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Food Codes in Australian Drama

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Food Codes in Australian Drama A Consuming Interest: Food Codes In Australian Drama by Gaye Poole A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts (Honours) School of Theatre and Film Studies University of New South Wales. August 1993 TABLE OF CONTENTS Abstract Acknowledgements i i List of illustrations iii Introduction 1-22 Chapter One: Background: food in drama. 23-43 Chapter Two: Australian plays based on a meal 44-77 Chapter Three: Food as currency for power and site of family politics in Australian drama. 7 8-1 04 Chapter Four: Food rituals in Australian drama: nostalgia, 'social' rituals and death 105-144 Chapter Five: Women and food: eating/not eating and women eaten. 145-194 Chapter Six: Conclusion 195-202 Appendix A: Sweets and Drinks on stage 203-224 Appendix B: Practicalities of food on stage 225-230 Bibliography 231-250 i ABSTRACT In the context of current critical attention to food in related disciplines, this thesis sets out to explore food codes in Australian drama. Chapter One gives a brief background to contemporary Australian food uses in drama and in so doing identifies some of the continuities, discontinuities and sh"ifts in the ways in which food has been incorporated into drama. Chapter Two focuses on plays whose entire proceedings or key scene take the form of a meal. It is observed that food on stage as a gathering and shaping element takes one of several forms: a communal event; the turning point of the play, or the interrupted meal. Chapter Three argues that food bestows power on its controllers. Food is found to be a terrain for the enactment of family and sexual politics. Food as a subversive weapon and associated food taboos are discussed. Chapter Four first investigates food as a mediator for nostalgic desire and emotional associations with particular places. Then, social food rituals in Australian plays - picnics, alfresco meals and barbecues - are found to constitute an incorporation of liminoid activities. An exploration of compulsive food rituals, consumerism and its dissatisfactions leads to the final section of this chapter, the intersection of food with death rituals, principally funerals. Chapter Five focuses on plays which specifically deal with women's relationship with food: what it means in their lives. Women's food behaviours in contemporary Australian drama disclose food as a major lifestyle and behavioural determinant as well as a dominating and disempowering force in women's lives. Food, especially in plays by women, is seen to act as a crucial barometer of the physical and psychical well or ill-being of the female characters. Across the entire spectrum of ptays, however, the conclusion is reached that, whether in plays by women or by men, the range of women's food responses and behaviours is more varied, more subtly and extensively charted, and more multiply coded, than conduct by men in relation to food. The complex and entangled nexus between women and food emerges as the most significant conclusion of the thesis. ii ACKNOWLEDGEMENTS I should like to thank my supervisor Dr. Margaret Williams of the School of Theatre and Film Studies, UNSW, for her help and support. Additional consultation was provided by Robert Jordan, School of Theatre and Film Studies, UNSW . Professor .. I am also grateful to the following people for advice and useful conversations at various stages: Associate Professor Mary Chan, School of English, UNSW. Dr Bruce Johnson, School of English, UNSW. Professor Clive Kessler, School of Sociology, UNSW. Dr Richard Madelaine, School of English, UNSW. Associate Professor Grant McCall, School of Sociology, UNSW . .. Thanks to Ms Robyn Long and Ms Shirley Webster of the School of English and Roland Hilder for their assistance with technology. Also, to Matthew Bishop for translation of Latin passages of The Emblemata. The UNSW library staff have been consistently helpful. .. Acknowledgement should be made of the financial assistance of a Commonwealth Postgraduate Scholarship . .. Thanks, too, to Bruce and Dustin for their tolerance and good humour; and to my family and friends for their kindness. iii LIST OF ILLUSTRATIONS Chapter: Background (a) Sin (making pigs of themselves) Chapter 2 (b) The Cooked and the Raw (menu/programme) (c) Come Back For Light Refreshments After the Service (d) After Dinner (front cover of Currency text) Chapter 4 (e) A Cheery Soul (abstract food) (f) Martello Towers (getting stuck into "the sacrifical cabanossi") (g) Travelling North (barbecue as icon: "focal point for a new religion") (h) The Adman ('dog-eat-dog' consumerism/cannibalism) (i) The Adman ("about as appetising as their toasted cheese") (j) The Adman (throw-away food) (k) The Ham Funeral (grimy bulk of Max Cullen as Mr Lusty - man as ham) (I) The Ham Funeral (wake scene) (m) The Ham Funeral (having eaten she offers herself) Chapter 5 (n) The Famine Within (Everywoman's portable Iron Maiden) (o) Binge (reprint of poster from Griffin Theatre Production) Introduction Food and drink in Woody Allen's films are frequently used as striking metaphors for the 'big' questions concerning humankind and the meaning of life. In Allen's 1977 film Annie Hall Alvy Singer's opening comedy monologue includes a food joke that encapsulates a bleakly ambiguous view of life: There's an old joke. Uh, two elderly women are at a Catskills mountain resort, and one of them says: "Boy, the food at this place is really terrible." The other one says, "Yeah I know and such small portions." Well, that's how I feel about life. Full of loneliness and misery and suffering and unhappiness and it's all over much too quickly .1 Cultural commentators in areas such as anthropology, philosophy and gastronomy have documented the significance of food in decoding the patterns of a culture. A century and a half ago the saying "one is what one eats" was coined by French magistrate and writer Jean Anthelme Brillat-Savarin ( 1755-1826) in his treatise The Physiology of Taste2. More recently, in The Raw and The Cooked, Claude Levi-Strauss identified the importance of food as · a means of civilising and defining humans.3 The food process, raw to cooked, provides a model, an analogy, for the movement from savage state to civilised state. Formation of individual and collective identities, such as national and ethnic, arises largely out of the way in which food and diet are understood. The conviction that food is an extremely powerful repository of cultural meaning is fortified increasingly by the appearance of special journal issues and collections devoted to discussions of food, gastronomy, gluttony and food behavioural issues4 . More and 1 Four Films of Woody Allen London: Faber and Faber, 1983: 4. 2 New York: Dover, 1960. 3 Levi-Strauss, Claude. The Raw and the Cooked: Introduction to a Science of Mythology.1964. Trans. J & D Weightman. Harmondsworth: Penguin, 1986. 4 See for example: Meanjin Special issue "Talking at the Table", Vol. 49, No.2, Winter 1990; Food and Drink in History: Selections from the Annales Economies, Societies, Clvillsatlons. Vol 5. Eds. Robert Forster and Crest Ranum, 1979; 2 more writers from various disciplines (for example, Kim Chernin5 , Sally Clines, Mary Douglas7 , Peter Farb and George Armelago8 , Joanne Finkelstein9, M.F.K. Fisher10, Michael Symons11 , Margaret Visser12, Naomi Wolf13 ) are recognising that valuable cultural insights are gained from an examination of the varying social meanings food and eating practices carry in a culture. In all cultures food and drink are full of social significance and "symbolically refract the ideology of the social world in which they are consumed"_ 14 The literary field of fiction has already proved to be a fertile ground for the investigation of food as both motif and rite of passage. A cross-section of this kind of criticism can be found in Cooking by the Book: Food In Literature and Culture 1 5 • Among the novelists whose work has been found to be richly embedded with food and eating analogies is Margaret Atwood (in The Edible Woman [1976] the woman is 'edible' because she is Fed Up and Hungry: Women, Oppression and Food. Ed. Marilyn Lawrence. New York: Peter Bedrich, 1987. 5 Chemin, Kim. The Hungry Self: Women, Eating and Identity. London: Virago, 1986. 6 Cline, Sally. Just Desserts: Women and Food. London: Andre Deutsch, 1990. 7 Douglas, Mary. "Deciphering a Meal." Implicit Meanings: Essays in Anthropology. London: Routledge and Kegan Paul, 1975. 8 Farb, Peter and George Armelagos. Consuming Passions: the Anthropology of Eating. Boston: Houghton Mifflin, 1980. 9 Dining Out: a Sociology of Modern Manners. Oxford: Polity, 1989. 1 O The Art of Eating. London: Pan, 1983. 11 Symons, Michael. One Continuous Picnic: a History of Eating in Australia. Adelaide: Duck Press, 1982. 12 Much Depends on Dinner: The Extraordinary History and Mythology, Allure and Obsessions, Perils and Taboos, of an Ordinary Meal. Lon don: Penguin, 1989. The Rituals of Dinner: The Origins, Evolution, Eccentricities, and Meaning of Table Manners. New York: Grove Weidenfeld, 1991. 13 The Beauty Myth. London: Chatto & Windus, 1990. 14 Kapferer, Bruce. Legends of People, Myths of State: Violence, Intolerance, and Political Culture In Sri Lanka and Australia. Washington: Smithsonian Institution P, 1988: 157. 15 Ed. Mary Anne Schofield. Bowling Green Ohio: Bowling Green State U Popular P, 1989. 3 powerless). 16 This study of food in theatre is preoccupied with the aesthetic and metaphorical dimensions and reverberations of food. Food as nourishment is central, though the kind of nourishment it stands for, whether physical, figurative, or a combination of both, varies according to the prevailing circumstance in the scene or play. The structuralist writers on food - anthropologists Claude Levi­ Strauss and Mary Douglas, semiologist Roland Barthes and sociologist Pierre Bourdieu - clearly acknowledge that 'taste' is culturally shaped; their work pays attention to the aesthetic and pre-eminently social patterning of food preferences.
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