Wertenbaker wrote The Good of Our Country to describe a process of character development. Through the Howardian theory of redemption, learning from each other and taking action in their production of The Recruiting Officer, they transform themselves into what Phillip calls “members of society again” as they “help create a new society in this colony.” The word "transform" comes from the Latin word "transformare", which literally means "to change shape", but normally has connotations of evolution rather than deterioration. In Act 2 Scene 2, Wisehammer says, “It doesn't matter when a play is set. It's better if it's set in the past, it's clearer” and so, when the word 'transform' is applied to theatre, it seems to suggest that when characters physically change their appearance or their ways to play their characters in The Recruiting Officer, they also change their way of thinking. They learn from the history of the work. Thus, while Wertenbaker truly controls the transformations through his artistry, the characters seem to transform and improve on their own. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Ralph proves that he follows orders and does what he has to, to try to get out of the colony. In Act 1 Scene 6, he says, "We might... transcend... the brutality... and remember... England" since here 'transcend' means 'climb' or 'overcome', but this idea to go further suggests that Ralph does not want to face the difficulties directly. Instead, he tries to evade trouble to keep moving. In Act 2 Scene 2, Ralph shows his complete obedience to Phillip with the terse and rambling feedback - "Yes and I-", "Sir-" and "I understand- Sir" - implying that here too Ralph follows up basically duties to avoid clashes and keep life in the colony simple. Yet Ralph hasn't changed at all and still wants to escape. This theme is further emphasized as in the original 1988 production of Our Country's Good each of the actors played two or three characters; however, David Haig only played Ralph Clark. While this tactic may simply be practical, as Ralph appears throughout the play, it is more likely to suggest that he does not transform; the actors play various characters as they all work to be united, but Ralph is left behind. Furthermore, Ralph uses Mary to disguise the difficulties of being on the ship. In Act 2 Scene 9 (Love Scene) it is clear that Mary and Ralph are having an affair, but as before, Ralph seems anxious and scared: “Look at the clock. He gets up. Steps." His relationship with Mary may be a means for him to forget the colony, in much the same way that Arscott uses the theater to forget: "When I say Kite's lines I forget everything else." However, with the illicit status of the relationship (as Ralph is married to Betsey Alicia) and with Ralph's desire to escape, Wertenbaker could convey the flaws of humans. Phillip understands this idea in Act 2, Scene 2, as he appears to have been made omniscient by Wertenbaker. Here he tells Ralph that "Socrates angered the state of Athens and was therefore put to death" to suggest that Ralph angered the colony and the inmates not by accepting his own guilt, but simply by blaming others, and therefore not is a good Lieutenant. Instead, Phillip states that the inmates must "be made an example of...through redemption" and that while Ross treats the inmates like animals - "Now he wags his tail and barks" - Ralph can try to "redeem the [their] humanity". Ralph, however, addresses the idea of ​​martyrdom by comparing Jesus— “I will give my life” — but Phillip explains that their experience is not about divinization or religion — “The reverend is a donkey” — but about fundamental humanity, so fundamental that the Aborigines understand deeply two scenes later: “ How can we make friends with this crowded, hungry and disturbed people's dream?" In Act 2, Scene 2, Phillip also conveys the ideas of the Philosophy of the Imperfect in that trying is what counts, even though "we may fail". Here he suggests that it's no good to "transcend" and try to escape, because then you won't move forward Dabby doesn't understand this at the end of the play, as he uses the play to escape - "well done Dabby, hurray, you've escaped" - and is therefore unhappy. – “Please, I want to go back to Devon” – while Mary, who uses the play to liberate herself, concludes with the surprising and independent exclamation “I love this!” Here, Wertenbaker suggests that those who use the game to forget do not end up being happy like those who use the game to transform themselves. The irony is that the inmates understand this while Ralph does not: "Unexpected virtues are often accompanied by unexpected virtues in people" (Phillip). Later, in Act 2, Scene 7, Dabby understands the transformation through commitment in the Recruiting Officer's words but does not apply that transformation to the play and his life. He says, “Marriage is nothing, but will you take care of her?” and therefore explores the idea that structure becomes meaningless if there is no emotion; if inmates see the show simply as a form of drama, rather than as a method for transformation, the show becomes useless. While realizing this indirectly here, in the end, Dabby doesn't understand the idea and sees the play as a structural device, and thus offers a contrast to the play's momentum and Arscott's ideals: “When I say my lines, I think of nothing else. Why can't you do the same?/Because it's only for one night” Dabby, however, shifts from his hardened cynicism to passion and romance. In Act 2 Scene 7, she says that "Love is the barter of perishable goods," and this language of commerce and industry suggests that she sees love through the lens of being a convict; prostitution as a means of subsistence is the only idea of ​​love she had. In scene 11, however, he appreciates beauty and uses romantic language ("I saw the whole play, and we all knew our lines, and Mary, you were so beautiful") and this transformation seems to be a fulfillment of Phillip's earlier wishes . prophecy: “The condemned will speak a refined and cultured language and will express feelings of a delicacy to which they are not accustomed”. The language of theater and freedom of expression led Dabby to appreciate the beauty of humanity. In scene 7, there appears to be a love clash between Ralph, Mary and Wisehammer. Wisehammer tells Mary, "I would marry you... you would live with me," and, while acting, kisses her. But Ralph "angrily" becomes offensive: "I'm not saying that Silvia is kissed in the captions!" While clearly a conflict, this is actually also a transformation from the very first scene where Wisehammer speaks in the language of lust and vulgarity - "what is there to do but look for English pussy" - and Mary distances herself from the 'love, belittling him - “I don't know why I did it. Love, I guess." By playing characters in the play and openly demonstrating each other's emotions while disguising them as Silvia and Brazen's emotions, they allow their feeling and affection to grow. Furthermore, there is also some clash over the concept of doubling. the play Arscott argues that he, unlike Dabby, does not want to play himself, since "When [he says] Kite's lines... [he forgets] the judge..." Here, Wertenbaker explores theater as. therapy. While others.”