OCR AS Level English Literature Delivery Guide (Private Lives)

Qualification Accredited

AS LEVEL Delivery Guide ENGLISH LITERATURE H072 For first teaching in 2015

Private Lives Version 1

www.ocr.org.uk/english Introduction like OCRto develop,like pleaseemail you haveIf Guideorsuggestionsfor any feedback otherresources onthis Delivery you would 2 ofHO72,Dramapost-1900 (AO1, AO3, AO2 &AO5) The documentwillprovide guidanceinto theAssessment required Objectives for component allowing studentsto respond andcreatively critically to thetext. also explore theway inwhichtheplay hasbeeninterpreted by different audiences over time, of theplay through theexaminationofcore themes, genre Further andcontext. to this, itwill Coward’s The following teachers andstudentsinthestudyofNoël guidehasbeenproduced to support • • • topic andcontain: guidesare designed to representDelivery aboutteaching aparticular abodyofknowledge ENGLISH LITERATURE ENGLISH AS LEVEL AS or teaching approaches. classes, styles learning so thatdifferent whichbestsuitparticular canbeselected activities ofthemes Arangeofsuggested usingavariety teaching activities Contextually: Thinking these conceptsandhow thistopic linksconceptuallyto otherareas ofthesubject; difficulties students may have, approaches to teachingthatcanhelpstudentsunderstand conceptsinvolved, guidanceonthekey common Expert Conceptually: Thinking Content: Aclearoutlineofthecontent covered guide; by thedelivery Worksheets Further Reading Interpretations Critical Production History Contextually Thinking Conceptually Thinking About NoëlCoward Private Lives . It will aimto creatively . It engagestudentsanddevelop theirknowledge Page

[email protected] Page 3 Page 21 Page 20 Page 19 Page 11 Page 5 18 2 the bestyou can, other peoplesay about you. faith inyourself notice ofwhat Work hard, do don’t everlose and take no – NoëlCoward

Alongside Coward’s social ascendancy came his first great I’m an enormously talented man, and critical and financial success withThe Vortex. Following this, there’s no use pretending that I’m not. demand grew for new Coward plays from the mid-1920s – Noël Coward, on himself and as a result, Coward’s presence in the public eye turned Frank Sinatra and Noël Coward, 1955. Courtesy of Noël Coward archive, him into a celebrity in his own right across both the UK and Cadbury Research Library, USA. This was quite a rare feat at the time, especially from a University of Birmingham Born in 1899, Noël Coward was raised as a working class working-class boy from the suburbs. boy in the London suburb of Teddington. His father was an The media avidly followed and reported on Coward’s plays unsuccessful piano salesman with little personal ambition, and public appearances, elevating his celebrity status resulting in often poor family finances. After his eldest Coward, Aged 7 significantly as his career continued to develop. In an era brother died, Coward’s mother devoted her ambitions © NC Aventales AG, 1906 that was not rife with modern publicists and the flurry of towards Noël and did her best to gloss over the family’s social media, Coward’s celebrity persona was very much poverty. While Coward’s formal education was limited, he possessed a natural intelligence. constructed and controlled by Coward himself: ‘I acted up From a young age, Coward was an avid reader and instinctive performer with an insatiable like crazy. I did everything that was expected of me. Part of ambition to learn and succeed. the job.’ Encouraged by his mother to attend a dance He had a strict outlook on his public versus his personal academy in London, Coward entered into the life, believing that his private business was not for public professional world of theatre at the age of 12. consumption. For this reason, Coward realised that he From this point on, his writing and acting needed to be cautious about overdoing his flamboyant career swiftly flourished and he gradually lifestyle: ‘It is important not to let the public have a loophole became acquainted with a different class of to lampoon you’. people. Due to the class-conscious world that There are similar celebrity icons who have established themselves in today’s society that can

About Noel Coward Noel About Coward was brought up in, social acceptance be compared to Coward’s status at the time: Benedict Cumberbatch, Bradley Cooper, David of a young working-class actor from a poor Tennant, Eddy Redmayne, Keira Knightley, and Emily Blunt. It may be useful for students to background into the established world of the have these as a comparison in order to grasp an understanding of Coward’s position in society upper-class gentry would not have been easy at the time, as well as where he would fit today. or immediate for him. Nevertheless, Coward’s extraordinary determination and charm, as well as his teenage friendships with artist The only Coward – The Master Philip Streathfield and Mrs. Astley Cooper, way to enjoy won him entrance into the upper-class circles. Despite his high-profile persona and arguably Noël Coward and the Queen Mother under a picnic life is to work. blanket. © NC Aventales AG, June 1966 These friendships, coupled with his rising lavish lifestyle, Coward was fundamentally a successes as an actor and playwright, enabled Work is more man who loved all artistic forms and possessed Coward to move easily amongst the very fun than a work ethic like no other. He immersed highest levels of society at the time. This even fun himself in work from the age of 10, which can included association with the Royal Family, – Noël Coward be seen from the canon of work he produced making acquaintances that lasted a lifetime; throughout his lifetime; his final verse was the Queen Mother, for example, attended written only days before he died. Coward’s memorial service, stating that ‘I came because he was my friend’. Coward at his writing desk. Noël Coward ‘The Celebrity’ before crowds in South Africa © NC Aventales AG, C. 1930 © NC Aventales AG, 1944 3 © OCR 2016 Consequently, Coward became known as ‘The Master’ by many of his contemporaries and fans. A quote from Lord Louis Mountbatten on Suggested activities Coward’s 70th birthday perhaps best sums this up: ‘There are probably greater painters than Noël, greater novelists than Noël, greater librettists, • It is important for students to realise the vast greater composers of music, greater singers, greater dancers, greater extent of Coward’s works. Get students to find an comedians, greater tragedians, greater stage producers, greater film example of each of the different artistic platforms directors, greater cabaret stars, greater TV stars. If there are, they are 14 that Coward created (play, musical, novel, song, different people. Only one man combined all 14 labels - The Master.’ film, sketch/revue, painting, short story) alongside dates for them for students to then present and In more recent times, he is still recognised as one of the greatest British discuss in class. Playwrights of all time, with his plays continuing to be produced in both • The education page on the Noël Coward amateur and professional capacities worldwide today. website contains further images of Coward with celebrities of the time, as well as selection of quotes about him from others over the course of time. It would be good for students to explore Mr Coward is his own invention and contribution to this section of the site in order to understand the influence of Coward’s work on others, and the this century. The 20th Century would be incomplete society he was associated with during his lifetime. without Noël Coward: he was simply a genius, and anyone who cannot see that should kindly leave the stage – John Osborne About Noel Coward Noel About

Memorial to Sir Noël Coward, unveiled by the Queen Mother in 1984 at Westminster Abbey

4 © OCR 2016 Thinking conceptually terminology, andguidethemtowards analysingtheways inwhichmeanings are shapedwithintheplay. informed, will help themto personalandcreative articulate It responses to theplay, usingassociated creative responses to thetext. willspecificallyaidstudentsin TheAO1 and section AO2 oftheexamination. andanalyticaltools willenablestudentsto formulate, theirownvocabulary personaland test andarticulate encourage studentsto thinkconceptuallyabouttheplay andhow itisconstructed. Usingtechnical willproceedThis section to openupdiscussiononthecore themeswithin society. contemporary itmorealso make accessibleto themby providing examplesofhow thisgenre stillfeatures regularly in thatmany ofCoward’sstyle plays adopt. This ofthegenre, willaimto notonlygive but studentsahistory and overarching themesof studentswiththegenre whichwillfamiliarise oftheguidecontainsinformation andactivities This part Characteristics/Mechanics ofa Characteristics/Mechanics ‘Comedy ofManners’ through sophisticated useofspeechanddialogueto create comedyofthehighestwit. sharp therefore It speaking. follows asociety’s doesso withsatirising thatsuchaplay manners. isconcerned It polite andwell-bred behaviour, oraway dutiesare of aswell performed, asamethodinwhicheveryday using witty, cerebral dialogueandclever dramaticfunctions. The word ‘manner’,a by definition,implies society Comedy ofmannersisagenre themannersofcontemporary oftheatreandsatirises thatdepicts Genre –Comedy ofManners Plots Characterisation Techniques Linguistic Context Social Core Theme • • • • • • • • • • • • • • • • Mechanics/TechniquesSpecific The plotting is often very convenient andcontrived The very plotting isoften scandalous matter themselvesThe plotstraditionally concern with anillicitlove affair, orsimilarly donot develop often orchangethroughoutCharacters areCharacters defined by one singletraitandare driven by asingleemotion illuminated shown to beimmoralandtheir weaknesses Often andintrigues triangles love fightwitheachotherin situationsofconflicting often Characters conventional stereotypes. consistofstock whoconformCharacters characters to/challenge behaviour isshown innuendos areSexual usedandrakish in theplay more thantheiractions andprecise. Dialogue isshort thevaluesofpeople The languagedepicts symmetry effective: imitation,dichotomy,commentary irony, duologues, aphorism, andpungent rapport Many dialoguetechniques thewitty usedto keep precedenceWit anddialoguetake over plotto alarge extent Prominence comedyover placedonverbal physical comedy Dialogue isthemostprominent feature ofacomedymanners watching them plays ofthegenreMost werepeople carefully thevery to constructed satirise time andplace Requires audiences/viewers/readers to have anunderstandingof a specific ofaspecifictimeandplace Comedy isbuiltaround society satirising Private Lives , beginning withathorough analysisonthe ‘Comedy ofManners’ Private Lives , in order to , inorder to 5 Comedy – ofManners Timeline Films: TV: Roman playwrights and satirists suchasPlautus, andsatirists playwrights Horaceand Roman Terence. Menander.playwright elaborate style, plots, His andstock were characters imitated by the The comedyoftheAncientGreek comedyofmannerswasfirstdeveloped inthenew Stage: Comedy ofmannersstillprevalent platforms. across many artistic comedy ofmannersstyle. sitcoms.as well British asvarious The dramatists NoëlCoward and W. andthenovels Maugham ofP. Somerset G. Wodehouse, the20thcentury, the comedyofmannersreappearedIn intheplays oftheBritish Examples: created plottingandepigrammatic plays dialogue. ofelaborate, artificial The genre isdeveloped andcontinuedthrough suchasOscar playwrights Wilde, who Wycherley, follies Dryden, examplesincludeJohn ofthetime. Other was influenced Johnson’sby Ben comedy ofhumours, madefunofaffected witand licence to produce plays andbreathe life backinto thetheatre. Restoration comey, which restored Charles 1600,King theEnglishthrone.In figures Hegranted theatrical several key Misanthrope thehypocrisy andpretensionwho satirised atthetimeinplays suchas ofsociety Arguably comediesofmannerswere thebest-known thoseofFrench Molière, playwright really flourished in England during the Restoration the period.really inEnglandduring flourished Nothing Seinfeld Richard Curtis films – RichardCurtis P. G. Wodehouse couldalsobeconsidered thefirstcomedyofmannersinEngland, butthe genre The Country Wife The Country , Lady Windermere’s Fan , Sex andtheCity Sex Tartuffe 340–8 BC , 20 The Miser 17 th Jeeves andWoosterJeeves Century 18 th 21st Century , . Century Four Weddings and aFuneral Modern Family – th Century and 19 Ancient Greek Traditions:Ancient NewComedy and th – Century The Imaginary Invalid The Imaginary Coward, Wodehouse, On Carry Carry On Carry – The Importance of BeingEarnest The Importance Molière Shakespeare and – – Restoration Comedy , , Harold Pinter’s Stage, TV and Film and Stage, TV Friends – filmsare adirect descendantofthe Oscar Wilde

, . Shakespeare’s Marriage àlaMode Love Actually The Homecoming

. Much Ado About

and William

The © OCR 2016 Thinking conceptually Mitchenson Collection – University ofBristol –University Collection Mitchenson © Photo of by Sasha,Courtesy & The Mander Coward and Lawrence in balcony‘the scene’, 1930 below dialoguefrom the socialclasswithinplay, theaudiencewatching. For mocking hewasactually example, the examplesofCoward’sOther that, through useofthisgenre couldbethefact satirising inhisworks 1). worksheet genre. When reading andwatching theplay, (see itiseasyto characteristics spotmany ofthekey Private Lives Comedy and ofManners up together even before do: they thatElyotwith themirrored andAmandawillend I,audiencesknow setting anddialoguesinAct Coward’s useofrepetition leadusto For andmirroring beonestep aheadoftheaction. example, Coward used. ‘Comic geometry’ wasaphrasecoinedby Peter Holland, whichexplainshow techniques additionto ofthegenre, thetypical In there were that alsootherdramaticfunctions AMANDA: VICTOR: ELYOT: SIBYL: HENRY: GARRY: , alongsidemany ofCoward’s otherplays, hasbeenplacedinto the ‘comedy ofmanners’

I love you muchmore calmly, ifthat’s whatyou mean I thinkyou love mequite differently from theway you loved Elyot More wiselyperhaps Yes, butyou love medifferentlyknow that [to Amanda];I Be careful! mighthear. Someone be agreat dealmore intelligent than London. And what’s thematter withtheprovinces, may Iask? proved often to They’ve Present Laughter : Private Lives more subtly– theaudiencewillgetitalright’. say how and what they’re feeling –letthemexpress it Audience sodreadfully –instead oflettingyour people letter to Esme Wynne, healsosays: ‘Don’t underrate your small talkwithotherthoughtsgoing onbehind’. a In in Shadow Play: method ofwriting lotsof ‘Small talk, Coward himselfinsinuated thatthis waspresent inhis find outiftheotherisstillinlove withthem. travels to splitup, sincethey are butthey inrealitytrying Elyot andAmandaappearto bediscussing hisworld else. For instance, inthebalcony scene(picturedright), thathewasreally saying something the audienceknew on stageandhavecharacter himsaying onething, while he saw HaroldPlaywright Pinter recalled thatitwaswhen Coward of practitioner wasalsoanearly ‘layering’. Private Lives that he realised you could put a thatherealised you couldputa – Present Laughter , 1939 6 play shouldcomethrough thedialoguealone. physical nature IIgoesagainsttheconvention ofthecomedyinAct thatthemaincomedyof realisation thatAmandaandElyot can’t live withorwithouteachother. isalsotruethat thevery It Forsurface. example, in plays that point towards andmore profound somethingdarker onthe thanthelight-heartedness Coward isthoughtofasa ‘comedy ofmanners’ there depthto his anunderlying playwright, isoften manners techniques, healsoevolves ordeviates from thegenre’s rulesinsomeaspects. While With theseadditionalelements, itcanbeseenthatwhileCoward adopts thecore comedyof comedy and witty dialogue to override the reality and plot. dialogue to therealityandplot. override comedy andwitty or US sitcoms, alsouse. thatthey For asthisisafunction example, whilesome elementsof To thismore accessible to make students, itcouldbeconsidered ofmore inthecontext recent the dramaticform andwhy theplay sowell works onthestagewhenitsplotseemssocontrived. therefore, piece.this genre thatitisatheatrical It’s isdueto thefact important, to instilasenseof challenging for students to believe. However, oneofthereasons thatlackofplotisovercome in ofthesettingandfarcical elementsofthecomedy in example, thesymmetry issuesfor studentsintoday’swhich couldagaincausefurther where society plotsare sokey. For As oneofthemainelementscomedymanners, theplotsare minimalandcontrived, often conventionsbeyond time/placeandBritish ofthe1930sthatgive theplay relevance to allages. become suchatimelesspieceofBritish Theatre may meanthatthere are elements underlying Further context). to 4conthetheatrical this,that cannot (seesection thefact text could alsobehelpfulfor studentsto beencouragedtoIt realise ofa thefluidity film programme British atthecontemporary TV This couldbehelpedby looking theplayatfirstconsideration. seemout-dated speakcouldmake manner inwhichthecharacters has itschallengesto maintaincredibilityinmore times. modern For example, theseeminglyartificial Due to comediesofmannersbeingsoheavily rooted intime, aspecificperiod theplay insatirising that thisgenre may provoke Common misconceptions anddifficulties Friends . The former to enablesthework transform andevolve over timeinaway thatthelatter perhaps Four Weddings andaFuneral are quite contrivedordeliberately setup, the directionandoverall settingallows for the Private Lives , which similarly involve, whichsimilarly clippedlanguageandcontrivedplots. it could be argued that there is an underlying sadness in the itcouldbeargued thatthere sadnessinthe isanunderlying

Downton Abbey Downton Private Lives Private Lives play over a

Seinfeld has has may be may be printed printed , or the , orthe © OCR 2016

Thinking conceptually Lives were understandingofhow genderandmarriage a contextual viewed inthe1930s, when in is portrayed the way inwhichmarriage analyse anddiscusswithstudentstheway inwhichCoward explores maleandfemale roles, and (Laura andAlecin with many ofhismostfamousplays beingbased around dynamicandgripping relationships Gender, andtherelationships sexes thetwo between marriage play alarge role inCoward’s works, andGender Marriage was written. waswritten. OneofCoward’s mostrevered ishisquick-fire, skills andmercurial subtextual • Is • programmes usethe 1Look Usingworksheet into how othertexts/plays/TV • Ask studentsto look into ways inwhich • Suggested activities Compare thecomedyofmannersthatispresent in • ofcomedymanners?Find Whatisthedramaticfunction examplesfrom • audiences? piece (suchas Lives fuelstheirrelationship. sparring verbal the reiteration ofcertain ‘in-jokes’ suchasthefamous ‘Sollocks’ andshow how their andalso theset-ups/pay-offs toofthejokes dialogue. dissect Studentscanbeasked conventions ofthe ‘comedy ofmanners’? itbecomesomethingdeeper? Does be easilyaccessedthrough YouTube ifneededfor reference inclass). examplessuchas or more contemporary couldbe:Horace’sother texts Satire 1.9,Oscar Wilde’s techniques ofthisgenre inasimilarway andcompare to comedy ofmannersgenre 1. usingworksheet Private Lives and consider their function andeffect? andconsidertheirfunction Brief Encounter an intentional subversion of form? How does it depart from the anintentional from subversion the ofform? How doesitdepart A Doll’s House , Elyot andAmandain ) – What differenton styles have effects dothese Private Lives Private Lives Seinfeld . This willrequire aswell analysisofthetext, as Private Lives , Modern Family exemplifies/deviates from the Private Lives The Importance ofBeingEarnest The Importance ). Accordingly, to itisimportant Private Lives , witha ‘naturalistic’ or Friends . Examples of . Examplesof (this can (thiscan Private

Private , 7 Coward readily setsupromantic clichésbefore thetablesonthem: subtlyturning realise thattheconventional seeminthisplay. are notwhatthey perhaps notionsofmarriage spouses.their separate withtheirnew honeymoons As isCoward’s way, satirical audiencesquickly From thefirstpageof Marriage, Love andDivorce perhaps not perhaps ‘bad’ peopleon theirown, but theirlove isexplosive andcalamitous to themselves All thosequalities cameoutinusjustbecause we loved eachother’. are The maincharacters two jealousy, suspicionandeven violence: ‘Selfishness, cruelty, hatred, possessiveness, jealousy. petty Amanda andElyot’s love ispassionate andallencompassing, butwiththatcomescrippling In of hislife: discrepancies were love between andmarriage explored extensivelyby Coward over thecourse Elyot andAmanda,however.The opposite thenolongermarried canbesaidbetween The the couplesinplay are conventional, therelackoflove thepartners. isadistinct between an interesting withintheplay. themeandfunction For between example, whilethemarriages Many oftheseconventions in are orsubverted satirised eitherportrayed, At thetimeofwriting, Coward’s andregulations views inregard hadstrict world to marriage. Private Lives Sibyl: Amanda: Victor: Elyot:

marriage andlove donotgo handinhand; marriage ‘true’ by love destruction. is characterised

(rubbing herfaceonhisshoulder) rough. Thatvery stuff’s It’s heavenly. Look atthelightsofthatyachtreflected inthewater. Ohdear, I canhardly believe it’s true. You andI,here alonetogether, married! (smiling) Are you? ‘Love isnouseunlessit’s andundramatic. wise, steady Something andkind, refuge for nowadays isnothingbutatemporary thosewhoare ‘Marriage Part ofadream barely begin? ofthesun, Part ofthemoon,part issome consumingflame; It Tell me, whatislove? tremendously cosy; unflurried by scenes andjealousies.’ unflurried tremendously cosy; whenyou’reand sweet, to smoothoutyour nerves tired. Something I’m sohappy. uncomfortable athome.’uncomfortable Private Lives , thethemeof ‘marriage’ isestablished:Elyot andAmandaare on – isLove?’‘What from –Olive in – Elyot in Private Lives The Trap Rat Private Lives Bitter Sweet , making it it , making

, 1930 , 1918 , 1929 © OCR 2016

Thinking conceptually but alsoanadditionaloffence, orabuse. suchascruelty This issomethingthat Coward isperhaps divorce alone, awoman for whereas women adultery hadthetaskofnotonlyproving adultery divorce proceedings were costlyandlargely notinfavour ofwomen. For example, amancould Fromopposed to thenorm. thelate 20thCentury, 19thto early theEnglishlegalsystem meantthat Coward’s day, divorceas itwasthe wasamuchmoreexception difficult process thanitis today; directlyto andalsotouched marriage, uponin Linking to oneanother. intoxicating, difficult to two characters resist,andthe are doomed very to forever keepgoingback Sibyl beingthemoreof love sensiblechoices, AmandaandElyot share thekind and isaddictive Despite this, Coward whatisbestfor shows them,with thatalthoughonemightknow Victor and herlove with characterises Victor as ‘calm’ and ‘lasting’, andElyot says heloves Sibyl ‘more wisely’. and othersaround them. This ishighlighted by theirrelationships with Victor andSibyl –Amanda love in that theconventional were ways ofmarriage notworking. Was Coward’s and ofmarriage satirising 1970s, coincidingwithwomen’s liberation,therates increased implies dramaticallywhichperhaps ofthemotherwereThe rights equaliseduntil1973. not,infact, When divorce becameeasier inthe 1925, for example, custody ofchildren over theageof7wasautomatically vested to thefather. Private Lives Interestingly, Lawrence washerselfadivorced Gertrude woman andsinglemotheratthetimeof than mostotherdramas, tragedy. usingitto fuelthecomedyasopposedto evoking gongs’.like violenceispresent different Domestic withintheplay butCoward avery approach takes in satirising Private Lives received andhow itenshrines studentsto Get thinkabouttheinstitutionofmarriage • There are many otherexamplesofCoward’s thoughts onlove andmarriage • studentsto Get considerhow Elyot andAmandagoagainstthetraditionalnotions • Suggested activities uses? notions ofourgenderroles. What isCoward andits insociety saying aboutmarriage rather thanbeingdeeplyinlove? Is Coward ifyou onlyworks are suggestingthatmarriage merely fond ofyour partner, ofthe problem asopposedto thesolution? inhisday waspart suggest thatmarriage to explore anddiscusstheseusingexamplesotherthan throughout hislifetime (seewebsite for additionalquotes/references). students Get society, now thatconventions have progressed sosignificantly. atthetimeandexploreof love how andmarriage thismightbeviewed intoday’s , but in wider society itwasmuchharder, butinwidersociety for women to achieve untilthe1970s. Until Private Lives alluding to this even in the 1930s? alludingto thiseven inthe1930s? whenElyot tells Amandathat ‘certain women shouldbestruckregularly, Private Lives , is the theme of divorce. In , isthethemeofdivorce. In Private Lives . Does Coward . Does

8 Coward theroles satirises ofmenandwomen andhow were they traditionallyperceived atthe how Coward the notonlysatirises ‘traditional’ roles ofthesexes, them. butalsosubverts women withinCoward’s atthetime, world from studentscanuseevidence theplay to support ofthe20thCentury.gaininganawareness By oftheroles part and women ofmenand intheearly 4bofthisstudyguide, studentstoGet whichlooksattheconstraintsuponmen considersection andFemaleMale roles we have moved away completely from such traditionalnotionsintoday’s age? can begin adiscussionaboutthedifferences maleand between female roles in1930 andwhether point,this the traditionalnotionsofmenand women themasastarting andthecontrastbetween is itthewoman whopays?’ from Coward’s musicalAfter theBall(available onthewebsite). using By pointinadiscussionaboutmaleandfemale roles toA goodstarting couldbeto usethelyrics ‘Why of Elyot andAmandainCoward’s West give aninsight into the ‘Private Lives’ of Taylor prepared asthey ontheroles to andBurton take can beseenintherecent BBCFilm and Burton Taylor, andDominic inwhichHelenaBonhamCarter real-lifenotorious couples, Elizabeth Taylor alsoplayed Elyot andRichardBurton, Amanda. This forand undeniablymake great For andgripping performances. viewing example, oneofthemost Warring andtempestuous couples, Elyot andAmanda,are like establishedthroughout history, usingthisasatechnique,By Coward allows thebattleofsexes to bewagedonequalterms. woman are shown are astraditionalthey matched withatraditionalmaleequivalent. For example: almost always present whoare characters equallymatched, orhave anequalcounterpart. When While there isaconsistent dichotomy in themaincharacters between controversy andmixed amongstaudiencesandcritics reactionsto hisworks. from ‘traditional’ conceptsoflove, gender, andpushedtheboundaries. marriage This caused often Many ofCoward’s plays were matter broke away insofarasthey considered intheirsubject risqué Amanda andElyot’s relationship versus Sibyl and Victor’s, Amandaversus Sibyl, Elyot versus Victor. for interestingchallenge thetradition,making in analysisofthemaincharacters time, buthealsocreates (especially female) characters thatstep away from theconventions and VICTOR: AMANDA: VICTOR: AMANDA: SIBYL: ELYOT: SIBYL: ELYOT: SIBYL:

I hate sunburn onwomen.I hate sunburn It’s somehow, well, unsuitable. Why? Yes. Iwant to get anicesunburn. courseIdon’t.Of It’s suitableto men. well,Very you shan’t then.Ihopeyou don’t hate itonmen. I hate itonwomen. Why not? I mustn’t getsunburnt. Private Lives.

Private Lives Private Lives , Coward’s plays

: © OCR 2016 Thinking conceptually The ‘New’ Womanvs Traditional Woman through him. This atthetime. boldnesswould have beenrathershocking of doingso. One, Act for shecouldsee In example, Elyot shesays becauseheknew sheirritated Furthermore, andisaware ofhergenderto manipulate herpartners, sheusesthisknowledge politics atthattime: She canplay herrole asthe ‘traditional’ well, woman butisalsowiseto very theinjusticesofgender She standsupfor whatshebelieves in,even whenitmay bedisagreeable for awoman to doso. Amanda, ontheotherhand, isloud, vulgar. independent,opinionated andsometimesperhaps ‘feminine’ woman. Sherelies onElyot andhasatraditional ‘husband-wife’ relationship withhim: young, waifish,innocentandquiet;inother is very words,keeping withthetraditionally sheisin A significant feature oftheplay isthedifference two the women,AmandaandSibyl. between Sibyl women in understand Coward’s to get studentsto specificallyconsiderthethemeof works, itisalsonecessary to While anexplorationofthedichotomy maleandfemale between isimportant characters AMANDA: ELYOT: SIBYL: ELYOT: Private Lives It doesn’tIt suitmenfor women to bepromiscuous. doesn’tIt suitawoman to bepromiscuous. I haven’t thefaintest ideawhatyou’re about. talking from loving meand allthat,you musthaveApart plans. . Elyot andAmandain andElizabeth Richard Burton Taylor as Private Lives , 1983 9 Encouragestudentsto watch theBBCFilm • studentsto Get thinkaboutotherfamous • studentsto Get research otherplays where orworks Coward notablypushedthe • ofthe NeitherElyot norAmandafitinto thecategory • Suggested activities andexcerpts studentsto in Get considerotherscenarios • Coward thewell-behaved satirises Sibyl and • in the1983productionof duoElizabeth acting legendary Taylor prepare as they for andRichardBurton theirroles from Antony from andCleopatra,to andRachel Ross Lives and becomeiconic, andgive examplesofwhy. This canthenberelated backto shows the thecontrastsbetween ‘traditional’ and ‘new’ woman. boundaries andcausescontroversy.boundaries Studentscouldread any ofthefollowing plays: wheremoments inthetext Coward usesdialogueto match Elyot andAmanda. thesamewaythe time. asCoward In matches ‘traditional’ Sibyl and Victor, explore throughout theplay andtheirjourneys andthedichotomy pairings distinctive thetwo between partnership asAmandaand as tempestuous andpetty getstudentsto exploreVictor; theidealof Better Half andtherelationship Elyot between andAmanda.Examplescould beanything , The Vortex , Design forLiving Design Private Lives . . ‘warring’ and ‘Burton Victor butultimately shows themupto be couplesthathave transfixed viewers Friends ‘traditional’ Taylor’ Private Lives . whichdocumentsthe maleorfemale of where Coward

Private

Thinking conceptually is notoneofElyot orAmanda’s strengths, itwasthepressure andperhaps their to keep ‘public faces ofbeingdisgraced. wasto runtherisk As weotherwise ahandleon theirfacades cansee, keeping The pressure to appearsuccessfulandhappy inCoward’s timewasenormous, andto appear them. to curb how try muchthey and condescending. When these ‘private identities’ collide, theresults are explosive often nomatter mostly, itseems, for Elyot. Elyot Likewise, canappearto beprotective andcaring, butalsoaggressive thisinpublic–butalsohasamaliciousandvenomous sideto like her,– sheismostlikely reserved thetwo. between Forconstantly andquickly example, Amandacanbecoy, sweet andcharming intheplay.and private appearto Allcharacters have a ‘private’ and ‘public’ identity, andeachshifts thatplays public outbetween isthejuxtaposition toRelating thethemeofgenderandmarriage between PrivateJuxtaposition andPublic in they would theirargumentsthey betweeting andannouncingtheirrelationship statusonFacebook. If Elyot publicarena. andAmanda were in today’s born peopleina affairsbetween private very age, this, we are alsoconsistently immersed withinadigital thatallows world to usto the always beprivy today’sIn society, relationships, love thesexes andbattlesbetween are justasenthralling. To addto sideto orprivate them. hasadark and Sibyl do),everyone implyingthathoweverperhaps sweet andinoffensive peoplemay seem to begin with(as Victor of Victor andSibyl. delayingCoward thisglimpseinto untilthefinalact, By theirfullcharacters is Although we don’t end, thesamecanbesaid oftheirpersonalitiesuntilthevery seethefullextent sarcastic comments. thefullbreadth Seeing oftheircharacters’ themsoreal. iswhatmakes oftheirinteractions, allowingthe fullextent thento appreciate thecomicvalueoftheirgibes and privately. This isthesource ofalotthehumourinplay, asthe audience/reader isletinon comes to Elyot andAmanda,we canunderstandwhateachiscapable ofbothpubliclyand soengaging thecharacters isthatwe areWhat makes allowed whenit to seethefullspectrum on’ whichruinedthem: married, andclampedtogetherpublicly, that I believe itwas justthefact ofourbeing ruined usbefore. – AmandaPrynne Private Lives

10 studentsto Get lookintobetween how theinnerconflict • There are afew references andpublicthroughout private between to thejuxtaposition • Suggested activities Usingthe • studentsto Get create a • for example, flitsbetween feeling pangsofguilt flippantabout to beingdownright Elyot andAmandaexplore thewidernotionofmoralresponsibility to others. Amanda, the play, getstudentsto lookfor anddiscussasagroup. examplesofthisinthetext tweets fortweets apivotal sceneintheplay andshare withtheclass. into apublic sphere.consider howwhentaken thismightberuinedorobstructed their predicament. ‘tweeting’ or ‘text’ ‘modern’ reference above, taskstudentswithwriting ofElyot scenario andAmanda’s relationship, and ‘private’ and ‘public’ ‘in character’

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Thinking contextually changing, inover environments time. andmore As thatithasbeenperformed contemporary a regard to in,aswelltheplay itwaswritten thepoliticalandculturalworld withinthe asconsidering oftheguidefocusesThis section about ongettingstudentsto thinkcontextually reflected in boththecontent and overall structureoftheplay. Coward to writing wasimmersedprior history.one ofthemostsignificant inBritish periods As a result, theinter-war inwhich period Noël Coward wrote andfirstperformed technological advances suchaswashingmachines, automobiles andcinemas. – dueto the introductionofnew high unemployment andpoorhousing situations–andposterity TheDepression, effects ofthe therefore, –due to the two opposingdirections: poverty went in matches. significant increase in leisure such ascinemas, activities dancehalls, swimmingbathsand football wasintroduced inhomes, houseswere millionsofnew luxuries, electricity built,andthere wasa Depression for anumberofreasons: fell prices andfamilysizes reduced allowing more for money automobiles, andelectricity. As aresult,becamemore the some people actually affluentduring industries’‘heavy ofthe came therise revolution’,‘technical whichbrought washingmachines, new However, aswithmostthings, there wasaflipside Depression.to the With thefallofmany of the as soonastheDepression hit. surviving which were thewar, alreadyafter hadnotmodernised struggling becausethey sohadnohopeof of industry’,‘heavy suchascoal, iron, steel and shipbuildingcompanies. These were industries to 3.5millionbyrising 1933, whichconstituted 25%oftheworkforce. The worst hitwere areas as theDepression wasalsoknown Britain, In Great Slump’,‘The andresulted inunemployment Great Depression.’ goods. As aresult, thisaffectedknown economiesacross as the world, causingwhatbecame ‘The offoreign to stopevent by imports andputtingupbarriers callingintheirloansto othercountries 1929,the In Wall Street CrashplungedtheUSAinto reacted economicturmoil. to America this elseonlyto bebrought down againbyeverything theGreat Depression inthe1930s. War I andafantastichedonismof young things’,‘bright whopursuedpleasure attheexpenseof The inter-war by bothabitter thehorrors nihilismafter wascharacterised ofthe period World Political Context has evolved movements intandemwiththeatrical over time. in asthisinforms interpretations context, alarge ofthecritical oftheplaytheatrical extent (discussed for studentstodramatic piece, understandandbeshown itisalsoimportant Critical Interpretations over time Chris Brown &Rihanna’s Wars’ ‘Twitter A moderndayElyot andAmanda? ). It will alsohelpthemto understandhow andwhy theplay ). It Private Lives Private Lives , aswellfrom astheperiod 1930onwards, are in 1930, a decade which was quickly becoming becoming in1930,adecadewhichwasquickly Private Lives Private Lives within its withinits in in 11 the year thatin1932Coward after wrote around him:Coward’s anti-war play thefollowing wasalsowritten Post year in1930,and Mortem playstwo thatimmediately followed Coward thepoliticalandsocialissuesoftime. openlyscrutinisesandsatirises For example, the Coward washugelyaware around oftheworld himand Ziegfeld Follies therefore hisaudience, troubled withinahistorically time. ofthesecharacters,time. and andmoralirresponsibility Coward thefrivolity satirising wasperhaps afford to attend theatre who were atthistime, ofthecommunity this prospering during were part from couldbethecasethatmaincharacters theplay,It andindeedtheaudienceswhocould of within thecontext represent However, of1930sBritain. afairpicture to lookattheGreat Depression itisstillimportant about afamilyandtheirservants. in actuality. Many ofthesuccessfulfilmstime, for example, were escapist: of manners)to allow peopleto distancethemselves from thedifficultiesgoing on around them adoptingcomedicstructures(suchascomedies andauthorsoften this period, withplaywrights those goingthrough in adifficultperiod reality. ‘Escapism’ art during wasaheavily used of form Alternatively, itcouldbe seenthatCoward comedy asanescapefor wascreating light-hearted During atimeofmassunemployment andeconomicstagnation,During As aproductofaneragreat economicupheaval, considerwhether • Suggested activities studentsto Get lookinto theways inwhichtheDepression eraaffected orshapedhit • Usingthenotionof • We whatElyot or never know • midst of politic and economic disillusion at the time. midst ofpoliticandeconomicdisillusion atthetime. today, orthedisaster from movies ofthe70sarising anotherneedfor escapism inthe popular culture atthetime. For in relation example,to the theeffect ofart recession andhow thismayon effects have from anotherpointinhistory hadasimilareffect to considerthepolitical Studentscanthenbetasked plays, films andother ofart. forms Shakespearean Comedy oraGreek Tragedy.) prevalent throughout history, give anotherexampleofaplay whichdoesthis? (E.g. a Depression, how doesthisreflectintheir attitudesintheplay? whobecamemore the ofthecommunity affluentduring where are they part era ofhedonismandfrivolity? play thataddresses thepoliticalissuesoftime, orwhetheritlooksbackataprevious . Private Lives ‘dramatic comedy’ , as this was what people of Britain atthetimewere , asthiswaswhatpeopleofBritain experiencing. Private Lives Cavalcade Victor’s professions are in were reflectionsspecificallyonthe troubled world asaform ofescapismthathasbeen , whichbecameregarded asthefirstfamilysaga Private Lives Private Lives Private Lives is just one of the plays in which isjustoneoftheplays inwhich perhaps doesn’t perhaps . Imagine a scenario ascenario . Imagine Broadway Melody Private Lives

is a isa © OCR 2016

, Thinking contextually working classes. Properworking modelsofbehaviour were seento emanate fromofsociety, thissection overmiddle andupperclassestending to the believe theirown moralandcultural superiority retainedUntil theoutbreak society arigid classstructure, ofwarin1939,British witheducated wasinthe30s. andhow stratifiedsociety Britain Lord before Chamberlain itwent into production,studentsshouldresearch thehierarchy ofclassin to understandhow thecomedyoperates in Lives in rigid classsystems andconventions, whichare alsofeatured heavily inCoward’s works. atthetime, additionto thepoliticalandeconomiccontext Englandinthe1930swassteeped In The BritishClass System Cultural Context social convention. to thevaluesoftheirpeergroup, andany attempt to transcendthishierarchy by wasrestricted willing orableto move to alternative socialgroupings. thatpeoplewould wasexpected conform It social andculturalhierarchy thatwas largely self-policed, withmembersofdifferent classesrarely proper culture, andthoselower down thesocialorder wasa rarely questionedtheirposition.It class background andhadapublicschooleducation. They saw themselves astheupholdersof wedding partners. With few exceptions, camefrom theholdersofpower anupper andauthority pronunciation,including correct tablemanners, of appropriate dress andeven thecourting , being a prime example, examines the lives and loves of a particular class of people. In order order example, classofpeople., beingaprime examinesthelives In andloves ofaparticular crowd ata Gardens, Regent’s heldinQueenMary’s GardenTheatrical Party Park. ©NCAventales, 1937 Noël with HRH Princess Marina, Duchess of Kent andHRHPrince amidthe DuchessofKent Noël withHRHPrincess George, ofKent, Marina, Duke Private Lives and why it was considered risqué by the andwhy itwasconsidered by the risqué Private 12 acquaintances andcareer propelled himinto upperclasscircles: familybefore 2ofthisguide,As Coward discussedinsection his himselfcamefrom amiddle-class therefore moreto create likely apopularpieceofentertainment? waysimply usingthis classofpeoplebecausetheir care-free oflife wasmore easy to satirise, and were atthistime?Or,he implyingthatthey culpable for perhaps thestate ofthecountry washe ofeconomiccrisis? aperiod for during little concern theiractions belonged to)Was ofhaving very into? Was heaccusing theleisured upperclass(whichmany oftheaudiencememberswould have of, Was thathewaspart butnotborn Classsystem andtheupper-classes theBritish hesatirising Coward’s ofclass intheplay: depiction ofthe1930s,the economiccrisis there are anumberofways to interpret, questionandanalyse in thecharacters When considering Relative Values of themaid/butlerisusedalotinCoward’s plays: Edith in the play, specificallyin It isinterestingrelation to thethemeofclass. to note, also, thatthecharacter Amanda andElyot’s ofLouise II.Studentsneedto dialogue inAct understandthe function within and Amanda’s lavish lifestyles. There are alsoreferences to Louise’s life outsideoftheplay through the maid, Louise, IIIladenwithbagsof herfirstentrancein Act whomakes food to maintainElyot We do, however, getglimpses ofthelower class throughout through of thetext thecharacter insinuates are thatthesecharacters financiallyindependentandcarefree. feat whichwasnotaseasy asitwould betoday), buttheirirresponsible behaviour throughout lifestyles, withAmanda’s retreat inParis andElyot’s recent return from travels around (a theworld theminanumberofways.the play satirises NotonlydoesCoward emphasisetheirhigh-flying within While interpretations oftheway Coward theclasssystem differ, portrays itisapredominant theme into andthehighersocieties. that hewasborn in.As life aresult, Cowardan outsiderlooking inbelonging haddifficulty toboththe working-class result couldappearpatronising’. Coward wasincredibly aspirational, butessentiallyhewasalways true ones. At othertimes, althoughtheaffection wasclearly felt, the touch waslesssure andthe was thebedrock onwhichmuchofNoël’s wasbased. work thenotes Sometimes hestruckwere his works. Coward scholar, Day, Barry notes: ofitsdifferent manifestations ‘Class andtheobservation relationship withthem. This canbeseenthrough ofthesecircles hisconstantsatirising throughout However, whileCoward may have mixed heavily inupperclasscircles, hehadaninteresting Private Lives . . The four withintheplay characters are from theupperclasssocialsetand – Barry Day onNoëlCoward – Barry lower class, butneverof Coward was from the Private Lives the lower class within the context of the rigid class system and oftherigid classsystem withinthecontext and Blithe Spirit , or Moxie and Crestwell in , orMoxieandCrestwell in

© OCR 2016 Thinking contextually movements towards female equality: the censorshipofLord progressive timelineofsome ofthekey Below isabrief Chamberlain. whyperhaps Amanda’s divergence from valuesandbehaviours of ‘traditional’ women escaped The progression ofwomen wasalready happeningwhenCoward wrote play hasdeveloped through time. outlandish atthetime, aswell asallowing themto ofwomen seewhy inthe andhow theportrayal doingso, understandingofwhy By Amandawasconsidered itwillallow studentsto gainfurther for students to consider thisprogressionso itisimportant inrelation to over history The notionofthe ‘traditional’ woman hasprogressed significantly20th Century, sincetheearly Women 1948 1941 1929 Coward’s Read sketch • Explore anddiscusstherole ofthemaid/butlerinCoward’s plays, withspecific • later, Almostacentury therigid notionsofclasswithinCoward’s couldbe works • of studentsto Get fillinagrid basedonthevariety • Suggested activities that of the popular TV series, that ofthepopular TV point couldbethedifferenceRoyal themanners/dialogueof between Family and exampletothe samescene, useasastarting butmixtheclass. A usefulcontemporary reference to Louise withintheplay. andherfunction Private Lives and Elyot.couldbeCoward’s Anothergoodcomparison Class, sketch whichpreceded Lives it couldbeusefulto lookatCoward’s parody of Price?so, If why? andKatie For Middleton we Kate andthemediaview comparison, –for society example, istheredivisions inclasscontemporary adifference intheway ‘classless’ society, there couldbeadiscussionon whetherthere are stillunderlying alientosomewhat studentstoday. While itisgenerally considered thatwe live ina and relate thisto students to onhow reflect different classes are supposed tobehave indifferent ways, from today would beusefulto society would alsogetthe beplacedinthissystem. It and to give examplesofwhere from thecharacters , in which the two main characters maincharacters , inwhichthetwo ‘Fred’ and ‘Flossie’ are theclassopposites of Anna Introduction of NHS gives everyone free ofNHSgives access to health care.Introduction everyone (Previously, passed, Act introducing for conscription women.National Service inwhich Thewomen are firstgeneralelection allowed to vote occurs. only menwere insured) Women become ‘persons’ by intheirown order right, ofthePrivy Council. , oralternatively hisrevue Private Lives Class and write a short parody scenes, oftwo whichplay out ashort andwrite and/or other plays by Coward. (Worksheet 2) and/orotherplays by Coward. (Worksheet The Royle Family Word andMusic . Private Lives ‘classes’ Private Lives . thatare identifiablein1930s , called Private Lives , or indeed people , orindeedpeople Some Other Private Other Some Private Lives , which is , whichis

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Amanda throughout history: an interesting topic for atthedifferent conversation couldbelooking females whohave played concept ofthe ‘traditional’ woman ofthe1930s adifficultconcept to grasp. Withthisinmind, atthisdevelopment over history,When looking itcanbeunderstood why studentsmay findthe Birmingham Library, of University Research archive Cadbury ofNoëlCowardCourtesy 1970 1967 1964 1956 2002 1997 1986 1979 1977 The equal pay act makes itillegalto pay makes The women equalpay lower act rates thanmenfor the inBritain. abortion decriminalises Act The contraceptive pill The Abortion The Married Women’s entitleswoman Act halfofany Property to keep Legal reforms shouldreceive say thatwomen teachers andcivilservants Parliament passesmeasures couplesto allowing lesbiansandunmarried sees101LabourwomenThe MPs generalelection elected. enableswomen Act to Discrimination The Sex retire atthesameageasmen. Margaret Thatcher becomesthefirst Ministerfemale inBritain. Prime International Women’s Day isformalised asanannualevent. becomes available. savings she hasmadefrom theallowance sheisgiven by herhusband. equal pay. adopt children. same work. Bristol 1930 Bristol of University Collection, of &Mitchenson The Mander © Photo by Sasha.Courtesy Lawrence in Noël Coward andGertrude

Private Lives © OCR 2016 . Thinking contextually lives andattitudesofwomenera. inamodern ‘Samantha’ andtheCity, inSex acontroversial whichwassimilarly programme thatexplored the CattrallKim (right) tempestuous relationship withRichardBurton. TaylorElizabeth (left) high socialcircles. the first to play the role. Shewasa female ‘celebrity’ in1930and Coward’s friend, mixinginthesame Lawrence Gertrude musical freedom’ for young 1930s. peoplein thelate 1920sandearly foundnew freedom. According to Parsonage, Catherine jazz ‘seemed to promise culturalaswell as to take ‘proper’ paths in life andinstead opted for enjoying life inthemomentby relishing intheir and moving towards more sociallyfrivolousbehaviour. They disregarded theirparents’ warnings this way,In away theyounger generationofthetimebeganbreaking from previous traditions War I. areactionagainst theslaughter of access to –itwas, andthelicenceto money letrip inpart, World before. As ofthenation’s aresult, aproportion young atthistimewere peopleinBritain given more seempossiblethanever wasbeginning theworld making to modernise of entertainment, movementthrough ofenormous socially. aperiod technologiesWith ofnew therise andforms was notonlyinpoliticalandeconomicupheaval theFirst after World War, butitwasalsogoing The atthistimewassignificant introductionofjazzinto Britain inanumberofways. Britain formany jazzbandstraveling American European thedistanceto perform fans. inthe1920s, white Americans themovement alsobeganto infiltrate Europe,to middle-class with Jazz musicoriginated intheUnited States from musicians. American African As itbeganto expand The ‘Jazz Age’ &theemergence ofthe ‘Bright Young Things’ Look into versions of • events inwomen’s may beusefulto getstudentsto lookupotherimportant It history • Suggested activities OntheNoëlCoward website, imagesofthewomen there whohave are played further • Can we Amandaafeminist view heroine? • Look into otherfemales (aspertheabove examples)whohave played Amandaover • explore thisthemefurther, onthewebsite thematerial would beausefultool. Amanda, aswell asafew quotes from someoftheactresses. For studentswishingto was performed. time, anddiscussthesignificance ofthetime/placeinwhich it ofthisinthecontext notions of ‘women’ may beconsidered differently insuchacontext. over thedecadesto addto thetimelineandtheirunderstandingof Amanda in2010.Herotherfamousrole wasasthesexuallypromiscuous The character of Amanda was written specifically for Gertrude and she was andshewas specifically ofAmandawaswritten The character Gertrude for Amanda in 1983. Legendary actress, whowasalsofamousforAmanda in1983.Legendary her Private Lives thathave beenplayed ineachdecadeandhow the Private Lives .

While jazzmusicbecameamore accepted feature withinupperclasscircles, the ‘Bright Young to alsoenjoy. itacceptablefor theestablishedgentry making Palace.at Buckingham The Prince's enthusiasmforinfluenceonhighsociety, themusicwasakey music. Bandssuchasthe regarded wasalsohelpedby Prince asarespectableform Edward’s ofmedia.It enthusiasmfor the to theadvent oftheBBCandincreasedgramophone records quality atthetime, whichwere regard In to theacceptanceofjazzmusicinto thiswasmadeeasierdue theclasssystem inBritain, © photo by Vandamm. ofNew Courtesy York Public Library, 1930 attire ofAmandaasa shows thedepiction ‘Bright Young Thing’ ofherday. Lawrence andNoelin then thatCoward isnosurprise ofhistory satirises,eye. scrutinisesandanalysesthisperiod It of thesocialtrends andfadsthatwere emerging, muchinthepublic andwashimselfvery wasbehaving. atthetime,the way histwenties inwhichsociety Coward In wasinthemidst Throughout thisperiod, Coward’s plays andhiscareer note were of alsoevolving andtaking Brother, to aswell following asourattraction celebrity Twitter accounts. goes onbehindcloseddoorswhichcanbeseenfrom shows andBig suchasCome DinewithMe World War what we I,andisacaptivationthatstillemanates stillwantto intoday’s know society: people live. to themassiveThis fascinationatthetimecanbelinked changesthatresulted from luxuries. People unnecessary were,to various andstillare, fascinated by glamourandhow other Price, thatenticespeopleto Paris Katie succumb Marsh, andadvertising Hilton), (Jodie celebrities media coverage: commentary, andonlinemediaisstillrife undefined ourprint withsociety-based wasamediafrenzy,famous justby beingfamous.whichinmany ways It canstillbeseenintoday’s to become intothe medialandscapeto thepubliceye; propel peoplestarted themselves further featuring ‘society columns’. Taking advantageofthis, the ‘Bright Young Things’ usedtheevolution of withmany andenticingadvertising, specifically ofthepopularnewspapers of more colourful behaviour thepress found ways new to reach thisgroup ofsocialites. What ensuedwasaperiod With more socialgatherings,glamourous new outfits, andgenerallymore publiclyfrivolous steeped wave inanew of mediaattention. ofthe to therise can alsobelinked ‘new woman’, themovement thatwas offashion,andasociety tolerance towards homosexuality. thisway, In asthe thejazzage(alsoknown ‘Roaring Twenties’) throughout thistime:the ‘flapper’ cigarettes, girl, women smoking free talkaboutsex,andmore of previous generations. This, went inturn, handwithmany otherphasesthatevolved Things’ ofthegenerationusedinfluencejazzmusic to rebel againstthetraditionalculture Private Lives Original Dixieland JazzBand Dixieland Original . Image of Gertrude smoking infashionable smoking ofGertrude . Image were even summoned to perform for him were for even him summonedto perform Barry Day tells usthat Barry ‘even heavily throughout hisworks. to theways inwhichhis undertone again asatirical theretime (pictured left), is atthe elements ofsociety Lives So, whileplays like of thepost-war generation’. he saw asadangerous ennui Coward hascataloguedthat twenties,in hisown early alludeto many ofthe

Private © OCR 2016 Thinking contextually the time: lack ofconscienceonalarger scale, thestate oftheeconomy especiallywhenconsidering at ofacomedy,within theconstructs butthere are elementsoftheplay thatpointtowards their on awhimandsoeasilyforget around theworld them.For example, theplay may besetup goabouttheirdailylives.characters Coward scrutinisesAmandaandElyot’s tendencies to act satirise andcontemplatesatirise thesemomentsofhistory: The subtlehintsofthisin profoundlybecame very significant’. theFirstview World War andsetitinperspective, historically itshorrors andmuddlestragedies throughout hiscareer. hisown words, In hesaidthat Ihadmatured ‘when enoughto beableto As withmostthemesinCoward’s works, hemademany more explicitreferences to thesesubjects [Full lyrics, article and further songsonthewebsite] [Full andfurther lyrics, article Our dreams cannotlastlong. ofinsanity thishurly-burly In sowrong? theworld Can make Why isitthatcivilized humanity drop astitch too soon! Don't Poor girl, littlerich Ruled by Pantaloon, You're weaving love into amadjazzpattern, Nobody knows! But whatcomesafter? Cocktails andlaughter, Steadily grows; The craze for pleasure lives ofleisure,In ELYOT: AMANDA: ELYOT: AMANDA: – Poor from Girl LittleRich – 20th Century Bluesfrom – 20thCentury Not nearly enough. Not nearly We now andthen. are, every to withconsciensce. beabsolutely tortured Strangely peaceful. It’s anawfully onourcharacters. badreflection We ought It’s nice, isn’t it? Private Lives On with theDance On could easily link to some of his songs at the time which both couldeasilylinkto someofhissongsatthetimewhichboth Cavalcade

15 within theupper classcircles. OneofCoward’s sophisticated andacceptable modeoffashion Coward’s plays deviated from thistowards amore While thisfashionmovement wasemerging, flouting socialandsexualnorms. automobiles, driving smoking, and otherwise treatingmakeup, sexinacasualmanner, drinking, They were seenasbrashfor wearingexcessive were breed anew ofwomen inthe1920s. generations atthetimeas ‘flapper’ girls, and cosmetics. These girlswere labelledby older embracedthegrowingand they of popularity arms. becamechin-lengthbobs Their hairstyles dresses thatexposedtheirlegsand knee-length the corsetandinstead donnedlooserfitting, awayBreaking from therigid wayVictorian oflife, theseyoung, rebellious women didaway with females. Justasjazzmusic brokeaway from previous traditions, sotoo didyoung women’s fashion. fashion wasalsoundergoing asignificant ofchangeinthe20sand30s, period especially for asimilarway to theprogressionIn ofthemusicallandscapeandevolution ofthe ‘new’ woman, Fashion &Edward Molyneux relation to In thefascinationwithglamourin1930sandtoday’s age, itmay bea • StudentscanthinkaboutCoward asajazzagedramatistandhow hemighthave been • OntheNoëlCoward website ofhissongsandlyrics, whichrelate isaselection to the • Suggested activities There through in hasbeenexplorationonthistimeperiod JackRoss • What are thedifferences/similarities? 1930 [on theNoëlCoward website] intoday’s andcompare thisto advertising society. good taskfor intheprogramme studentsto lookatthe advertising from Lives towards them. discuss theirsignificance to thetime, as well asaway to explore Coward’s attitudes jazz ageandtheeraof ‘Bright Young Things’. studentsto Get lookattheseand these inorder to gainabetter understandingofthismovement inrelation to may beusefulfor ofthe1920sand1930s. studentsto society It of jazzinto watch British and theLouis Lester Band in in? being ontheoutsidelooking Fitzgerald. Coward Does operate withinthissphere whathefinds by orishe satirising towho contributed thismovement e.g. Evelyn Waugh, Mitford, Nancy andFScott young people. Studentscanalsoresearch thejazzagephenomenon to identifywriters muchamovement of phenomenon,whichwas influenced very by thispost-WWI . Dancing ontheEdge Dancing © NCAventales AG C.1930 Noël Coward andEdward inFrance, Molyneux . Both give us a peek at the infiltration . Bothgive usapeekatthe infiltration Downton Abbey Downton Private Lives

Private

Thinking contextually With thisinmind, hedesigned costumesfor many ofCoward’s plays, including designers inthemedia. one ofthefirstcelebrity classbackground through also,from andbecame ascendedsociety hiswork aworking Molyneux Interestingly, status. Coming wassimilartocelebrity Coward Molyneux ofhisself-earned interms Lawrence. of thebestfemale andGertrude Dietrich, actressesofthetime:Greta Garbo, Marlene embraced themovement offashioninthe20sand30sdesigned dresses for royalty andafleet himself amodelofcoolelegance, andthiswasconsistently reflected inhis works. As a result, he wanted to predictableinthe1920sand1930s.’ withoutbeingutterly beabsolutely right Hewas as summeduphiswork Milbank designer ‘the to whomafashionablewoman wouldifshe turn fashion,butalsocreatedVictorian alineoffashionthatdiffered from theflapperimage. girl Caroline Coward’s plays. to the Similarly ‘flapper’ atthetime,Molyneux deviated fromgirls thetraditionsof atthetimewasdesignergood friends Edward whodesigned Molyneux, many ofthecostumesfor original watercolour ofthedress sketch designed (picturedleft). by Molyneux manifested whichcanalsobeseenfrom below (right), the into thedress intheimageofGertrude Lawrence,being played by buthealsopicturedherin adress Gertrude created by Molyneux. This Alongside hisinitialthoughtsfor © NCAventales AG Original Molyneux Watercolour sketch Private Lives , Coward not only envisaged the part of Amanda , Coward ofAmanda notonlyenvisaged thepart University ofBristol,University 1930 of – Collection &Mitchenson The Mander in andNoëlintheBalcony Scenes Gertrude Private Lives . ©Photo by Sasha.Courtesy Private Lives . 16 Coward would have done. which iswhy itissocrucialfor studentsto analyseandconsidertheplay from pageto stage, justas andadirector butanactor too,only aplaywright inmind, sohealways wrote withtheperformance Theatrical Context Mitchenson Collection – University of Bristol ofBristol –University Collection Mitchenson in Adrianne AllenandLaurence Olivierfirst played Sibyl and Victor theplay would always standandfallbyentertainment, theway itwas regardIn to thelightnessofcomedy, Coward wasfullyaware that,asapieceoflive were from suchashim. playwrights taken ofOscar the works Wilde, comedyinhisworks soitcouldbeargued thatsomeofthelight-hearted influenced by othersanddrew inspirationfrom theminhis works. For example, Coward admired mostplaywrights, Coward like it.Much was landscapeaspeopleknew and changethetheatrical of naturalismandpsychological realism by Shaw, were Chekhov beginning to overturn Ibsen, As withalltimes, however, conventions theatrical were oftransitionandtheadvances inaperiod orlower-classindividuals, muchinfashion. were alsovery protagonists middle-class were ordinary along thesamethemeas musicals, musichallandsentimentalcomedieswithstock andminimalplotlines, characters much regardIn to thegenre theatre ofcomedyinBritish pre-Coward, thismainlyconsisted ofEdwardian understand andconsidertheplay through contexts. theeyes ofmultipletheatrical the progression theatre to ofBritish Coward prior upuntilpresent day. doingso, By studentscan the play asapieceoftheatre andwhatthismeans. Teachers alsoneedto highlightanddiscuss order toIn fullyappreciate thetimelessnature of Private Lives , 1930©Photo of by Sasha.Courtesy & The Mander enchantment, atempleofdreams. The theatre shouldbetreated with Private Lives respect. isahouseofstrange It . Ontheotherhand, domestictragedies, inwhichthetragic – NoëlCoward, ontheatre Private Lives , itisvitalfor studentsto understand over anything thatappeared onthe hadabsolute power Chamberlain censorship. This meantthattheLord and histeam enforced atheatre that until1968theLord Chamberlain thingto note was Another important credible to audiences(picturedleft). inorder for performed themto be neededto thatthey besuperbly knew Coward with conviction, characters characters, butinorder to play the Sibyl are quite superfluent perhaps For example, onthepage Victor and performed . Coward wasnot

© OCR 2016 Thinking contextually Coward adapting the performance of Coward adaptingtheperformance onstage, whichcanbeseenfrom it mightbedirected theexampleabove andperformed with As aresult ofsuchcensorships, iteffected ofaplay as boththewriting well astheway inwhich thedeathpenalty.to notrisk andQueeninorder thatthecontent oftheirplays withthecourt hadto beinkeeping who knew need to bejustinthecaseofCoward, andShakespeare, butcouldalsogobackas farasMarlowe Students needto thinkabouttheeffect thatsuchacensorshiphadonplaywrights. This doesnot withoutany cuts. andpersuadedhimthatitcouldbeperformed Chamberlain to beadmitting sexualrelations witheachother. NoëlCoward, however, itto theLord performed risqué. Hedeclared whowere thatthecharacters to otherpeopleseemed supposedto bemarried changes ofwording. Interestingly, theLord initiallybanned Chamberlain stage, andwould vet before play scripts were they produced, advisingondeletionsofscenesand different interpretations, thatsurround theplay. adaptationsandtheories students willgetaclearer understandingoftheplaywright’s mind-setandthe reason for themany watching, doingso, By as well isbeingperformed. asthetime/placeinwhichproduction for studentsto always isimportant about thinkandwrite It Amanda &Elyot, 1930©NCAventales AG Lawrence andNoëlCowardGertrude as on of AmandaandElyot’s relationship of inthetext interpreted onstage. For example, ascanbeseenfrom thebelow photographs, the ‘sexual’ nuances words between also shows thejuxtaposition onapageandhow couldbeadapted/ they It stage : courtesy. willaccept It muchfrom you ifyou Consider thepublic. Treat itwithtact and are clever enoughtowinit your side. Private Lives – NoëlCoward intheSunday Times, 1961 © Photo by Persson. Johan ofOld Courtesy Vic Productions Anna Chancellorand Toby Stephens asAmanda &Elyot, 2013 Private Lives to beinlinewiththeChamberlain’s censorship. Private Lives can be portrayed in very different invery ways canbeportrayed in the context of who is ofwhois inthecontext Private Lives for beingtoo 17 studentsto Get thinkof • Suggested activities • studentsto Get thinkaboutwhatmighteffect awriter • Anothertaskcouldbeto lookattheways inwhichthe • Studentsneedto seetheplay taskto acted, set aswell asreading it.Animportant • studentsto Get research famousplays pre andpost-1930 andcompare andcontrast • ideals, or should the play be performed asitwasoriginally intended?ideals, orshouldtheplay beperformed society’s morekeepingwithamodern in theperformance there significance inmaking an alternative point.Is way may not.Usingtheimagesabove couldbeagoodstarting may allow theplay to escapethecensors,direction/performances whereas playing itin reflected or contextualised alongsidefashionsandtrends reflected orcontextualised atthetime. throughout timeandhowthe changesintheatre thismovement history couldbe on Coward’s plays andthetheatre landscapeasawhole. students to Get consider out ofthewater. Then The Vortex have thebestsinging voice. Laurence (for ofAmanda)didn’t whomhewrote thepart Private Lives circumstances. For example, Coward originally intended when creating orsetof aplay inaspecificsociety not,why?been accepted in1930?If For example, would from theposter (left) 2001imagehave over theyears themovement/differences. andevaluating have changedforposters/imagery/sets theproduction production oftheplay] links, footage andotherusefulresources for teachers andstudentsto accessalive orinclassistoas homework watch aproductionof them to Coward’s ofwriting. comediesandstyle wasthe to bean ‘operetta’, butchangedthisasGertrude Angry YoungAngry Man Look BackinAnger Private Lives in the context ofthecensorship andhow different inthecontext play oftheday andblasted Edwardian Theatre was written, which had the same effect whichhadthesameeffect waswritten, Private Lives

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Production history different over contexts time. their understandingofdifferent interpretations critical andbeable to placetheplay within This area ofthewebsite willhelpstudentsin AO3 andAO5 specifically, allowing them to shape theirrevision andresearch. thatstudentscanuseto andmaterials support amount ofimagery productions over ofstudyingthisplay isthevast theyears, oneofthemostappealingparts productions throughout history. As oneofCoward’s mostfamousplays withcountless the educationpageofNoëlCoward website, whichfeatures from arangeofmaterials as thereason for themany interpretations critical over time, there area isabespoke on aswell context, order ofthetheatrical toIn allow studentsto understandtheimportance 18

© OCR 2016 Critical Interpetations production andwasovercome withemotionfrom watching NoëlandGertrude’s of portrayal thanapaperboatinbathtub’.the surface Cole Lesley, ontheotherhand, reviewed thefirst forNicoll, example, saidthattheplay was ‘amusing, below nodoubt,yet hardly moving farther As snippet,theoriginal production of abrief of theexamination. willalsosignificantlyessay helpthem andexamquestions.to achieve strong It results in AO5 students, itdoesgive themagreat to amountofmaterial refer to andusewhenconsidering as amyriad ofreviews from productionsacross theglobe. While thismay bedauntingfor analysis. There are innumerablebooks, essays, surrounding andtheories West atthetime),ithasreceived Endworld interpretations amountofcritical and enormous himthehighestpaidauthorin week andmaking £3,200 forWestern, himevery and As oneofCoward’s plays, andgreatest mostperformed him financialsuccesses (earning absurd. of ‘queer theory’ to ofthetheatre psychological ofthe to analysingtheplay theories aspart ontheplay, theories Since then,there have ofliterary alsobeenanarray ranging from aview status beingoneofthemaindraws to theatre even now. have hadaudiencesqueueingto seeit’. age,This canstillbesaidofthemodern with ‘celebrity’ thought wasamatter ofirrelevance…they couldhave andstill read thetelephone directory states that theproduction asuccess. Morley long way Sheridan to making first thecritics ‘what Coward statusof Gertrude, andOlivieratthetimewent a Ultimately though,thecelebrity the relationship Elyot between andAmanda. Private Lives wasmetwithmixed reviews. Allardyce Private Lives , aswell 19 studentsto Get lookatreviews from amore recent productionof • oftheir (or othertheory) studentsto Get formulate theory afeminist and/orMarxist • Suggested activities OntheeducationpageofCoward website are arangeofsuggested essays and • consider thereason for responses critical andinterpretations thevarious basedonthe thistheory. to support inthetext/production evidence reviewsown, on having read somecontemporary explore theirdevelopment alongsidestudyoftheplayAO5. inorder to support interpretationscritical oftheplay whichstudentsshouldbeencouragedto read and thattheplay wasproducedcontext in. Private Lives , analysing and giving , analysingandgiving Private Lives

Further reading Hay Fever Relative Values Cavalcade Post Mortem The Vortex The BetterHalf Plays Noël Coward Further Reading Private Lives for andothermaterials theirstudyof teachersimages, andstudentsto articles useto further The educationpageontheNoëlCoward website containsarangeofessays, videofootage, Closer Passion Play That Face A Doll’s House The NormanConquests Who’s Afraid ofVirginia Woolf A LittleNightMusic The Constant Wife Man andSuperman of BeingEarnest The Importance ofDeath Dance A Doll’s House The Taming oftheShrew Comparative TextsOther canbefound criticism ontheNoëlCowardFurther literary Education Page Wicked WitofNoëlCoward Noël Coward, aLifeinQuotes NoëlCowardThe Quotable ofNoëlCowardThe Sayings Noël Coward Words inHisOwn ofQuotations Books website: A fullbibliography by withadditionalworks Coward canbefound ontheNoëlCoward The NoëlCoward Book Song Collected Sketches andLyrics Noël Coward, theComplete Lyrics The Lyrics ofNoëlCoward Verse, Lyrics & Sketches forLiving Design by Patrick Marber www.noelcoward.com.html/archive.html , 1925 by Polly Stenham , 1925 , 1931 . ( by Peter Nichols , 1930 by Henrik Ibsen by Henrik www.noelcoward.com/education by Henrik Ibsen by Henrik , 1922 , 1952 by August Strindberg , 1933 by W. Maugham Somerset by Stephen &Hugo Sondheim Wheeler by George Bernard Shaw by AlanAyckbourn by William Shakespeare Heinemann, Methuen, 1985(Paperback) Heinemann,Methuen, , Ed. Morley, Sheridan RunningPress, 1999 , Ed. Engright Dominique , Ed. 1997 Philip Hoare, Duckworth, Ed. Lee Snider, 1984(Paperback) Methuen, Hutchinson, 1931. , Ed. Barry Day,, Ed. Barry Metro, 1999 by Edward Albee , Compiled and Introduced by Barry Day,, Compiled by 2008 andIntroduced Barry Methuen by Oscar Wilde Ed. Barry Day, Ed. 1998 Barry Methuen, ) 20 To anappointment,email: make ofanorganisedsmall groups outing. ofstudentsaspart uponindependentstudy,This room isavailable to individualstudentsembarking aswell as Coward’s professional andpersonallife. film footage available andadatabasecontaining hundredsto view ofphotographs ofNoël of NoëlCoward’s works. rare The room walldisplay features ofproduction artwork, acolourful opposite areAll ofthetexts available attheNoëlCoward whichisanarchive Room, inLondon [email protected]

Mechanic Private Lives Example/Deviation Example from text Comparative Text/Play/Film (e.g. Example from show Friends) Satirising Society Coward’s satirising of class at the time, Satirising the ‘Coffee’ culture at the time, referring to the political and cultural through their regular gatherings at context at the time ‘Central Perk’

Stock Characters Victor and Sibyl could be considered The six main characters could be stock characters who conform to considered stock characters, who all conventions at the time. have distinct personalities

Contrived plot The symmetry of the acts and the overall Scenes are set up in a way that perhaps setting could be considered contrived in wouldn’t correspond to reality. Private Lives Worksheet 1 Worksheet

Class System Description Example Upper Class Generally holders of titles of nobility and their relatives, some with very high levels of inherited wealth. They will often have attended the most famous of Britain's schools, such as Eton or Harrow. Often thought of as 'elitist' or 'posh'.

Upper Middle Class Generally professionals with advances university degrees and usually with a public school education. A significant proportion of their wealth is often from inheritance.

Middle Class Similar to the upper middle class but usually from a less establishment based background and education. Generally professionals with a university degree.

Worksheet 2 Worksheet Will typically own their own home and earn well above the national average.

Lower Middle Class May not hold a university degree but will earn just above the national average.

Upper Working Class Does not hold a university degree and works in skilled or well experiences roles such as skilled trade.

Working Class Has low educational attainment and works in a semi-skilled or unskilled profession, in fields such as industrial of construction work.

Lower Working Class Works in low/minimum wage occupations.

Underclass Reliant on state benefits for income; sometimes referred to as 'chav class'.

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