Billy Gleeson

Audiences are not only entertained; they are made to engage with the social concerns
explored in plays. Discuss with reference to Stolen.
In contemporary Australian theatre, audiences are increasingly made to engage with the
social concerns explored in plays. The concept of realist theatre, one where the audiences
purpose is to simply be entertained, is gradually being substituted by a more purposeful,
thought-provoking style. Playwright Jane Harrison, a Muruwari descendent, was
commissioned to compose Stolen, a non-linear, episodic play that exposes the multi-faceted
experiences Indigenous Australian children faced during the 20th Century. Encompassed
within Stolen is the exploration of 5 different experiences of the stolen generation,
experiences the audience connects and engages with, consequently exposing the horrific
social concerns of the time. Additionally, the subversion of the traditional concept of
childhood, replaced by a corrupted youth and subsequent damaged adulthood further work
to break theatrical barriers. Through the utilisation and manipulation of the elements of
drama (EOD) and the elements of production (EOP), Stolen acts as the exemplar for the
movement towards a more socially critical contemporary theatre style.
Through the exploration of the complex and unique experiences and events of the stolen
generation, Stolen engages the audience, resulting in societal concerns being proficiently
conveyed. Unlike conventional theatre, within Stolen, each character is playing a role;
representing a factual experience from the stolen generation. Throughout the play, the
audience is consistently bombarded with the contrasting roles, heightening tension and
creating a threatening and sombre mood. During our first practical improvisation of the play,
and following the stage directions on the first page to talk about home, family especially
mothers and fathers, all the actors, up stage centre, began overlapping one another with
fictional memories. Whilst doing so, the pace increased, so to did the volume of our speech
and emotional tone. However, on the cue to finish, that is Ruby, played by Hannah, crying
My mums coming for me, the audience was immediately alienated, with feelings of
hopelessness and empathy evoked. Within this practical experimentation, the themes of loss
of identity and lack of home were explored, conveying social issues including indigenous
homelessness and mental illness. Moreover, through the portrayal of the unspoken abuse
which many indigenous children survived, Harrison engages the audience with the
inexplicable social horrors of the stolen generation. Our second practical workshop involved
performing the first Unspoken Abuse scene within the play. Unlike the previous workshop, I
was in the audience during this scene. Whilst watching, I noticed a clear use of space and body
language to create tension and highlight Rubys isolation as she returned from the unnamed
abuser. Hannahs characterisation in her slow and timid movements was powerful and
successfully conveyed the themes and issues. Additionally, line-ups were used to dehumanise the characters, institutionalising their childhoods and further shining light on the
real life experiences indigenous children faced.
Within Stolen, Harrison consistently subverts the concept of a traditional childhood, resulting
in strong evocations and engagement within the audience. Throughout the entirety of the
play, the five young characters are placed in situations and experiences unfit for children of
such age. In doing so, Harrison grasps the audience, involving them in the social issues
explored. Within the classroom setting, we explored using soundscapes to convey the themes
and issues present within Stolen. The soundscape my group created, using props including;
tapping of a wand, book slamming, milk crates and shoes, was exploring the conditions within
a stereotypical childrens home.

Aurally encompassed within the soundscape included the sound of children playing, incessant
pattering of a wand and childrens songs. Juxtaposed with this was an instantaneous
authoritative shushing of a Matron, a commanding stomp and book slam. The contrast
between sounds and pace shifted the tension and atmosphere, from innocent and nave, to
merciless and clinical. Additionally, following the entrance of the matron, the dialogue I
wanna go home and you dont wanna go to their home Jimmy further contextualise the
scene and contrast the traditional idea of childhood. The themes and issues conveyed include
loss of childhood, loss of home and mental illness. Comparable to our soundscape, childlike
games and jingles are used on a number of occasions in Stolen, such as the Happy Little
Vegemite song. However, equivalent to our shift in atmosphere, the changing of the words in
the play is used to alienate the audience, highlighting the corruption of innocence occurring.
Stolens episodic nature and non-linear form allow for an in-depth and multi-faceted portrayal
of the experiences of the stolen generation. Within Stolen, both the childhood and adult
experiences of the children are conveyed, taking the audience on a long journey, and
contextualizing many of the adults current complications. Character transformations are
heavily prevalent within the play. Consequently, the audience is forced to use their individual
imagination in order to comprehend the story unfolding in front of them. In doing so, Harrison
fully engages the audience, possessing their total attention and thus engrossing them in the
story. With this in mind, the power of directly addressing the audience, breaking the 4th wall,
and thus isolating them is immense. In the scene Sandys story of the Mungee, the lingering
direct address dialogue And the people would know. And the people would never forget
directly confronts the audience, heightening tension, and provoking them to question their
culpability for the historical atrocities. Thereby, the notion of audiences being entertained is
discarded, replaced with a motive of ethicality and provocation.
Although episodic and non-naturalistic, Stolen is a play that is able to convey the themes and
issues surrounding the forceful taking of indigenous children by the Australian Government.
Audience engagement is achieved through the mutual exploration of the experiences of the
generation, as well as the concurrent corruption of childhood innocence and identity.
Through the practical work shopping of the play, the elements of drama and other theatrical
techniques that proficiently communicate the social concerns within the play were utilised.
Although through no medium could the unspeakable atrocities and events of the stolen
generation totally be conveyed, Stolens attempt to elucidate such issues and experiences is
admirable, placing itself as one of the most important contemporary Australian plays of our
time.