How Does Willy Russell Create Mood Essay

In the summer Sequence Willy Russells three main protagonists be shown to grow up from the ages of 15 to 18, thus worthy adults throughout the meter. This means that the sequence acts as a watershed in the respect that it marks a major turning point in the play. This is shown through the atmosphere that Russell get tos, which goes from fairly positive, hopeful tone to a more cynical and desperate one over the duration of the sequence. Russell uses several techniques to create these atmospheres throughout.In the enterprise of the Summer Sequence the atmosphere is clearly a happy one, which is shown by Russell by using deli precise like young, free and innocent to describe the characters. In this section, the word innocent is used twice. This repetition emphasises their jejuneness and their naivety. You fuddlent got a care, suggests Russell is trying to create an image of the characters as existence without concern, altogether free of worry so it reinforces the absolute happ iness of the characters.a nonher(prenominal) adjective that occurs later in the song is immortal which at this stage of the play creates an atmosphere of excitement and spontaneity because the children cant gestate of an block off to their current lives. A technique that Russell uses starts to use here is imagery, streets turned to enlightenment, the word paradise bring to mind an idea of secure and complete happiness, which is how he describes them in this verse. A nonher technique is personification, radios singing dreams, giving the radio the ability to do almostthing that brings happiness or joy.This line also works the first term the motif of dreams appears, one that recurs throughout the sequence. The nigh famed part of the sequence is completedly stage directions, and shows the characters at a fairground. In this part of the sequence the or so obvious technique is foreshadowing and motifs arising. In it, Linda is just ignored by the narrator, who is running the stall, when giving the grinder to them, but the boys both insist Linda fires it, which is reminiscent of the first gear of the play when Linda takes the airgun from Mickey and beats him at firing at cans.Linda also used to control their social situations, lets throw some stones through them windows. This scene is also very reliant on the gun motif that runs through the entire play which creates a darker and more ill atmosphere, and that suggests a level of violence. The fairground scene is also reflected in the musical theater choice, which is fairground-like music that plays to the tune of Tell me its not true, the song Mrs Johnstone sings at the very beginning of the play while her devil sons lie dead on the stage.So, again this ties in with the interviews awareness of the boys tragical fate, thus, creating a foreshadowing atmosphere and suggests impending disaster. This links with the gun motif, as together these cases create a sense of impending violence and death. The last line of this section of stage directions is Linda is caught in the middle, the post freezes. This creates a dark atmosphere as throughout the play Linda is al tracks seen to be caught in between the two boys, but so far, it has never ended badly. In this instance, however, it foreshadows the fates of all three characters.The use of the word game, referring to a game of piggy-in-the-middle, could suggest that the context of the play when Linda gets caught up in her own happiness which eventually leads to the tragic fate of the twins. Overall, this section is of a darker tone than the last, but this atmosphere is created through the subtext, so the interview may not be fully aware of why they feel this way about the atmosphere. This is feature through the presence of the narrator, who throughout the play appears on stage to signify or prompt something blackball to happen.He hands them the gun, and prompts the game of piggy-in-the-middle that Linda gets caught between. The next section uses metaphors to create a dark, impending atmosphere, that is more openly sinister that the previous section. Russell refers to the characters are Lambs in spring, which suggests not only their innocence and naivety, but an necessary fate, specifically one that is forced upon them, not of their own doing. This explicitly refers to the brothers fate in a way in which the last section didnt, so the tone is far more marred by the eventuality of their deaths.This date is also origind when Russell extends the metaphor, fate the later seasons bring, which causes the reference to remember the scene at the very beginning of the play, preventing them from being drawn into the initial happiness of the three teenagers in this sequence. Again, it refers to Linda being caught in the middle of the pair, foreshadowing their final argument. It also refers to Linda paying a price, a theme that was initially shown in the song Easy Terms, sung by Mrs Johnstone, and in both cases foreshadows the pr ice theyll curb to pay for their involvement in the twins lives.The music becomes far more serious and sinister, a clamant tense note with no actual melody. In the next section a recurring theme is shown with the references to time. This creates a sad, melancholic atmosphere, as the audience is aware of the characters significant lack of time together, but the characters are not, so their happy unawareness and this dramatic irony is slightly poignant. Again, fate is reference by the narrator care not for whats at the end of the day, again forcing the audience to remember the fate of the boys, this enhances the melancholy mood of the section.What is to come, what might have been, references both the eventualities of the play, whilst also suggesting they could have been happy, that it could have they could have been happier, depressing the mood even further. It is made poignant by the characters blissful ignorance, life has no endingTalk away the night, which ties in with the earlie r references of immorality. Again, this dramatic irony, where the audience know that the boys lives do have endings that are fast approaching, almost makes the audience beg them to not waste their time talk away the night.Share your last cigarette also ties into the earlier scene where Mickey and Eddie trade things, such as sweets and later cigarettes, they promise to dispense things in their blood brothers pact but they cannot share Linda. Arguably the downfall of both brothers, meaning that this watersheds atmosphere is wholly dark. In the next section it is all stage directions, but Russell uses foreshadowing and the use of the narrators presence to create a seemingly happy atmosphere that still foreshadows tragedy. In it, the trip are taking photos of individually other at the beach.In the one between Eddie and Linda, Eddie down on one knee and demonstrating affections by kissing her hand. Throughout the play, Linda has shaped Eddies personality and actions, such as coercing him to throw rocks, and Eddie has appeared to like her from the very beginning and so this foreshadows the dynamics of their later relationship. Mickey and Lindas photo does the same, as Mickey pulls a distorted face, and Linda chastening him for it, which foreshadows Mickeys later dependency on medication, and Lindas efforts to succor him get off them. This foreshadowing of tragic events, in a way that appears innocent creates aneerie, disconcerting atmosphere.As there are no words, it cant openly reference whats to come, but uses what the characters work out is a harmless and happy moment. This is compounded by the musical choice, which is again Tell me its not true, as fairground music. Again, this foreshadows the final scene, creating a foreboding atmosphere without explicit reference as to why it appears that way. In this scene we see the characters taking pictures of them at the beach, these photos are memories of the last time the three of them are all truly happy. Therefo re, the photographs signify the end of their childhood and innocence and dreams.This made clearer by the narrator being the one to take the photographs, thus being the one who signifies the end of their childhoods and lives. The children literally become adults at the end of the beach scene in the Summer Sequence, as well as metaphorically. Because the narrator is a sinister figure throughout the play, and usually is there to prompt the occurrence of something tragic, it creates a sense of impending tragedy even more obvious in this scene. The picture that the narrator takes is of them all together, happy, so he not only brings their childhood to a close, but also their happiness and friendship.In a sense, he symbolises honesty as he intrudes on their happiness, despite their ignorance and the audiences desire for him not to do so. He also represents society as it is eventually social constraints of class and wealth that divide the two. This way the audience are forced to see the s ociety that they are part of and this is the factor that brings the story to an end. The fact that he appears to them as a friendly, even helpful, face increases the audiences wariness of him and therefore the sinister temper of the scene.The overriding atmosphere of the scene is the last section is one of desperation and uncertainty. Russell uses metaphors such as unkept bottles in the sand to symbolise a man-made impression on something naive and happy, which symbolises the characters friendship and how it is change by class. The motif of a dream is repeated, as is the theme of innocence. The references to dreams ties in with the song tell me its not true, which refers to dreams. The reference to innocence here again makes the trio seem devious to the fact that they go out be subject to tragedy.