Our Country's Good: structure

Our Country’s Good: structure

Structure of ‘Our Country’s Good’

Two-Act Structure

• The play is structured into two acts, each divided into multiple scenes. The two-act structure mirrors the dichotomy between convicts and officers, and the transition from despair to hope.
• Each act could be considered a ‘play within a play’. The first act introduces the characters and their circumstances, establishing the context. The second act focuses on the progression and performance of the play.

Chronological Order

• The events in Our Country’s Good generally follow a linear, chronological order. This allows the audience to experience the characters’ journey from oppression and hardship to transformation and redemption, and it aids their understanding of the changing interactions and dynamics between characters.

Cyclical Nature

• While following a chronological order, the play also exhibits a cyclical nature. In particular, the incorporation of rehearsals of the play within the play, as well as the recurring theme of hope amidst despair, give the structure a cyclical element - a constant cycle of struggle, progress and setbacks.

Juxtaposition of Scenes

• Wertenbaker utilises juxtaposition of scenes effectively in the structure, switching back and forth between the harsh realities of the convict life and the rehearsals for the play. This effective contrast highlights the transformative potential of art and theatre.

Scenic Structure

• The scenic structure of the play is important. Each scene offers a snapshot of a different aspect of life in the colony, enabling a multiplicity of narratives and perspectives. The scenes explore a range of settings and circumstances – convict life, officer meetings, hangings, rehearsals, among others – further emphasising the diversity of experiences within the colony.

Parallel Plots

• Our Country’s Good also employs parallel plots. The main plot revolves around the convicts preparing for the play, while secondary plots explore Lieutenant Ralph’s development and conflicts, romantic relationships (such as that of Ralph and Mary), and power struggles among the officers.

The Use of Metatheatre

• Wertenbaker uses metatheatre (a play within a play), as ‘The Recruiting Officer’ mirrors Our Country’s Good. This not only fuels the narrative but allows self-reflexivity, as the convicts and the audience alike grapple with the transformative power of theatre. The structure thus underscores the themes of transformation, identity, and the power of art.