EEddiitthh CCoowwaann UUnniivveerrssiittyy RReesseeaarrcchh OOnnlliinnee Theses: Doctorates and Masters Theses 2015 TThhee aabbssuurrdd rreeaalliittyy ooff ssaattiirree iinn NNeeiill LLaaBBuuttee''ss ''FFaatt PPiigg'' Hermione Gehle Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Dramatic Literature, Criticism and Theory Commons RReeccoommmmeennddeedd CCiittaattiioonn Gehle, H. (2015). The absurd reality of satire in Neil LaBute's 'Fat Pig'. https://ro.ecu.edu.au/theses/1661 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1661 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. USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. Edith Cowan University Hermione Gehle Principal Supervisor: Associate Professor Maggi Phillips Associate Supervisor: Associate Professor Andrew Lewis Submitted as partial requirement for Master of Research Degree in Performance: Directing Faculty of Arts and Education WAAPA The declaration page is not included in this version of the thesis Abstract This research project examines the misreading of satire in some productions of Neil LaBute's play, Fat Pig. This practice led project aims to investigate why such misinterpretations occur and explore the theatrical styles that emphasise the satire in the text via rehearsal processes and production. There will be three preliminary paths undertaken in this research heading toward a new production of Fat Pig; an exploration of the responses of audiences and critics to past productions; an analysis of the background to Neil LaBute and his work; and an examination of theatrical expressions of satire, experimental theatre, contemporary theatre, and their practitioners. The overall aim of this research project is to find ways, as a director, to experiment with theatrical styles as a means to expand the play’s complex issues and ironic take on society’s narrow view of female beauty. This study will explore the following questions: what is the correlation between staging and design (the director’s influence) and how an audience interprets meaning; and what forms of theatrical expression will highlight and emphasise the satire and irony present in the text? In what ways can critical reviews and feedback from previous productions indicate the understanding (or lack of understanding) of the ironic content in the script? Can situating LaBute in the context of his satiric writing style that straddles literary elements from opposing absurd and realism genres shed light on how irony can be exposed in Fat Pig? The project’s new production aims to underscore the play’s social commentaries by combining various forms of theatrical styles, philosophies, and methodologies. I wish to extend my directorial practice by investigating strategies to emphasise and highlight what I see as the underlying focus of Fat Pig; society’s discriminating behaviour to those who sit outside mainstream ideals of physical beauty. i Acknowledgements I would like to thank the many amazing people who have helped me, my research and the production; this journey would not have been possible without any of you. • My Supervisors- Maggi Phillips for your endless, tireless efforts, thank you for holding my hand the entire way. You have inspired and guided me through storm and reef; I am indebted to you always. Andrew Lewis, without you, this project would never have happened, thank you for placing this remarkable script in my hand. You exemplify of all that is determined, and inexhaustible; your inspiration, belief and support have kept the wind in my sails. • The incredible research support staff, Reneé Newman, Lyndall Adams and Jo MacFarlane who supported, understood and helped with everything. Also, Sarah Kearne, my favourite VIP who took care of my unwieldy accounts. • Julie Warne for her support and kind words in the many foyers and corridors. • WAAPA musical theatre and acting students who put up with my satiric obsession. • My sincere thanks to the talented WAAPA teachers, Donald Woodburn, Julia Moody, Jon Davey (JD) and the brilliant team down in workshop, your help and constant support meant the world. • Rhyl Ballantyne for her friendship, web and graphic design assistance. • The amazing WAAPA admin team who tied themselves in knots to provide our access to rehearsal space. • Lutie Sheriden for her library support and fielding endless endnote queries. • My amazingly talented cast and crew who strove so hard to make my absurd vision a reality; I am your devoted fan always. • The ‘other’ director, cast and crew; you are amazing and I cannot thank you enough for your generosity. • Fringe Festival, City of Perth and Artrage, also RTR FM and our reviewers. • Thank you to my assessors for their time and valuable feedback. • Damien Foley, Sabian Wild, Cristian Broadhurst and Marita Lane for giving their time and expertise to take the many wonderful photographs and footage. • My neglected friends who supported me even when they barely remembered what I look like and especially my mother and son, I could not have done this without you. • And last but by no means least, my brilliant fellow post grad students who supported me with my many kinds of crazy, your kindnesses will never be forgotten. iii Table of Contents Abstract ....................................................................................................................................... i Declaration ................................................................................................................................. ii Acknowledgements ................................................................................................................... iii Table of Contents ...................................................................................................................... iv List of Figures ........................................................................................................................... vii Note to readers: ................................................................................................................... vii Introduction ............................................................................................................................... 1 Thesis Question ...................................................................................................................... 1 Fat Pig ..................................................................................................................................... 2 Neil LaBute ............................................................................................................................. 4 Earlier Productions, Interpretations, and Analysis ................................................................ 5 LaBute and his relationship to Contemporary Realism and Theatre of the Absurd ............ 11 Methodology ............................................................................................................................ 17 Practice as Research (PaR) ................................................................................................... 17 Nelson’s Model ..................................................................................................................... 19 Qualitative Research Methods ............................................................................................. 22 Interviews ............................................................................................................................. 23 Visual methods ..................................................................................................................... 26 Voting ................................................................................................................................... 26 Conceptual framework ............................................................................................................ 28 Bakhtin ................................................................................................................................. 28 Answerability .................................................................................................................... 29 Author ............................................................................................................................... 31 Other ................................................................................................................................. 35 Aesthetics ......................................................................................................................... 36 Carnival ............................................................................................................................. 36 Body Image ........................................................................................................................... 41 Social Conformity ................................................................................................................. 43 iv The Influence of Robert Lepage ........................................................................................... 49 Account of Process ................................................................................................................... 53 Fat Pig Production Diary ...................................................................................................... 53 Graphic Design .................................................................................................................. 54 Casting Process ................................................................................................................. 56 Observing another production ......................................................................................... 59 Fringe Festival Venue........................................................................................................ 64 Crew recruitment ............................................................................................................. 65 Sound Design .................................................................................................................... 65 Lighting Design .................................................................................................................. 66 Set Design ......................................................................................................................... 68 The Rehearsal Process .......................................................................................................... 70 First Read .......................................................................................................................... 71 Week 1 .............................................................................................................................. 72 Week 2 .............................................................................................................................. 76 Week 3 .............................................................................................................................. 77 Week 4 .............................................................................................................................. 80 Week 5 .............................................................................................................................. 81 Week 6 .............................................................................................................................. 82 Tech/dress rehearsal week ............................................................................................... 82 Performance week ............................................................................................................ 84 Gauging the effects of the satirical approach .......................................................................... 86 Conclusion ................................................................................................................................ 90 REFERENCES ............................................................................................................................. 93 Appendices .......................................................................................................................... - 96 - Appendix A: Interview with OD ................................................................................... - 96 - Appendix B: Interview with OFA2................................................................................ - 99 - Appendix C: Interview with OMA2 ............................................................................ - 103 - Appendix D: Interview with OSC ............................................................................... - 120 - Appendix E: Interview with PFA1 .............................................................................. - 131 - Appendix F: Questionnaire responses from FA2 ....................................................... - 134 - Appendix G: Questionnaire responses from MA2..................................................... - 137 - v Appendix H: Questionnaire responses from GD ....................................................... - 140 - Appendix I: Questionnaire responses from SM......................................................... - 142 - Appendix J: Framing statement issued to assessors attending the performance .... - 144 - Appendix K: Poster of Fat Pig fringe festival production 2014 ................................. - 146 - vi