TOPIC: How could the personal and social tensions between characters in the plays you have

studied be expressed on stage? In your answer, refer to the performance styles, techniques and
conventions that you could use in staging Neighbourhood Watch by Lally Katz.
Discuss this view with reference to your study and experience of the play Neighbourhood Watch by
Lally Katz.
In your answer you will be assessed on how well you:
1) demonstrate knowledge and understanding of drama and theatre relevant to the question
2) express your point of view using supporting evidence
3) present a sustained, logical and cohesive response.
Due: Monday Week 9.
Word limit: 1500
How could the personal and social tensions between characters in the plays you have studied be
expressed on stage? (Note that considering we havent seen a performance, I made up that we
had.)

The personal and social tensions between characters can be conveyed on stage through
symbolic yet minimalist staging, pertaining to the non-naturalistic writing style of the plays
studied. In Neighbourhood Watch, written by American dramatist Lally Katz and first
performed in 2011, societal and individual concerns including a lack of community, a culture
of fear and immigration are explored. Given the non-linear, epic theatre style composition of
the play, when formulating a directorial concept, in order to proficiently explore the societal
concerns, the staging must be symbolic and adaptable. Equivalently, the elements of drama
must be utilised and manipulated in order to express the themes and issues present within
the script. If successfully executed, the play invites the audience to actively engage in the
questioning and exploration of the tensions discussed.
Symbolic and adaptable staging is required in order to express the personal and social
tensions present within Neighbourhood Watch. After being instructed to formulate a mock
directorial concept for Neighbourhood Watch, my partner Nina and I ensured we adhered to
the Epic Theatre style of the play. Given the number of scene transitions and consequent
setting shifts in the play, we separated the stage into two zones; one for Mary Street and
one for every other location. Zone one (up stage), sectioned off by miniature picket wood
fence, symbolising suburbia and separation. Upstage left represents Ken and Catherines
house. This zone has minimal, basic features, including an iron board, bent-wood chair and
dirty laundry. Symbolic props and set pieces will be used in order to elucidate scene changes
for the audience. Additionally, through the use of specific lighting, including stark, clinical
lighting for the zone encompassing Catherine and Kens house, a generic, sitcom style
atmosphere will be created. Contrast to this, in Anas house, warm, comfortable lighting will
be used to create a homely and inviting mood. Such juxtaposition will instantly convey the
difference between the two households, introducing an undercurrent of tension and
inequality.

Within Zone one, Mary Street, symbolic props are used in order to convey the personal
tensions between characters. In Catherine's home; an ironing board,
mostly used by Catherine to fold clothes, will symbolise the flattening emotions and trying
to establish order in her life. The washing basket will be constantly carried around by
Catherine, symbolising her inability to forget about Martin. However, in situations where
Catherine goes to Anas, a simple tea towel draped over her shoulder will similarly symbolise
her inability to forget, however be more manageable and allow for more movement.
Towards the end of the play, Catherine will slowly depart from this object. The bent wood
chair is symbol of generic lethargy; Ken, who will be on his computer, will mostly use it. Nina
and I have chosen to not have a laptop; rather a wireless keyboard, and a project image of
World Of Warcraft projected on Kens face, reflecting how the game as engrossed him, and
become his new identity. On the other side of Zone one, Anas home, a floral Couch will
symbolise comfort, intimacy and homeliness. It will be facing front, in order to confront and
involve the audience. We have chosen a couch to contrast the clinical nature of Catherine's
house, as well as cater for the scenes where Catherine and Ana need to recline. The lighting
at Ana's house will be warm and nurturing lighting, pertaining to her identity. There will be
no dog on stage, rather represented through diegetic sounds effects in order to
communicate the relationship between the dog and Ana's personality. Additionally, there
will also be a photo frame on the wall or couch, depending on the space and shape of the
couch. Inside the frame will be a photo of an unnamed man, representative of Anas
memory. During the formulation of this directorial concept, we ensured both Anas and
Catherines house were stereotypical of their role, in order for the audience to place
themselves inside the story.
In addition to the symbolic staging, specific and skilled performance will be needed in order
for the tensions and concerns between characters to be expressed. During a performance by
Belvoir of Neighbourhood Watch in 2011, the protagonist Ana was constantly isolated on
stage through the use of space and movement. Such utilisation of the elements of drama
allowed the audience to understand Anas hardships and conveyed her ongoing
secularisation in the community as an immigrant. Moreover, during a class exercise where
we chronologically explored Anas life through tableaus, Nina and I used levels and body
language to personify Ana struggle. In a scene where Ana was in a refugee camp, we had
Ana, played by Nina, reclined on the ground in a defensive stance, as if about to be attack. In
contrast, I was standing over her in a powerful and assertive manner. This created tension
and a threatening atmosphere, whilst portraying the mistreatment of refugees and women.
Symbolic staging, paired with certain performance regarding the elements of drama, can be
used to express the social concerns and tensions between characters in Neighbourhood
Watch. During various classroom experimentations, and a viewing of the play at Belvoir
theatre, concerns including a lack of community and immigration issues were explored.