In The good of our country by Wertenbaker and The Tempest by Shakespeare, techniques including scene titles, a play within a play, self-reference and music are used to effectively convey messages that would not be as profound using only "conventional" practices. As Our Country's Good is often classified as epic drama, the use of scene titles and the performance of a play, in this case The Recruiting Officer, as an important aspect of the plot, are arguably the most powerful methods of reminding the audience of their setting and thus encouraging them to think not only about the action of the play, but rather the moral message it is trying to communicate. On the contrary, The Tempest can be considered a “play about a play”; the representation of this is arguably only possible via self-reference. Additionally, both playwrights enhance the illustration of 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 Should Not Be Banned”? Get an original essayIn various productions of Wertenbaker's Our Country's Good, scene titles were shown before the start of each scene. Not only do these, like "Punishment" for Act One scene three, serve as an introduction to the events to come, but they also distance the audience from the play itself. One of the potential “consequences” of theater is that one may become lost in the events that are occurring and, therefore, not pay attention to the moral issues being proposed. It is not for nothing that Governor Arthur Phillip said that "the Greeks believed that it was the duty of a citizen to watch a play." It was a kind of work in that it required attention, judgment, patience, all the social virtues to defend the positive influence of the theater. Thus, Wertenbaker uses such scene titles to remind the audience of the moral message represented in each scene, a typical feature of the epic theater genre. For example, the scene title "Punishment" acts as a springboard to question the civility of British society due to its ingrained belief that "prison works" due to criminals' apparent tendency to be " innate”. It could be argued that this title reflects not only 18th century British society, but also the attitudes presented in the 1980s due to Margaret Thatcher's removal of prison rehabilitation programs. The revelation that modern British civilization may not have progressed much in terms of punishment is indeed shocking, underlined by the scene's short, cutting title. Although it does not necessarily belong to the genre of epic theater, The Tempest contains strong indications of metatheater, thus potentially having similar effects on audiences by encouraging them to respond thoughtfully to its depiction of the world. The most palpable suggestion comes from Prospero, who is arguably a representation of Shakespeare himself. There is a strong emphasis on stories and reflection on the past, particularly when Prospero reveals the reason behind "the prince of power" and the fact that Miranda inhabits such a barren island. He tells him "this story" which "was most impertinent", thus referring to the theater and establishing between Prospero, the storyteller, and Shakespeare, the playwright, between whom there is undoubtedly little difference. The link between Prospero andShakespeare is reinforced by the fact that he orders Ariel "to go and make yourself like a sea nymph" and congratulates him by saying "you have courageously interpreted the figure of this harpy, my Ariel". Prospero controls his servant, as a playwright controls the fundamental actions performed by the actors. Additionally, the fact that Ariel in Act One Scene Two is "invisible to others, playing and singing", which would require excellent stage effects to appear believable, creates a sense of performance within the room itself. Perhaps Shakespeare is significantly referencing himself in this play as a mark of the end of his career as it is the last play he wrote alone, but one cannot ignore the inevitable effects such a technique would have on the public in terms of moral messages. The theme of reconciliation and redemption is illustrated through the arts in both plays. In many cases in The Tempest, the music symbolizes divine harmony and the evolution from the discordant foundations of the island to those of a more friendly nature. For example, Ariel singing to guide Ferdinand to Miranda is a success; “This music slipped by me over the waters… I followed it,” which allowed Prospero to achieve his goal of resolution via the unity of Miranda and Ferdinand: “Spirit, fair spirit, I I will be released in two days for this.” The contrast between the controlling use of magic, such as raising a storm in Act 1, Scene 1, and Prospero's use of Ariel throughout the play to control the island's inhabitants , with Prospero's relinquishment of his control in Act 5, Scene 1, clearly shows the move from discord to civil harmony. Prospero renounces his "raw magic" by breaking his staff, allowing nature to regain its full domination. The production of The Recruiting Officer in Our Country's Good and the discussion of the pros and cons of allowing inmates to act in a play not only reminds the audience that they are watching a play themselves, but also highlights themes central. At the first mention of creating a play, midshipman Harry Brewer suggests that it would "educate the convicts", suggesting the possibility of redemption via knowledge. Yet Ralph Clark's shocked question of "who would act in a play" reveals his assumption that convicts could not participate because of their "innate criminal tendency." The incomprehension of the condemned is certainly highlighted during the first hearing; nevertheless, this stark contrast between the initial ignorance and behavior of the inmates and their increased knowledge as rehearsals progress successfully highlights the power of theater. Initially, inmates like Meg Long and Dabby Bryant are incredibly vulgar and insensitive, and having the inmates talk openly about sex increases this impact. For example, Meg saying "I'll play you as hard as a virgin" is indeed disturbing to hear, even for modern audiences. Additionally, Dabby Bryant's line "Liz Morden is going to be hanged" highlights his callousness and lack of manners. Considering just their dialogue and behavior in this scene, it wouldn't be wrong to say that they were apparently corrupt. Yet even after the first audition, Ralph Clark defended the theater by appreciating its powerful influence: "I asked certain women in prison to read me a few lines, these women who often behave no better than animals... saying these well-balanced lines from Mr. Farquhar, they seemed to gain a dignity, they seemed – they seemed to lose some of their corruption.” Through this single sentence, the.