Presented by the Encore Theatre Company, at the Thick House, Jan, 17 - April.
To apply Aristotle’s “The Poetics” to San Francisco-based Canadian playwright Adam Bock’s “Five Flights” is somewhat of an anachronistic exercise in that though “Five Flights” touches upon tragic themes, it is not a tragedy, but a dark comedy. Aristotle considered comedy to be less worthy of attention because it did not provide a proper catharsis or purgation of emotions—considered to be a primary goal of good drama circa 2500 years ago.
Though Aristotle deemed that learning should be a pleasurable experience, he did not think that comedy upheld the virtues of higher moral value or purpose. “...Comedy aims at representing men as worse, Tragedy as better than in actual life.” (p. 52, Aristotle’s Poetics, H.S. Butcher, transl.). He further suggested that comedy was not a proper Attic Greek art form, but was invented by the Dorians of the Peloponnese and the Megarians of Sicily. (p. 54, ibid). A curiosity in that he himself was not from Athens, but from a colony near the Black Sea...but I digress from my storyline, much in the same convoluted manner as Bock’s play does.
In Chapter VI, considered to be the heart of “The Poetics,” Aristotle scribed that “Tragedy is an imitation of an action that is complete and whole, and of a certain magnitude.... which has a beginning, a middle, and an end.” (p. 65, ibid). He desired a beginning of “causal necessity,” a middle which follows, and an end, either by necessity or rule, has nothing following it. “A well-constructed plot, therefore, must neither begin at haphazard, but conform to these principles.” (p. 65, ibid).
The object of imitation (whether of higher or lower types) is the basis by which the distinction between Tragedy and Comedy is made. Aristotle stated that “Comedy is...not...bad, the Ludicrous being merely a subdivision of the ugly.” (p. 59, ibid). His main concern was that the comedic play promotes a lesser, rather than a higher, or noble character.
In Chapter VI, considered to be the heart of “The Poetics,” Aristotle scribed that “Tragedy is an imitation of an action that is complete and whole, and of a certain magnitude.... which has a beginning, a middle, and an end.” (p. 65, ibid). He desired a beginning of “causal necessity,” a middle which follows, and an end, either by necessity or rule, has nothing following it. “A well-constructed plot, therefore, must neither begin at haphazard, but conform to these principles.” (p. 65, ibid).
The object of imitation (whether of higher or lower types) is the basis by which the distinction between Tragedy and Comedy is made. Aristotle stated that “Comedy is...not...bad, the Ludicrous being merely a subdivision of the ugly.” (p. 59, ibid). His main concern was that the comedic play promotes a lesser, rather than a higher, or noble character.
“Five Flights” is episodic, not epic. Convoluted, not complex. Art should imitate life; the manner and mode would meet with Aristotle’s expectations. But “Five Flights” becomes a complicated plot to analyze on a one-off basis without my being familiar with the play or script
By Aristotle’s time, the art of tragedy was already a well-established genre, a fixed form with strict rules and essential features including unity of plot, character, thought, diction, song and spectacle. It also required recognition and/or reversal, or hamarteia, or a tragic flaw where a hero’s consistent behavior leads to his inevitable downfall.
By Aristotle’s time, the art of tragedy was already a well-established genre, a fixed form with strict rules and essential features including unity of plot, character, thought, diction, song and spectacle. It also required recognition and/or reversal, or hamarteia, or a tragic flaw where a hero’s consistent behavior leads to his inevitable downfall.
In “Five Flights” one could argue that there is no one protagonist. “Five Flights” opens in a garden with Tom as narrator, but the story is retold from each character’s point of view, and at different times of their lives. Stasis, rather than the hero’s downfall seems to be the medium and the message.
Aristotle wrote: “Of all plots and actions, the epeiosodic are the worst. I call a plot ‘epeiosodic’ in which the episodes or acts succeed one another without probable or necessary sequence.” (p. 69, ibid).
Aristotle wrote: “Of all plots and actions, the epeiosodic are the worst. I call a plot ‘epeiosodic’ in which the episodes or acts succeed one another without probable or necessary sequence.” (p. 69, ibid).
Adam Bock’s play begins with a seemingly simple plot, embellished with many episodic themes. A father has died; two of his three children, Adele and Tom are to decide how best to dispose of his property. But Adele’s friend Olivia wants to convert the aviary into a church, while Adele’s offstage brother Bobby is represented by his wife, Jane—who wants to sell the property. The conflict is over Jane’s need for materialism and Olivia’s need for spirituality. Or is it? Other threads unravel a love story or two.
Before the play opens, the audience hears Classical Russian music and bird song...we later find that this is no accident, it is the subtext. We begin with the establishment of a problem (what to do with the aviary), we have the development (more than one suggestion for the aviary which creates conflict), and we have a resolution of sorts, or denouement (stasis—the aviary is left to crumble into the ground). More than one false ending to the story is presented.
The set is simple, long benches in a garden Shadows of trees. Birds twittering. The same set later doubles as a hockey arena and a theater, and there is clever opening scene with Tom explaining the architect’s mock-up of aviary as a prop. A central motif that ties the stories together is that the souls of the dead are housed in birds. Tom, as narrator, begins in medias res, in the middle of things...to explain to the audience that the aviary is to house his mother’s soul... “so she could remember flying.”
The play is presented in five acts, or flights (of fancy). As with Tennessee William’s play, “The Glass Menagerie,” this is a memory play replete with the use of multiple narrators and overhead projections: The self-defined parts of the play are: 1. Narration, 2. Vision, 3. Mad Scene, 4. Conclusion, 5. Frivolous Dance. If we isolate the basic elements of theater listed in “The Poetics” and apply it to “Five Flights” we find that many of Aristotle’s requirements are indeed met:
1. Plot: The central dilemma is whether or not to rebuild or tear down the aviary. Each character negotiates some obstacle. Olivia wants to preach in it. Bobby (offstage) doesn’t care about the aviary. Jane is his proxy with her own agenda. But the father’s will deeds power equally to Bobby, Tom & Adele who are ambivalent, wanting inertia to decide on it and their fate.
The modern plot doesn’t stand up to classical ideals. There is a complete action but no one protagonist, or one through-line. The same story is told with multiple views by different characters. The only thing cohesive is the thread of an idea... that of possibility & of inertia. Fear and pity should be aroused by plot. But one could argue that there is no one hero, no one flaw—the characters are collectively fighting off inertia.
Many of the scenes are episodic. The plot becomes convoluted with the introduction of a gay love scene with Tom and a neighbor, Ed; this subplot is also mirrored by Adele who is rejected by Olivia. A hockey rink tableaux with Ed and Andre, who is a straight guy, offers an interesting twist, and a brilliant dumb show of the characters watching Swan Lake offers the audience comic relief from the tension of the escalating war between Jane and Olivia and from Ed—Tom’s rejected suitor.
2. Character must be good, true to life, consistent. None of the characters are altruistic. In their search of self-recognition, they don’t know who they are. Olivia is out of touch with reality and they are all struggling with self-identification. They don’t find it. Tom proclaims: “Nothing stupider than being in love.” Is Tom’s indecisiveness akin to that of a lesser Hamlet? He’s offered a relationship, wholeness, but his fear and hurt are too great to overcome. Does Ed really want love or sex? He says, “My strongest weapon is not caring.”
Adele is a listener. From her we learn how the aviary got built to house the soul of their mother. She. uses backstory to explain. “At the funeral, a wren landed in my father’s hand and he said ‘this bird is my wife .... I’m gonna build Mom a house...’” She introduces doubt. “Bobby said it’s just a dumb bird....” From her we learn of Bobby but we never meet him. Much of her monologue is done in kid-speak. Dad collected the souls of all the dead —even Mrs. O’Leary. “Sometimes the birds would die which was confusing. When the wren died, it was very confusing. My father went pale, just sat in there and eventually all the birds escaped....”
Jane’s epiphany about religion comes as a surprise to us for we associate Jane with the far right: rigid conventional religion—supported by Jane’s choreographed movements which are militaristic in nature. She states, “I see my God in a hedge that someone has cared for....” Her character stands for reason. Cleanliness is next to Godliness. Jane who wants to clean up on the property, feels obligated to also clean up after Olivia’s preaching sessions. Jane says that it easier for others to follow someone, but doctrine stops people from thinking But Ed says to Jane: “You and Olivia aren’t that different. You both want to leave your mark on the world.”
Olivia, is driven by pure passion, she is irresponsible. We learn Olivia’s spiritual ambitions aren’t pure. Her desire for belief system is an urge for self-empowerment—her raison d'etre. Her faith is based on synchronicity and a need for faith: it’s necessary for people to believe in something.” We are charmed by Olivia’s insight that the bird is the essence of God. “The fifth day of creation is the holiest of holy days... .” Olivia tells us that “the soul is a bird we keep in our hearts.” But then Olivia is deluged by “the pure tedium of a congregation.”
3, Thought: general maxims in the play: materialism vs. spirituality, pursuit of love and truth. There are numerous dyad—themes: of good/evil, power/ powerlessness, roles of men/ women... Use of rhetorical oration is directed at the audience in opening scene...but later becomes casual. There is good use of formal presentation, precise physical language, formal gestures, contrived and stylized movement & gesture to uphold action of Thought.
4, Diction is historically appropriate, and time & action are consistent with character’s fantasy lives. The three unities of a play; time, place, action are met; the play takes place in linear time, a recognizable place, characters are real people who conform to certain predictable standards. The language employed is witty, pithy and riddled with metaphoric juxtaposition; it works on several levels. A bird is to the soul as a soul is God And there are musical puns: Swan Lake is not only a reference to the ballet (high artifice), it also is an oblique reference to the life of the gay composer Tchaikovsky. And the pun embedded within the closing music by “Status Quo” is no accident.
5 & 6. Uses of song and spectacle. (Or 5. Frivolous Dance?) The dumb show representation of Swan Lake with its clever use of sight gags, jokes, and miming provides brilliant comic relief. It serves to take the characters out of the play so that the audience can see them in a different context. Even Andre, who hates ballet, is transformed by it. The choreographed movement of the characters provides interesting use of rhythm as does the occasional use of the characters as a chorus. Aristotle wrote that it is better to have impossible but probable action. But complications must arise out of the plot, not out of Deus ex Machina. He stated that “The Deus et Machina should be employed only for events external to the drama—” (p. 82, ibid). God appears offstage to motivate Olivia’s behavior—she claims to have seen God in the garden—the use of Deus ex Machina gives her character motivation to act.
Though Aristotle deemed comedy to be a less-worthy art form than tragedy as a vehicle for catharsis, and therefore, transformation and pleasure—the primary goal of good drama, some 2400 years later, we tend to lean towards comedy as the preferred vehicle of purgation. Adam Bock’s “Five Flights” brilliantly executed by a superb cast and director, works on multiple levels, not all of which are immediately obvious upon first viewing. Though there are occasional areas in the construction of the play which could be edited or tightened, Bock is forgiven; the play doesn’t just entertain, it transcends—which is still the primary goal of good theater.
for Brighde Mullins MFA Playwriting
March 4, 2002
Before the play opens, the audience hears Classical Russian music and bird song...we later find that this is no accident, it is the subtext. We begin with the establishment of a problem (what to do with the aviary), we have the development (more than one suggestion for the aviary which creates conflict), and we have a resolution of sorts, or denouement (stasis—the aviary is left to crumble into the ground). More than one false ending to the story is presented.
The set is simple, long benches in a garden Shadows of trees. Birds twittering. The same set later doubles as a hockey arena and a theater, and there is clever opening scene with Tom explaining the architect’s mock-up of aviary as a prop. A central motif that ties the stories together is that the souls of the dead are housed in birds. Tom, as narrator, begins in medias res, in the middle of things...to explain to the audience that the aviary is to house his mother’s soul... “so she could remember flying.”
The play is presented in five acts, or flights (of fancy). As with Tennessee William’s play, “The Glass Menagerie,” this is a memory play replete with the use of multiple narrators and overhead projections: The self-defined parts of the play are: 1. Narration, 2. Vision, 3. Mad Scene, 4. Conclusion, 5. Frivolous Dance. If we isolate the basic elements of theater listed in “The Poetics” and apply it to “Five Flights” we find that many of Aristotle’s requirements are indeed met:
1. Plot: The central dilemma is whether or not to rebuild or tear down the aviary. Each character negotiates some obstacle. Olivia wants to preach in it. Bobby (offstage) doesn’t care about the aviary. Jane is his proxy with her own agenda. But the father’s will deeds power equally to Bobby, Tom & Adele who are ambivalent, wanting inertia to decide on it and their fate.
The modern plot doesn’t stand up to classical ideals. There is a complete action but no one protagonist, or one through-line. The same story is told with multiple views by different characters. The only thing cohesive is the thread of an idea... that of possibility & of inertia. Fear and pity should be aroused by plot. But one could argue that there is no one hero, no one flaw—the characters are collectively fighting off inertia.
Many of the scenes are episodic. The plot becomes convoluted with the introduction of a gay love scene with Tom and a neighbor, Ed; this subplot is also mirrored by Adele who is rejected by Olivia. A hockey rink tableaux with Ed and Andre, who is a straight guy, offers an interesting twist, and a brilliant dumb show of the characters watching Swan Lake offers the audience comic relief from the tension of the escalating war between Jane and Olivia and from Ed—Tom’s rejected suitor.
2. Character must be good, true to life, consistent. None of the characters are altruistic. In their search of self-recognition, they don’t know who they are. Olivia is out of touch with reality and they are all struggling with self-identification. They don’t find it. Tom proclaims: “Nothing stupider than being in love.” Is Tom’s indecisiveness akin to that of a lesser Hamlet? He’s offered a relationship, wholeness, but his fear and hurt are too great to overcome. Does Ed really want love or sex? He says, “My strongest weapon is not caring.”
Adele is a listener. From her we learn how the aviary got built to house the soul of their mother. She. uses backstory to explain. “At the funeral, a wren landed in my father’s hand and he said ‘this bird is my wife .... I’m gonna build Mom a house...’” She introduces doubt. “Bobby said it’s just a dumb bird....” From her we learn of Bobby but we never meet him. Much of her monologue is done in kid-speak. Dad collected the souls of all the dead —even Mrs. O’Leary. “Sometimes the birds would die which was confusing. When the wren died, it was very confusing. My father went pale, just sat in there and eventually all the birds escaped....”
Jane’s epiphany about religion comes as a surprise to us for we associate Jane with the far right: rigid conventional religion—supported by Jane’s choreographed movements which are militaristic in nature. She states, “I see my God in a hedge that someone has cared for....” Her character stands for reason. Cleanliness is next to Godliness. Jane who wants to clean up on the property, feels obligated to also clean up after Olivia’s preaching sessions. Jane says that it easier for others to follow someone, but doctrine stops people from thinking But Ed says to Jane: “You and Olivia aren’t that different. You both want to leave your mark on the world.”
Olivia, is driven by pure passion, she is irresponsible. We learn Olivia’s spiritual ambitions aren’t pure. Her desire for belief system is an urge for self-empowerment—her raison d'etre. Her faith is based on synchronicity and a need for faith: it’s necessary for people to believe in something.” We are charmed by Olivia’s insight that the bird is the essence of God. “The fifth day of creation is the holiest of holy days... .” Olivia tells us that “the soul is a bird we keep in our hearts.” But then Olivia is deluged by “the pure tedium of a congregation.”
3, Thought: general maxims in the play: materialism vs. spirituality, pursuit of love and truth. There are numerous dyad—themes: of good/evil, power/ powerlessness, roles of men/ women... Use of rhetorical oration is directed at the audience in opening scene...but later becomes casual. There is good use of formal presentation, precise physical language, formal gestures, contrived and stylized movement & gesture to uphold action of Thought.
4, Diction is historically appropriate, and time & action are consistent with character’s fantasy lives. The three unities of a play; time, place, action are met; the play takes place in linear time, a recognizable place, characters are real people who conform to certain predictable standards. The language employed is witty, pithy and riddled with metaphoric juxtaposition; it works on several levels. A bird is to the soul as a soul is God And there are musical puns: Swan Lake is not only a reference to the ballet (high artifice), it also is an oblique reference to the life of the gay composer Tchaikovsky. And the pun embedded within the closing music by “Status Quo” is no accident.
5 & 6. Uses of song and spectacle. (Or 5. Frivolous Dance?) The dumb show representation of Swan Lake with its clever use of sight gags, jokes, and miming provides brilliant comic relief. It serves to take the characters out of the play so that the audience can see them in a different context. Even Andre, who hates ballet, is transformed by it. The choreographed movement of the characters provides interesting use of rhythm as does the occasional use of the characters as a chorus. Aristotle wrote that it is better to have impossible but probable action. But complications must arise out of the plot, not out of Deus ex Machina. He stated that “The Deus et Machina should be employed only for events external to the drama—” (p. 82, ibid). God appears offstage to motivate Olivia’s behavior—she claims to have seen God in the garden—the use of Deus ex Machina gives her character motivation to act.
Though Aristotle deemed comedy to be a less-worthy art form than tragedy as a vehicle for catharsis, and therefore, transformation and pleasure—the primary goal of good drama, some 2400 years later, we tend to lean towards comedy as the preferred vehicle of purgation. Adam Bock’s “Five Flights” brilliantly executed by a superb cast and director, works on multiple levels, not all of which are immediately obvious upon first viewing. Though there are occasional areas in the construction of the play which could be edited or tightened, Bock is forgiven; the play doesn’t just entertain, it transcends—which is still the primary goal of good theater.
for Brighde Mullins MFA Playwriting
March 4, 2002
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