In Wertenbaker's The Good of Our Country and Shakespeare's The Tempest, techniques such as scene titles, a play within a play, self-referentiality, and music are used to convey effectively effective messages that would not be as profound using only “conventional” practices. Since Our Country's Good is often classified as epic theatre, the use of stage credits and the performance of a play, in this case The Recruiting Officer, as a significant aspect of the plot are both probably the most powerful methods of reminding the audience of their setting and thus encourage them to think not just about the action of the work, but rather the moral message it attempts to communicate. In contrast, The Tempest can be seen as a "comedy about a play"; the representation of this is probably only possible through self-referentiality. Furthermore, both playwrights enhance the illustration of some other central themes by using such techniques, such as the power of drama in Our Country's Good and that of conflict and harmony in The Tempest. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay In various productions of Wertenbaker's Our Country's Good, scene titles were displayed before the start of each. Not only do these, like "Punishment" for scene three of the first act, serve as an introduction to upcoming events, but they distance the audience from the show itself. A potential "consequence" of theater is that one can get lost in the events that occur and consequently not pay attention to the moral questions proposed. It is not for nothing that Governor Arthur Phillip states that "the Greeks believed that it was the citizen's duty to see a spectacle." It was a type of work in that it required attention, judgment, patience, all social virtues to defend the positive influence of the theater. Therefore Wertenbaker uses such stage titles to remind the audience of the moral message represented in each scene, a typical characteristic of the epic theater genre. For example, the scene title “Punishment” serves as a springboard to question the civility of British society due to its ingrained belief that “prison works” due to the apparent tendency of criminals to be “inbred.” It could be argued that this title not only reflects eighteenth-century British society, but also attitudes presented in the 1980s due to Margaret Thatcher's cutting of prison rehabilitation programs. The revelation that modern British civilization may not actually have progressed much in terms of punishment is truly shocking, highlighted by the scene's short, sharp title. While not necessarily within the genre of epic theatre, The Tempest contains strong indications of metatheatre, thus potentially having similar effects on audiences in terms of encouraging them to respond thoughtfully to its representation of the world. The most palpable suggestion of this comes through Prospero, who is arguably a depiction of Shakespeare himself. There is a strong emphasis on stories and reflection on the past, especially when Prospero reveals the reason behind "the prince of power" and the fact that Miranda inhabits such a barren island. He tells her of "this story" which "was very impertinent", thus referring to the theater and establishing between Prospero, the narrator, and Shakespeare, the playwright, between whom there is probably little difference. The link between Prospero and Shakespeare is strengthened by the fact that he orders Ariel to "go and make yourself like a sea nymph" and praises him by saying "bravely you have performed the figure ofthis harpy, my Ariel". Prospero has control of his servant, as a playwright has control of the fundamental actions performed by the actors. Furthermore, the fact that Ariel in the second scene of the first act is "invisible to others, while plays and sings", which would require excellent stage effects to appear believable, creates a sense of performance within the play itself. Perhaps Shakespeare significantly self-references in this play as a sign of the end of his career as he is the last work he wrote alone, however one cannot ignore the inevitable effects that such a technique would have on the public in terms of moral messages. In both works the theme of reconciliation and redemption is illustrated through the arts The Tempest music symbolizes divine harmony and the evolution of the island's discordant foundations into those of a more friendly nature. For example, Ariel singing to guide Ferdinand to Miranda is successful; “This music crept beside me upon the waters…I followed it,” leading Prospero to achieve his goal of resolution through the unity of Miranda and Ferdinand: “Spirit, excellent spirit, I will deliver you within two days to This". The contrast between the controlling use of magic, such as unleashing a storm in Act One, Scene One, and Prospero's use of Ariel throughout the play to control those on the island, with Prospero's relinquishment of his control in Act Five, Scene One, clearly shows the transition from discord to civil harmony. Prospero abjures his 'gross magic' by breaking his staff, thus allowing nature to regain full dominion. The production of The Recruiting Officer in Our Country's Good and the discussion of the advantages and disadvantages of allowing prisoners to perform in a play not only reminds the audience that they are watching a play themselves, but also brings the central themes to light. From the first mention of putting on a show, Ensign Harry Brewer suggests that he would "instruct the convicts," suggesting the possibility of redemption through knowledge. However, Ralph Clark's shocking question of "who would act in a play" reveals his belief that convicts would be unable to take part due to their "innate criminal tendency". The incomprehension of the condemned is certainly highlighted during the first hearing; however, this stark contrast between the inmates' initial ignorance and behavior and their increased knowledge as the trials progress successfully highlights the power of theatre. Initially, inmates like Meg Long and Dabby Bryant are incredibly vulgar and insensitive, and inmates who talk openly about sex increase this impact. For example, Meg saying "I'll make you feel like a virgin" is really disturbing to hear, even for modern audiences. Additionally, Dabby Bryant's quote "Liz Morden is going to hang" highlights his insensitivity and lack of manners. Taking just their dialogue and behavior in this scene into consideration, you wouldn't be wrong to say that they were seemingly corrupt. However, even after the first audition, Ralph Clark defends the theater by appreciating its powerful influence: 'I asked some inmates to read me some lines, these women who often behave no better than animals... saying those balanced lines of Mr. Farquhar , they seemed to acquire a dignity, they seemed to lose some of their corruption. Through this single line the redemptive power of the theater is recognized, the greatness of which is increased by the fact that Ralph Clark is its defendant, an officer who initially did not believe in the possibility of educating second-class citizens. In.