a pivotal moment for Susan as it shattered her belief that the middle class had perfect lives. This realization helped Susan appreciate imperfection more and be proud of who she became. She wanted to express gratitude towards Frank for helping her reach this point.

Rita's journey of self-discovery, aided by Frank, has led to her finding herself and ultimately having the freedom to choose her path at the end of the play. The audience is left with multiple happy alternatives to

interpret as they decide on the outcome.

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