Download ADVANCED ASSOCIATE OF SPEECH NEW ZEALAND IN SPEECH

ADVANCED ASSOCIATE OF SPEECH NEW ZEALAND
IN SPEECH AND DRAMA
(TEACHING AND PERFORMANCE)
PAPER FOUR
New Zealand and Pacifica Writing
TIME: One Hour
QUESTION:
Either
A:
“I can’t imagine a world without poems. It’d be like trying to imagine a world without
colour”. (Sam Hunt, Poet; Sunday Star Times).
What do you understand by this statement?
AND
Suggest two named poems by different New Zealand/Pacific Island poets which you believe
“add colour” to the world. Justify your choice with reference to both the techniques of poetry
writing (eg imagery, form and style, rhyme, alliteration etc), and the content and impact of
the poems.
Or
B:
Given the many ways of being entertained online and on screen, why should theatrical drama
still matter? (Defining NZ; Massey University. Pub. November 2010).
Explain the place New Zealand/Pacific Island theatrical drama has in today’s world.
AND
Justify your reasoning by referring to two named New Zealand/Pacific Island plays.
SAMPLE ANSWER:
B
Theatrical Drama plays a key role in society and New Zealand and Pacific Island drama is a
valued element of culture in New Zealand today. Despite the many ways of being
entertained online and on screen, theatrical drama offers a unique element that can be
captured and the themes and ideas easily understood.
One New Zealand playwright who has played a vital role in the development of theatrical
drama is Bruce Mason. Born in Wellington in 1921, Bruce Mason has played a powerful role
in the development of the first professional theatre in New Zealand’s Downstage Theatre. As
he was growing up, there was not a lot of scope for optimism as it was during the
depression. His father influenced him to believe that life is a comic play and his mother gave
him ideas of geographical displacement as she was an English war bride. He struggled to fit
in with the Pakeha society and so he turned to Maori values which he found he could
embrace. In 1959, Bruce Mason found that he was unable to earn his career as a playwright
in a country without a professional theatre, so in fear he presented his play ‘The End of the
Golden Weather’. From this solo play, he was able to bridge the gap between past memories
and present for many New Zealanders. ‘The End of the Golden Weather’ was a vital
theatrical piece of drama as it was familiar for many New Zealanders representing a typical
New Zealand summer. It is about the pains and pleasures of a boy going through childhood
and puberty on Takapuna Beach during the 1930s. It helps to show what New Zealand was
like then. It was marked by the Queen Street riots. Through this play, Mason was able to
express themes that were relevant to New Zealand at the time, such as the corruption that
was hidden behind the innocence. It also showed that as a country, New Zealand was
having to deal with social and economic issues much wider than the local ones.
Bruce Mason’s plays are important especially those that focus on Maori themes and their
society. His five play collection ‘The Healing Arch’ focuses on themes of Maori values and
respect, and are plays which are also vital in society today. It is through these plays that
New Zealanders are able to connect with their past history and aspects of identity. As he
focused on sensitive individuals who were trying to meet elders’ demands, Mason’s
audience could easily sympathise with the characters and make connections and links to
their everyday lives. ‘The Pohutukawa Tree’ is the first of a series of plays and it focuses on
the Maori in exile. It is a story about Aroha who lives at Te Parenga working for Pakeha
while the rest of her tribe moved to different lands. She is strong-willed and will not let go of
her identity. Through this play we are able to see what it is like living as a Maori under
European occupation and the cultural conflict and issues in a settler society. “It doesn’t
matter that Queenie comes from a line of chiefs. She will still be Maori to my mother.” The
play ‘Hongi’, focuses on the myth of the noble savage Maori. If it were not for plays like
these, certain aspects of Maori history and culture would be difficult to pass on to future
generations. ‘Hongi’ explores the influence the Pakeha had on a completely oral culture.
Lastly Mason’s play ‘Awatea’ is a play which focuses on respecting elders and the extreme
mana and pride evident in the Maori culture.
Bruce Mason’s plays are cultured, articulate, witty and unique in contrast to online
entertainment and on screen. Theatrical dramas like these still matter as they explore values
and morals in society which are captured through emotions and beautiful, well-crafted
writing. Bruce Mason has produced over 34 plays, and each has a narrative focus. In 1996,
the Bruce Mason Theatre was opened in Takapuna, Auckland to honour him. Theatrical
drama matters as it also encourages more Maori actors to become involved in the theatre.
Bruce Mason’s plays have encouraged this. Some Maori are apprehensive in taking on
roles, but they serve as role models for future generations.
Theatrical drama should still matter as it delivers a unique message that often is not able to
be captured through online entertainment and on screen. The emotions expressed through
theatrical drama are well throughout, and not materialistic but true to the playwright’s heart.
A New Zealand/Pacific playwright who truly captures this is Dianne Fuemana. She was born
in New Zealand but is of Samoan/Niue descent. Dianna Fuemana’s plays capture a sense of
two merging cultures – the Pacific and New Zealand way. Through her plays people are able
to connect with the past, and tentatively question their identity. Dianna Fuemana focuses on
themes of family and longing. Her plays are well written and capture modern times. Her play
‘Mapaki’ is about a girl named Fisi who is caught up in a web of domestic violence and
abuse. She overcomes this through recalling childhood memories and living in a world of
illusion. ‘Mapaki’ is a hard-hitting and emotional play which deals with harsh realities of life.
Theatrical drama such as this is important as it no longer conceals the darkness of society.
Although it may contain issues and themes which were unthinkable to be written about in the
past, it is an honest and harsh look at reality. Plays such as ‘Mapaki’ are important for
society as they no longer censor issues. ‘Mapaki’ has been performed not only in New
Zealand but also in Greece and the USA. This helps to convey the importance of theatrical
drama containing essential themes which explore universal ideas.
In addition, Dianna Fuemana’s other plays such as ‘The Packer’ and ‘Falemalama’ help to
show that New Zealand/Pacific drama has a place in the world. They focus on themes of
cultural dislocation and family separation which can be found in settler societies. However,
they also help to show the love and ambition certain individuals have to be themselves in a
time of change. Through online entertainment and on screen entertainment, these ideas can
often be portrayed in an unrealistic manner. Through theatrical drama, the audience/reader
is able to connect with the characters’ emotions and state of mind.
‘The Packers’ shows a variety of cultures and is reflective of the multicultural society we live
in today. Fuemana was inspired to write ‘The Packers’ as it was similar to her own
experience with a Pakeha actor. She found that although she came from a completely
different upbringing, their culture and values were still the same.
Dianna realised that as her writing was not mainstream, it would be difficult to get published.
However, she wanted to write about her urban Auckland roots. Growing up in New Zealand’s
largest Pacific city – Auckland – she was able to have a good ear for the dialogue and
eccentricities. “made friends with the coconuts next door haveya”. (‘The Packer’) It was
through this that she has been able to provide hope for upcoming Pacific playwrights.
‘Falemana’ shows the journey of her own mother as a migrant Samoan woman to New
Zealand. It explores her struggle of settling into a new identity to becoming a brave and
beautiful woman. “NZ is the land of milk and honey” Through plays like these, universally,
themes of identity and strength are revealed and they help to show what it means to live in
New Zealand. Dianna Fuemana’s leading role in developing Pacific theatre has further
encouraged more Pacific writers and actors into the writing world.
New Zealand and Pacific drama has a vital place in the world today. It represents New
Zealand’s identity and how it can be perceived through many different individuals’ journeys.
Its place in society is crucial as it conveys strong ideas about New Zealand during the 1930s
(Bruce Mason’s ‘The End of the Golden Weather’) and then the Pacific story (Dianna
Fuemana’s plays). Furthermore, in the 21st century, plays such as ‘Mapaki’ are no longer
concealing the flaws of humanity and expressing the harsh realities of the world we live in
today. New Zealand and Pacific drama allow society to understand further what it is to be
human, and touches on many characteristics such as Maori values in Bruce Mason’s
collection.
EXAMINER’S REPORT:
You gave a detailed and comprehensive answer to the statement posed. You were able to give
valid reasons why live theatre is still important to New Zealand culture, using the play cycle
of Bruce Mason to justify its relevance to the time it was written and also to today’s audience.
In addition you wrote effectively about Dianna Fuemana’s work showing your understanding
of the importance and place of this reasonably contemporary piece of theatre.