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Fowl Feathered Fox: Monsters, Pipers, Families and Flocks Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2015 Fowl feathered fox: Monsters, pipers, families and flocks Michelle Aslett Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Creative Writing Commons Recommended Citation Aslett, M. (2015). Fowl feathered fox: Monsters, pipers, families and flocks. https://ro.ecu.edu.au/theses/ 1633 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1633 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2015 Fowl feathered fox: Monsters, pipers, families and flocks Michelle Aslett Edith Cowan University Recommended Citation Aslett, M. (2015). Fowl feathered fox: Monsters, pipers, families and flocks. Retrieved from http://ro.ecu.edu.au/theses/1633 This Thesis is posted at Research Online. http://ro.ecu.edu.au/theses/1633 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Doctor of Philosophy (Writing) School of Communications and Arts Faculty of Education and Arts Edith Cowan University Course Code L15 FOWL FEATHERED FOX Monsters, Pipers, Families and Flocks STUDENT Michelle Aslett PRINCIPAL SUPERVISOR Associate Professor Susan Ash ASSOCIATE SUPERVISOR Dr. Richard Rossiter SUBMITTED September, 2014 USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. ABSTRACT Fowl Feathered Fox: Monsters, Pipers, Families and Flocks is a doctoral work consisting of a full-length stage play and an exegesis. An introduction outlines the scope of the doctoral work, while a concluding chapter reflects on research findings and considers staging issues and implications. Appendices include images incorporated into the play’s action as well as photographed excerpts from a series of visual diaries used to document the play’s evolution. The play, Fowl Feathered Fox, explores the nature of delusion, deception and the tragedy of The Beast Within. Borrowing as it does from the traditions of revenge tragedy, comedy and horror, the style of Fowl Feathered Fox is both sensual and sensationalistic. Indeed, by virtue of overstepping traditional ideological, stage and venue boundaries to tap into an audience’s faculties of taste, physical sensation and smell, I aim to confront, seduce and repel on every possible sensory level. Here, in keeping with the conventions of Renaissance revenge tragedies as well as contemporary re-imaginings of the genre in popular culture, a tragic protagonist is forced to behave as a detective in order to put an end to a terrible, taboo curse. As a black comedy however, Fowl Feathered Fox makes light of taboo topics, as the darkness of the subject matter is buoyed by meta-theatrical gags, ironic humour, word-play and brief forays into interpretive dance. In the tradition of horror film and fiction, my eponymous ‘fowl feathered fox’ is a specifically Australian re-imagining of the archetypal shapeshifter, blending the qualities of the wolf in sheep’s clothing, the false prophet, the Pied Piper and the werewolf. Surrealism, with its roots in psychoanalysis, underscores the play’s visual aesthetic: this stage is littered with fearful, surgically invasive and aggressively sexual forms, objects and images. The exegesis, Monsters, Pipers, Families and Flocks, interrogates various mythic, historical and fictional examples of charismatic cult leadership, locating patterns in the paradigmatic nexus shared by monsters, cults and families. A trio of exegetical essays considers the tragic nature of lycanthropy, Nietzsche’s conception of the Apollonian/ Dionysian dichotomy, the socio-cultural dynamics of charismatic cult leadership and the frightening, fascinating phenomenon of pseudologia fantastica. The first exegetical essay explores the lycanthropic and messianic qualities of two real-life malevolent cult leaders: Rock Theriault (Canada) and William Kamm (Australia). The second exegetical essay interrogates the enthralling, intoxicating qualities of the Pied Piper of Hamelin and Greek demi-god Dionysus, finding parallels in tragic revenge narratives wrought by infamous American cult leaders such as Charles Manson and David Berg. Finally, the third exegetical essay examines monstrous, messianic mothers from Greek myth, horror fiction and memoir: specifically, the goddess Demeter, Margaret White from Brian de Palma’s Carrie (1976) and notorious Australian cult leader, Anne Hamilton-Byrne. 3 The declaration page is not included in this version of the thesis ACKNOWLEDGEMENTS Deepest gratitude and heartfelt thanks to… My stylish Principal Supervisor, Associate Professor Dr. Susan Ash, for instruction, inspiration, generosity, hospitality, honest feedback and reassurance. My Associate Supervisor, Dr. Richard Rossiter, for instruction, inspiration, encouragement, support and a highly enjoyable introduction to the PhD journey. Dr. Charles Edelman for instruction, inspiration, guidance and support. Dr. David Buchanan for generous feedback and notes on pneumatology. Edith Cowan University staff and students, particularly Dr. Travis Kelleher, Sarah Kearn, Dr. Danielle Brady, Dr. Jo McFarlane, Dr. Ralf Rauker, Dr. Natasha Ayres, Dr. Donna Mazza, Catherine Gomersall, Robyn Torney, Shauna Dorotich, Jack Graziotti and Nuala Keating. Edith Cowan Postgraduate Writer’s Group: Dr. Anna Bennetts, Dr. Vahri McKenzie, Dr. John Pratt, Dr. Suzanne Rumney, Dr. Suzanne Ingelbrecht, Dr. Terry Murphy, Matt Roberts and Keira McKenzie. Edith Cowan University for a generous Postgraduate Research Scholarship allowing me to embark upon three and a half years of full time writing, including travel to Oxford University, U.K, for the 7th Global Monsters and the Monstrous Conference. Australind Senior High School staff and students for understanding and support, particularly Greg Slavin, Louise Davidson, Michelle Kimpton, Graeme Watson, Miss Claire for assistance with the visual diaries and Michelle Taylor for taking all the marvellous photos! Mark Poša and Paul Cale for inventing and producing exciting new stage technology! Treasured friends Alicia Walter, Kate Svanberg, Stacey Ward, Dr. John Pratt and Keira McKenzie for inspiration, support, collegiality, feedback and generous respite. Becca Johnston for inspiring me to write a play for red-headed actresses! ‘Stanley Massive’ for encouraging and helping me to tease out my first conceptions of the play, especially Vaughan Wakefield and Benny Boland. Nigel Wakefield and Catherine Miller for insightful feedback and editorial assistance on major drafts. My brave cast on ‘Play-Reading Day:’ Nigel Wakefield, Joe O’Keefe, Kate Svanberg, Shani Kaitani, Colin Jones, Gordon Muir, Sally Dean, Dr. James and Dr. Sarah. My dear friends Krysia Wiechecki, Pete Jeavons, Brad and Bec Bennett, Denis and Sarah Belliveau, Craig and Lauren Osboine, Will Huxley, Conan Kavenagh, Annie Jordan, Pete and Tash Mauger, Brenden and Annette Cook, Dean and Laura Smit, Glenn Pilkington, Damien Hoffman and Dr. Jackie Caesareo. My loving and inspiring family: Michael, Imelda and Rachael Aslett, Blaki and Tara O’Kb, Joe, Maria and Rachel O’Keefe and the Scully, Wakefield, Robson and Phillips clans. Nigel Wakefield: for being my lovely husband, my upbeat, optimistic confidante and my loyal companion on the arduous, humbling and truly remarkable journey. 5 TABLE OF CONTENTS USE OF THESIS 2 ABSTRACT 3 DECLARATION 4 ACKNOWLEDGEMENTS 5 I: INTRODUCTION 7 Welcome to Plankton! Roosters and Rituals on the Rainbow Coast The Beast Within Us All 8 Personal Experiences, Artistic Goals, Albany and Plankton 17 Generic Considerations and Theatrical Precedents 23 II: STAGE PLAY 31 Fowl Feathered Fox Full-length Stage Play in Three Acts 32 III: EXEGESIS 158 Monsters, Pipers, Families and Flocks Chapter 1: Monster or Messiah? Tragic Werewolves and Infectious Flocks 160 Chapter 2: Pity the Piper? Avenging Angels and Murderous Maenads 189 Chapter 3: Kept in the Dark? Archetypal Ice Queens and Daughters of Demeter 216 IV: CONCLUSION 234 The Fox on Stage Embracing an Audience: Reflection on Staging Issues 235 REFERENCES 241 APPENDICES 247 6 I: INTRODUCTION Welcome to Plankton! Roosters and Rituals on the Rainbow Coast 7 The Beast Within Us All Fancy thinking the Beast was something you could hunt and kill! You knew, didn’t you? I’m part of you? Close, close, close! William Golding, Lord of the Flies Fowl Feathered Fox: Monsters, Pipers, Families and Flocks is a doctoral work
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