b'T3 Journal - Student Writing in Drama, University of Exeter 2020-21 Susannah Bramwellexchange Mrs Bark even runs into BERTAs room (ibid)critiquing both selfish men and their eternally forgivingIm one (she controls / with difficulty the shake in hermanufacturing and influencing popular opinion and which echoes the fast physical movement of Lady Audley.and self-effacing wives the play was thus among the firstvoice) who has got up bruised and bleeding/, wiped thefeeling (Bubbles of the day, 59), so it is not unbelievable Like Braddon, Leffler engineers a complete turn of eventsin Scandinavia to attack both male and female attitudesdust from her hands and the tears from her face, and / saidto suggest that Vidas active nature in Votes For Women was in the play within a short space of time, which does startle(19). Powell suggests that women who wished to writeto herself not merely, Heres one luckless woman! but consequently a guiding force to potential suffragettes. and surprise the audience.good plays would have to approach the language from ahere is / a stone of stumbling to many. Lets see if it cant masculine perspective, stripping their plays of socialbe moved out of / other womens way. (3.1.777-782)Both Leffler and Robins used popular aspects of The speed of Lefflers play allows for the stage to holdtheories and political opinions (86). However, in usingmelodrama to develop political plays focused on rights multiple voices which present both issues from themelodramatic tradition Leffler and Robins were ableThe intensity of Vidas emotional feeling could stray intoand respect for women. The aesthetic principles that were male-dominated outer world with issues from the femaleto step away from male approaches and share politicalhysterics, but Robins simple stage direction of control,the foundation of the theatricality of their plays benefited dominated domestic sphere (Harvey 41). Brecht suggestedopinions; with the pen in their hands, they were able to usecombined with an authenticity of feeling that shinesthe presentation of their political opinions. In disrupting that innovations which require a repositioning ofexpressive style to be forcefully political and feminist.through the impassioned language, ensures this is nottheir audiences horizon of expectations (Bennett 48) cultural markers will only be accepted if they rejuvenatethe case. Robins has successfully modified melodramaticwith their repurposing of melodramatic convention, rather than undermine existing society (Bennett 97),The disruption of melodramatic character tropes, and theconventions to show her heroine as empowered rathertheir theatre was actively political and, therefore, created and arguably Lefflers portrayal of a wife continuallyendings portrayed for those characters, are perhaps thethan embowered (Tilghman 349). Accordingly, I wouldsensation and inspiration for their audiences. Bennet notes sacrificing her freedom to her husband was aimed tomost significant feminist strategy of Leffler and Robins.argue that, in opposition to Stowell who proposes thatthat the aesthetics of theatre cannot be divorced from rejuvenate her society through sympathy. Moreover, inMost noteworthy is how Robins used the trope of theRobins was writing within a patriarchal dramatic traditionthe culture that it serves (92), and Paxton confirms this, using melodramatic convention Leffler made it easier forfallen woman through Vida. Tilghman highlights how(Farfan 73), to not have Vida die is a defiant breaking withrecognising that the suffrage movement understood the an audience to absorb and respond to the plays feministthe fallen women was a staple of melodrama (348),generic tradition. The audience expecting a conventionalimportance of utilising the persuasive power of visual issues framed in a familiar format, which corresponds withand Robbins signals Vida to be one in the first act. Vidaending is now left with hope: John observes how thepower as part of a political agenda (Stage Rights! 17). Votes Jauss theory of expectations (Bennett 48). In this way itis described on entrance as a woman with a somewhatwoman with a past is given both a present and a futureFor Women, in its fusion of the personal political passion of could be argued that Lefflers use of her pen, her style andforeign grace; the kind of whom men and women alike say,(143). Thus, Tilghman is correct in arguing that Vida isVida and melodramatic convention, has stronger political aesthetic principles, had political implications.Whats her story? Why doesnt she marry? (1.1.277-278).a positive role model for young women to follow (352),implications in comparison with True Women, even if Robins The sense of mystery, and the idea that Vida has a pastas can be seen in Vidas intention to help other fallenis more didactic in doing so. Gates identifies that Robins All characters present on stage in the last lines of Ladyis corroborated by Mrs Heriot who states (Significantly).women. In creating a strong sense of hope, Robins stylestrategically manipulated political attitudes (109), and I Audleys Secret undergo a form of emotional excess that isWe cant pretend to have access to / such sources ofhas prevailing political implications.have suggested that this is most thought-provokingly done displayed physically:information as Miss Levering (1.1.542-545). Farfanthrough her management of common melodramatic tropes. contends that Vida is ultimately a melodramaticallyMcDonald highlights the ability of Vida to translate herRobins also advocated for other women to pursue the use [Lady Audley] presses both hands to her heart, and fallsconventional victim (73), however, she overlooks thatprevious experience of personal tragedy into politicalof the pen to obtain the vote (Farfan, 70), and it is certain back dead; SIR MICHAEL appears, door R., and gazesRobins treats her fallen woman considerably differentlyaction (156) in the second act, but fails to acknowledgethat her play stood as a foundation for further plays on on her with grief and terror; TALBOYS kneels beside her,from how a melodrama would. Significantly, she is nothow the innovative reconstruction of the fallen womanswomens rights. Therefore, the implication of the pen being covering his face with his hands; ROBERT raises his handspunished for her sin. Tilghman validly claims that in ordertypical ending in the third act is also radically political. It isin the hands of women, especially Leffler and Robins, towards heaven (38). to fulfil her function in the play, the fallen woman wasthe consequential action that Vida exits wrote: is that they could combine their profession and their not allowed to thrive; she was made to atone for her sins byfeminist beliefs to write powerful pieces of influential, Interestingly in True Women Leffler, like Braddon, alsomeans of scandal, ostracism, destitution, or suicide (348).STONOR. Youve forgotten something. (As she looksfeminist theatre. As such, it is still exceedingly important presents Mr Bark to be overcome by excessive emotion;Braddons Lady Audley conforms to this type. Arguably,back he is signing the / message.) This. (She goes outto consider these plays as the innovative pieces of feminist Leffler simply states Mr Bark is Weeping (33). Whileshe is a fallen woman as she has been unfaithful to hersilently with the political dynamite in her hand.)political drama that they are, especially as even today the this does not have the flamboyance of Braddons writing,husband and married another man, thus, the play ends withCURTAIN. (3.1.799-801).rights of women are continually side-lined. Lefflers stage direction could have incited acting that wasthe act of her suicide: I have taken poisondeath is on me reminiscent of men in sensational melodramas. Harveyeven now! (38). Therefore, Lady Audleys Secret conformsCertainly, Robins is didactic in her stage directions, but the identifies how Leffler controversially alluded to recentto Neweys description of melodramatic structures; sheaudience would only see Vida exiting the stage, knowing hotly debated developments one being the passing inargues that the retributive deaths of transgressive femalethe impact she will have. The melodramatic fallen woman Bennett, Susan. Theatre Audiences: A Theory of Production and Reception, 2nd 1874 of a law allowing married women to dispose of theirprotagonists were apart of the dramaturgical conventionswould end the play dead and unmoving on the floor, asedition. Routledge, London, 1997. PRINT. own income (19). The significance of Mr Barks weepingof the genre (Melodrama and Gender 150). Braddon evenLady Audley does in Braddons play. Robins rewrites the alludes to the controversy surrounding the law, and so hisshows Lady Audley to regret her suicidal decisionIf Iending for her fallen woman, and turns a potentially tragicBraddon, Mary Elizabeth. Lady Audleys Secret, adapted by William Suter. Thomas Hailes Lacy, London, 1863. PRINT. weeping makes him seem manipulative. In contrast to thehad but delayed a few minutes only! (38)but it is too latepersonal incident that should have excluded her from positive aspect that emotional feeling brings to Robinsand, inevitably, the fallen woman is punished for her crime.society according to social and stage conventions into theMatthews, Brander. Chapter VII: Women Dramatists. A Book About the Theater. Charles Scribners Sons, New York, 1916, pp. 111-126. characters, Leffler uses the generic convention to criticiseraison detre for an active campaign (McDonald 140). ThePROJECT GUTENBERG, 2011: https://www.gutenberg.org/Mr Bark, and also Mrs Bark for being so sentimental asHowever, Robins departs from melodramatic tradition aspolitical implications are huge considering the potential farfiles/36790/36790-h/36790-h.htm#CHAPTER_VII to let him regain control over her money following hisnot only does Vida survive, she also finds a purpose for herreaching effect on a theatrical audience. Newey maintainsCameron, Rebecca. A somber passion strengthens her voice: The Stage as weeping. Therefore, Harvey persuasively concludes that inpast, passionately displayed in one of her final monologues:that the theatre was an important remediating spacePublic Platform in British Womens Suffrage Drama. Comparative Drama Vol. 28 29'