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McMurphy is smart. There is a method to his madness that Ratched sees. She knows he is dangerous because like Shakespeare's Hamlet, she thinks McMurphy is "mad in craft".
Dear Ms Jelk,My name is Ethan Lawson and I have just recently visited the Festival Theatre to view your play, Terrestrial.I currently attend Prince Alfred College and as a part of my curriculum, I am required to analyse the dramatic elements of a live performance for an assessment task. I am delighted to express that this is a letter of gratification, and I wish to commend you on your stimulating effort to utilise an array of dramatic techniques to effectively communicate the post dramatic psychological realismgenre.I was captivated with the notion in regard to how one’s perceptions are coloured by their emotions and how these emotions can dissociate one’s memory for their own desires. Similarly, your genius to tie this together with how individuals use distinct coping mechanisms to manage their feelings of isolation and remotenesswas very compelling for me also. Your focus, on the concept that one’s perceptions are coloured by their emotions was a significant strength of the play. Lighting designer, Chris Petridis should be especially satisfied for his work from the outset of the performance, which opened with dim, dampening lighting but would then swiftly switch to a bright, vibrant orange light as Badar came onto the stage. This was able to illustrate to the audience Liddy’s warm perception of Badar and her growing feelings of sentiment for him. Whilst also giving a further understanding to why optimistic emotions traditionally result in a more positive outlook. Moreover, actress Annabel Matheson executed the protagonist, Liddy brilliantly with her petulant voice and disillusioned demeanour which was able to clearly portray her distorted perception in believing in extra-terrestrial life. This is supported during the interrogation scenes ‘him”stated that he had “typed up [Liddy’s] witness statement, based on what [she] told him” and included “no aliens in it.” This confirms the audience’s doubts of Liddy’s perceptions and how heavily deceived they are as an outcome of her emotional need for continuity through the aliens. Designer, Meg Wilson’s reinforced this idea through the setting of a rural mining town projected by a majestic landscape. This highlighted the mounting affection Liddy and Badar shared for each other and how these feelings transformed their perception of a blemished country town initially, into a setting full of colour and opportunity. This related, universally to why human perceptions are never constant and are largely reliant on one’s temperament at a singular point of time.