The Long and the Short and the Tall: theatrical conventions of the period

The Long and the Short and the Tall: theatrical conventions of the period

Theatrical Conventions of the Period

Playwriting

• ‘The Long and the Short and the Tall’ reflects the post-war, socially engaged British theatre, challenging and interrogating the militaristic narratives and heroism clichés.

• The play is also typical of kitchen-sink realism, a movement characterised by the depiction of working-class life, exploring the social-realism and everyday banality of the characters’ lives.

Staging

• The play is set in a proscenium arch stage that adheres to the theatrical tradition of the period. The audience is distanced and separated from the unfolding action through the “fourth wall”.

• It uses naturalistic staging, where the setting – an abandoned hut in the Malayan jungle - is recreated realistically, reflecting the conditions and atmosphere of a typical military conflict.

Acting

• The acting style is representational, where actors try to create a believable, lifelike representation of their characters’ situations and emotions.

• Traditional British enunciation was prevalent during this period which is also evident in the execution of the dialogues albeit with regional accents and military slang.

Performance Techniques

• The use of cross-cutting, where two scenes are shown alternatively, is implemented to reveal the internal dynamics among the troop.

• Pause and Silence are also used as effective dramatic tools to build tension and communicate unsaid emotions.

Cultural and Social Context

• The play subverts typical wartime propaganda pieces, showcasing the harsh realities, moral dilemmas and brutalities of war, making it contextually and socially relevant for its period.

• The character choices reflect the class and rank distinctions prevalent in British society and the military. It offers a critique on the hierarchical power dynamics, reinforcing the social commentary aspect of the play.