BRAND COMPARISON PAPER - 1359 Words

Brand Comparison Paper Edwin Loeffler, Jessica Canaday, Mackenzie Damm, Cindy Berrios BRM/353 September 8, 2014 Bridget Peaco Brand Comparison Paper Introduction Pepsi Co. and Coca-Cola have been in business for a long time and both are largely successful companies in the beverage industry. They both have different brand components in comparison. A few of the different comparisons would be pricing, quality, packaging, logos, brand equity and features. In the following paper we will discuss these items in detail to see how different these two brands are. Pricing Strategies Looking at the pricing strategies of PepsiCo and Coca-Cola they are taking two very different plans. The products they sell are similar with†¦show more content†¦Product Image and Personality Even though these companies are vastly different in there branding they are very similar when it comes to image and personality. Both companies are concerned with sustainable packaging, recycling, and making an impact of the future of our globe and its environment. Coca-Cola has a commitment to â€Å"set the standard for sustainable packaging, achieve zero waste in our operations and recycle more packaging than we use† (Coca Cola Enterprises, 2014). Coca-Cola uses targets such as using less packaging, using recycled materials, PET bottles, recyclability of their packaging, manufacturing, and inspiring consumers to recycle to assist in keeping our environments clean (Coca Cola Enterprises, 2014). Coca-Cola also uses campaigns like â€Å"Recycle for the Future† to inspire communities to recycle (Coca Cola Enterprises, 2014). Pepsi also concerns them with less packaging, turning waste into wealth, recycling, and motivating others to recycle (PepsiCo, n.d.). Both companies want to improve what they are doing as a company to help improve the environments in communities where they are located. Distinguishing Features Pepsi Co and Coca Cola are both known for offering similar colas that have competed to be consumer’s favorite soda for decades. Pepsi Co most recently has been seen as a more attractive brand to a younger audience than the well-known Coca Cola. Pepsi Co isShow MoreRelatedPhonology : Phonology And Phonological Development1478 Words   |  6 Pagesname a few. http://www.usefoundation.org/userdata/file/Research/Regions/new_york.pdf Modern Hebrew is influenced by phonological and morpho-syntactic rules derived from borrowed languages. We research the phonological aspects of the language in comparison to Standard American English, as well as the clinical implications it has on the services we provide. Modern Hebrew is comprised of 27 consonants and five vowels and eight diphthongs. The five vowels are: low and central vowel /a/, mid front vowelRead MoreChem Review4686 Words   |  19 Pagesare far apart from one another|||Yes| Molecules are moving|Yes|Yes|Yes| 2. 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All-Electrical Aircraft Essay Example

Essays on All-Electrical Aircraft Essay The paper "All-Electrical Aircraft" is an outstanding example of an essay on engineering and construction. To begin with, Sharon Weinberger highlights in the prologue in An All-Electric Aircraft? That those weighed down by hiked summer traveling expenses should cheer up and get ready for an exciting and aspiring breakthrough in upcoming aviation charges. This new anticipation is birthed by breaking news that scientist has presented a grand plan of coming up with an airplane that is 100% electrically powered and fully equipped with superconducting engines. This is paradoxical. A new invention in aviation would instantaneously hike the aviation charges other than drastically reduce them as this prologue affirms. Weinberger points out the Scientist claims that superconductors are the pre-eminent option when selecting aviation constructing materials since they have been proved to retain 100% energy. According to Martins, on New research on superconductivity, superconductors have been aff irmed to retain almost 100% energy since none of the energy dispensed with them is lost. This proves that the scientist claims to hold water (Martins, 2007).Also, following Weinberg's assertion that the grand plan of coming up with an electric airplane cannot be met by the contemporaneous technology based on the grand weight of the available magnets is questionable. Weinberg never considers other factors outside the scope of this assertion and also never points out additional claims to back up the proclaimed assertions. It is unusual to either credit or discredits contemporary technology based on a single factor, whether real or false. Also, Sharon Weinberger points out that the upcoming aircraft would be more serene and tranquil for having no in build driving engines. However, this claim contends with Taylor's assertion in The Internal-Engine in Theory and Practice that the aviation turbulence and noise could result from other vast causes such as engine friction against other compo nents or even combustion vibrations (Taylor, 1985). Rupa Haria highlights in the prologue of Is the Future of Aviation in Electric Aircraft? The chronological breakthroughs in the aviation industry tracing them from the 1903 Wright Brothers invention. Rupa then suggests the probability of advancement in aviation which may include a rebirth of an electric airplane. This is a systematic approach that is universal, aspiring and more convincing as compared to the Weinberger approach. Rupa gives precise, bold standpoints why she feels that the anticipated invention will take over the aviation industry. She quotes that electric airplanes are environmentally friendly since no fuel ignition is involved. She also quotes the serene aura of the aircraft for having battery-driven engines that have drastically low noise rates. Rupa points out that the aviation charges are likely to drop drastically since the new aircraft will utilize a cheaper fuel compared to the contemporaneous utilized fuel sources. Rupa winds up this article by asserting that embracing the anticipated electric airplanes will banish the utilization of petroleum fuel, create an environmental friendly aura and save on fundamental resources such as aviation travel charges and time. It is without a doubt that Rupa, through her brief scrutiny on the anticipated innovation in aviation, has presented her standpoint ideas in a logical, witty and concise approach which leaves the reader both intrigued and awakened.

If I Were a Microphone Essay Example For Students

If I Were a Microphone Essay The first part of my life is without interest. I was born in a radio factory and eventually found myself a in truck. Then, I was taken to a shop. I was bought by a man and taken to Laxman Public School. Probably no one is more rudely treated than I am. Sometimes I am turned on and off with complete indifference people forget what a wonderful invention I am. Sometimes the electrician of the school watches the clock and then turns me on with an air of expectancy. Then a few moments later he turns me off with disgust, not thinking of my feelings. Mine is a hard life. But then, there are bright spots in it, too. One evening I heard a conversation between two electricians that helped me to understand these things a little better. They were talking about how there werent very many good programs on the air any more, and how they liked religious programs best of all. But they said some of them werent as good as they used to be. And I guess that must be true. Because I know theres a religious program that comes on about the time my mistress does her breakfast dishes. And she always used to listen. Then I guess they got a new singer or something. Maybe singers are naturally loud when theyre new-just as new typewriter ribbons are so lack. Ive heard my master talk about how it takes a little time to wear them down. Well, I got off the subject. But anyway, about this program! The speaker would be talking along so nice and smooth, and all of a sudden there would be a dreadful noise. Ive heard a lot about atom bombs. But I dont think it was that, because it lasted too long. It must have been the singer. Anyway, my mistress would get a terrible scowl on her face and come running in from the kitchen. She wouldnt take time to dry her hands, and oh, how I hate to get dishwater all over me ! But I guess she couldnt help it. She always said something about her ears. And finally she stopped listening to that program. She said she liked the speaker, but she couldnt run back and forth all the time. Not long after that I was sent into the shop for repair. Maybe I had ear trouble too. But I was glad I went, because it was there that I met my good friend, the microphone. We got so well acquainted that now I call him Mike. And Mike has certainly had a lot of experience. Really, he knows a lot. And he explained a lot of things I didnt understand. The first thing I asked him was why new singers were so loud. And he said it is because new singers always think that their listeners are miles away, and they try to make them hear without a radio. So they sound like fire hydrants-if fire hydrants could sing ! He says they dont realize that they are only a foot from the microphone, and the listeners, some of them, are only a foot from the radio. That makes only two feet ; so they are really singing right in peoples ears. And Mike says it is very impolite to shout in anyones ear. Really, it is just amazing how much Mike has heard. People are always talking to him. And when they arent talking to him, he still has to stand by in readiness. So he gets a lot of inside information. Mike said that one day the manager of the radio station came into the studio with a gentleman, and they were talking about religious programs. I guess this gentleman wanted to buy time for one. And the manager gave him quite a line about how they had to broadcast the baseball games and all the other, things people wanted, and that there were too many religious programs on the air already. And I guess the gentleman thought the station manager just didnt want religion on the radio, because he looked pretty disappointed. .u5e3fae181c29987ae9436a7c5dd1d0fd , .u5e3fae181c29987ae9436a7c5dd1d0fd .postImageUrl , .u5e3fae181c29987ae9436a7c5dd1d0fd .centered-text-area { min-height: 80px; position: relative; } .u5e3fae181c29987ae9436a7c5dd1d0fd , .u5e3fae181c29987ae9436a7c5dd1d0fd:hover , .u5e3fae181c29987ae9436a7c5dd1d0fd:visited , .u5e3fae181c29987ae9436a7c5dd1d0fd:active { border:0!important; } .u5e3fae181c29987ae9436a7c5dd1d0fd .clearfix:after { content: ""; display: table; clear: both; } .u5e3fae181c29987ae9436a7c5dd1d0fd { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u5e3fae181c29987ae9436a7c5dd1d0fd:active , .u5e3fae181c29987ae9436a7c5dd1d0fd:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u5e3fae181c29987ae9436a7c5dd1d0fd .centered-text-area { width: 100%; position: relative ; } .u5e3fae181c29987ae9436a7c5dd1d0fd .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u5e3fae181c29987ae9436a7c5dd1d0fd .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u5e3fae181c29987ae9436a7c5dd1d0fd .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u5e3fae181c29987ae9436a7c5dd1d0fd:hover .ctaButton { background-color: #34495E!important; } .u5e3fae181c29987ae9436a7c5dd1d0fd .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u5e3fae181c29987ae9436a7c5dd1d0fd .u5e3fae181c29987ae9436a7c5dd1d0fd-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u5e3fae181c29987ae9436a7c5dd1d0fd:after { content: ""; display: block; clear: both; } READ: Tyrode soulutin EssayBut the manager must have liked this man a little, for after a while he talked to him sort of confidentially. And he said that the trouble with religious programs was that the sponsors came to buy time and told them what a good program it would be. And the programs would be good for two or three weeks; but after that they would start getting worse, until the station was ashamed to have them on the air. And it wasnt that they didnt like religion, but they wanted good quality programs, carefully planned and rehearsed, whether they were re ­ligious, or dramatic, or swing. Mike said he was right, too. And with his experience he ought to know. He said he was in a studio where they put on a big network program. It was religious too. But he said they had every program planned two weeks ahead-knew each song and poem to be used. And then they rehearsed and rehearsed till Mike knew the program by memory. But he thinks it is better that way. He says that some time after that, they moved him into another studio; and there was a religious program there too. He said they were fine people-really good Christians. But he thought they must not have expected anyone to be listening to their program. At least they didnt act like it. Sometimes one of them wouldnt get there until two or three minutes before program time. And sometimes they were there, but they read a newspaper or listened to a ball game till almost time to broadcast. I told him probably they had planned and re ­hearsed their program some other time before that. But he said, My, no ! He said the preacher had his sermon ready, and that was all. The rest was ad lib. He told me what that meant, but I guess you already know. Mike says some people can ad lib and some cant. The ones who cant are the ones who do it, and the ones who can know better than to try it. I remembered then that I heard the preacher talk about Job and his wife being led out of Sodom. And my master said something about the script. But Mike said there wasnt any script, and the preacher really could read all right. He says the preacher really does pretty well, but he wishes the rest of the program wouldnt be thrown together in such a haphazard way. He says sometimes the singers dont even know what they are going to sing when they go on the air. And its hard for the organist to know what key to play in if she doesnt even know what the song is going to be. Mike says the organist really has a hard time. She is supposed to play a background while the preacher reads the poems. But he doesnt pick them out till during the first song, so she has to guess at what to play when he starts read ­ing. One day the poem started out about a mothers son, and she started to play, Where Is My Wandering Boy, Tonight? Then it turned out to be a good son instead of a way ­ward one ! But it wasnt the organists fault. How could she know? My friend the microphone says he actually gets mike fright sometimes for fear some ­thing will really go wrong. And he told me he wished he could be back on the network program, because it is so smooth. Every word of it is written out-even the prayer. He said that seemed disrespectful at first. But he heard the preacher say that if we took time to write out what we say to men, to be sure it is right, we ought to be just as careful about what we say to God. And he said the preacher was right-that at least it was better than repeating the same words over and over. Mike said he really loved helping to put on that network program. He said they always took time to pray before they went on the air. And the whole program was so carefully planned, and fitted together so perfectly, that it was all like a lovely poem. He said it must do a lot of good. .ua0157417dc704912cc77145a2a6e3528 , .ua0157417dc704912cc77145a2a6e3528 .postImageUrl , .ua0157417dc704912cc77145a2a6e3528 .centered-text-area { min-height: 80px; position: relative; } .ua0157417dc704912cc77145a2a6e3528 , .ua0157417dc704912cc77145a2a6e3528:hover , .ua0157417dc704912cc77145a2a6e3528:visited , .ua0157417dc704912cc77145a2a6e3528:active { border:0!important; } .ua0157417dc704912cc77145a2a6e3528 .clearfix:after { content: ""; display: table; clear: both; } .ua0157417dc704912cc77145a2a6e3528 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua0157417dc704912cc77145a2a6e3528:active , .ua0157417dc704912cc77145a2a6e3528:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua0157417dc704912cc77145a2a6e3528 .centered-text-area { width: 100%; position: relative ; } .ua0157417dc704912cc77145a2a6e3528 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua0157417dc704912cc77145a2a6e3528 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua0157417dc704912cc77145a2a6e3528 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ua0157417dc704912cc77145a2a6e3528:hover .ctaButton { background-color: #34495E!important; } .ua0157417dc704912cc77145a2a6e3528 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua0157417dc704912cc77145a2a6e3528 .ua0157417dc704912cc77145a2a6e3528-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua0157417dc704912cc77145a2a6e3528:after { content: ""; display: block; clear: both; } READ: The Theme Of Death In Poems EssayI wonder if that isnt the one my mistress listens to each week when she seems so affectionate. And I still wonder, Is that the program you put on? One more thing ! Mike said the preacher on this haphazard program talks a lot about wishing he was on the network, but that you have to have a pull to get on the big hook-ups. Mike says if his program was as well prepared as the one on the network, maybe hed be on it. One of the tubes next to me is going bad, so I must bring my autobiography to a close. But I think my microphone friend ought to give that radio preacher a hint. If I had the talent for speaking that Mike has, I surely would!

The Plays We Perform Often Display a Frightening View of Who We Are. How Are Playwrights Able to Do This in Ruby Moon and Stolen Essay Example

The Plays We Perform Often Display a Frightening View of Who We Are. How Are Playwrights Able to Do This in Ruby Moon and Stolen? Essay The plays we perform often display a frightening view of who we are. How are playwrights able to do this in Ruby Moon and Stolen? The frightening view of who we are is explored by Matt Cameron’s Ruby Moon and Jane Harrison’s Stolen, where the contemporary Australian theatrical practice is used to explore dark issues. The play Ruby Moon is a response to the current epidemic within Australian society; the fear of losing a child, and is concerned with life in suburbia, and Stolen by Jane Harrison is concerned with Indigenous experience in Australia and the effects of the implementation of the policy of taking children from their families and how, despite all that has been done to them, they have survived. By using innovative approaches in structure and different dramatic forms and conventions such as characterisation, multi-role playing and symbolism to convey their ideas, has allowed these playwrights to display a frightening view of who we are. We will write a custom essay sample on The Plays We Perform Often Display a Frightening View of Who We Are. How Are Playwrights Able to Do This in Ruby Moon and Stolen? specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on The Plays We Perform Often Display a Frightening View of Who We Are. How Are Playwrights Able to Do This in Ruby Moon and Stolen? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on The Plays We Perform Often Display a Frightening View of Who We Are. How Are Playwrights Able to Do This in Ruby Moon and Stolen? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Ruby Moon by Matt Cameron is about a little girl who sets off to visit her grandmother, just like a fairytale, but never arrives. It is the story of Little Red Riding Hood retold, exposing what people do when they suffer an enormous loss, like the loss of a child. It is both placeless and timeless, a theatrical device used in order for an audience to realize its universality. It travels deep into the fears of our time by illustrating issues like child abduction and pedophilia which arouse such potent emotions in families and communities. The play is able to re-enact the dire â€Å"pervasive fear and mistrust that exists here Australia is at the moment† through the employment of the gothic and absurd through a fairy tale like structure, characterisation, black humour, multi-role playing, props and symbolism, and lighting. Ruby Moon displays a frightening view of who we are through the employment of presentational theatre acting where Cameron is able to then within his theatre, give emotion to the issue that we detachedly interact with every day, and allow us to see the grief, anger and psychotic paranoia behind these stories, which are emphasized in his other styles used. The style which Cameron employs, that is Gothicism and Absurdism, presents the bizarre and macabre culture of Australian society which is fixated upon fairy tales gone wrong, â€Å"it begins with a fairy tale† and the paranoia and obsession that is a repercussion of this. This is then shown through the characterization of Ray and Sylvie, who voice their mistrust through their absurdist cyclical questioning and through their guilt, highlight the unforgiving and anonymous Australian landscape; where both Ray and Sylvie come to question those living closest to them, as well as one another. Thus through these styles, Cameron is able to communicate the nightmarish logic in the situation, where we begin to question with the characters; who and what is real in this world, causing a sense of paranoia amongst us. The play incorporates black humour through actors playing multiple roles, all which seem to be strange, changing the perception of the audience through the way the story is told. The fact that everyone appears to be guilty and most obviously through the unusual things that continue to happen throughout the play, contribute to the fear created engaging the audience as a reflection. Through the theatrical conceit of only two actors playing such a range of characters, one begins to question if all are completely separate. Major characters of Ray and Sylvie are both weakened by the loss of their child, and both are witnesses to the effect of grief in their lives, Ray’s integrity is mistrusted by the audience as we witness the progression of the play, and Sylvie becomes increasingly unstable and psychotic as her grief continues in a cyclical pattern. The minor characters throughout the play, Veronica Vale, Dulcie Doily, Sid Craven etc, all follow the archetype method of Cameron is their creation. For example, Sid Craven comes to represent paedophilia, or at least the paranoia of its existence, and through the dark humour presented in the dialogue between Sylvie, â€Å"we have to dig up the church,† and Ray, â€Å"isn’t it enough that we just dont attend? † juxtaposing with the mood, which causes a break in the darkness allowing the audience to think clearly. Thus through the use of black humour and characterisation, Cameron is able to present a frightening view of who we are. The set within Ruby Moon contains a large amount of props that sustain both the environment of the play but also convey the underlying messages of the play. As the play is focused on the identity of the suburbia and the outside world, the curtains in scene 5 are utilized by Ray and Sylvie to suggest that perhaps the curtains they use to help keep the evils of the outside world at bay are actually keeping their own contained. Analogously, the mannequin and Ruby’s dress are both strong images throughout the play. Ruby’s dress is metamorphic, and occurs to represent many things throughout the play, â€Å"if you walk down the street in a little red dress†¦Ã¢â‚¬  symbolizing childhood innocence and an object of sexual desire when worn by Sylvie. The mannequin or ‘Ruby Doll’ comes to represent the unveiling of the mystery behind Ruby’s disappearance, thus every part of the doll that they receive denotes the further unveiling of the unknown, yet because the head of Ruby continues to be missing – the whereabouts of Ruby still remains unknown. The paranoia and fear of losing a child implicated here contradicts with the Australian’s ideal of the suburbia which is meant to be a happy and safe place where children can be raised. Lighting is used throughout the play to implicate a sense of paranoia amongst the audience and build suspense, allowing the audience to empathise with the characters within the play. In scene three, Sid is in shadows occasionally flicking on the light raising fear and suspicion in Sylvie, and during his re-enactment of the detective he move into Sylvie’s personal space creating a claustrophobic mood and showing the detective suspicions. When Sylvie wanted answers from Sid she would move closer to him, but he would evade her by moving into shadows suggesting he had something to hide, creating suspicion. The audience shares Sylvie’s suspicion and paranoia as she is desperate after losing her child. Stolen by Jane Harrison was written to â€Å"honour the experiences of those who had been stolen and for the play to resonate on an emotional level with its audience. † The play retells stories of five Indigenous individuals of the Stolen Generation, and examines the struggles and concerns of Aboriginal Australians since white settlement in Australia. The bicentennial celebrations had Aboriginal Australians questioning what exactly they were celebrating. Royal commissions into black deaths in custody and the stolen generation also set the tone. There was a move towards reconciliation although the conservative federal governments’ was reluctant to say ‘sorry’. Earlier land rights decisions in the high court also added to indigenous relations being a major issue in the late 20th century. Stolen deals with these issues through theatrical conventions and techniques, i. e. traditional storytelling, collage, multi role acting, and symbolism. Jane Harrison employs a traditional storytelling form due to its indigenously enthused context, and an episodic structure to impose a frightening view of who we are. In Stolen, five actors portray the five principal characters respectively, each representing a story common among Aboriginal people. Anne, Sandy, Shirley, Ruby and Jimmy each present their journey by a different structure – a song, a letter, the line-up for example – which is repeated several times to show the changing circumstances and to develop individual narratives. This reflects the practice of traditional storytelling methods which have a repetitive song/dance structure. Such use of repetition not only helps in the learning of the story but it highlights the subtle changes on understanding that may occur over time. The play is also episodic in that it does not follow any obvious chronological order. The characters move back and forward in time, sometimes being their young child in the children’s home and other times, adults. As the play progresses; an accumulation of affecting experiences towers giving an emotional resonance to a political issue and the frightening view of who we are as an Australian society is further imposed on us. Stolen demonstrates a frightening view of who we are through the utilization of multi-role playing. The play is performed by 5 actors who, in addition to the roles – Anne, Sandy, Shirley, Jimmy and Ruby, take on the following roles (sometimes merely as voices offstage): * Sandy’s mum, cousin, aunt, aunty, uncle * Anne’s adopted father and mother * Jimmy’s mother, Nancy Wajurri * Voices of authority, angry voice – vulgarity SCENE RACIST INSULTS between Jimmy and voice * â€Å"Voice: [off] dirty nig-nog depending on govt. ha ndouts†¦bloody nigger, drinking away your dole cheque†¦ Jimmy: Genocidal maniac, killing and raping and stealing our women and children†¦Ã¢â‚¬  Expressing the anguish and pain endured in victims of the policy and injustice imposed upon the Stolen Generation * Retelling of the immeasurable injustice done to the Indigenous Australians and stereotyping them to beings that result to acts as an after effect of the policy * Distances audience from the play so they can picture the message that underpins the play * Gets audience to reflect on the actions of Australia historically and how frightening we are Stolen demonstrates a frightening view of who we are through the utilisation of multi-role playing. The play is performed by five actors who, in addition to the roles, Annie, Sandy, Shirley, Jimmy and Ruby, take on the following roles which are sometimes merely voices offstage: Sandy’s mum, cousin, aunt, uncle, Anne’s adopted father and mother, Jimmy’s mother Nancy Wajurri, and the voices of authority which in the scene ‘Racist Insults’ present to us a frightening view of who we are. The vulgarity in the conversation between Jimmy and the voice, â€Å"Voice: [off] dirty nig-nog depending on government handouts†¦bloody nigger, drinking away your dole cheque†¦Jimmy: Genocidal maniac, killing and raping and stealing our women and children†¦Ã¢â‚¬  expresses the anguish and pain endured in victims of the policy and the injustice imposed upon the Stolen Generation. It is a retelling of the immeasurable injustice done to the Indigenous Australians and stereotyping them to beings that result to acts as an after-effect of the policy. The inclusion of multi-role playing distances the audience from the play so that they can picture the message that underpins the play and coerces the audience to reflect on the actions of Australia historically and how frightening we are. Symbolism was extensively used throughout Stolen to portray a frightening view of who we are. * Filing cabinet – represent bureaucratic letters and documents that controlled and regimented the children’s lives, but could not be accessed by them. Even today some people have not seen w/e controlled their childhoods * Beds – signified the institutions where the children were kept. There was a regimented way to make them, and a strict inventory of linen and bed clothes. The beds were moved about the performance space, to symbolize how the children were not permitted to settle or rest. Our beds should be places of security and relaxation, but in Stolen they were charged with uncertainty, fear and institutionalization. * Ringing of bell – symbolized strict authority in the homes and missions, summoning the children to classes, meals or to line up for inspections. In the original production the bell was rung to call children to be viewed for prospective adoption or a weekend visit with a white family. For some children this led to abuse * Suitcases – symbol with each character carrying a suitcase to represent their journey and the ‘baggage’ of their lives, their history and their stories. At the beginning of the performance each actor entered with a suitcase. At the end, once the set had been dismantled, they exited, again carrying a suitcase to signify that their journey was not yet finished * Allows audience to question the reason behind it and unravel the frightening view of who we are Symbolism was extensively used thought Stolen to portray a frightening view of who we are. This is evident in the props utilised in the production consisting of the filing cabinet, beds and the suitcases. In the Sydney Theatre Workshop, they used a filing cabinet as a quick scene transition, this represents the bureaucratic letter and documents that controlled and regimented the children’s lives, but could not be accessed by them. In the workshop, they only used on bed which was moved around the stage, the beds signified the institutions where the children were kept. There was a regimented way to make them, and a strict inventory of linen and bed clothes. The bed was moved about the performance space to symbolise how the children were not permitted to settle or rest. Our beds should be places of security and relaxation, but in Stolen they were charged with uncertainty, fear and institutionalisation. Although the workshop did not emphasise the suitcases, it acted as a symbol with each character carrying suitcase to represent their journey and the ‘baggage’ of their lives, their history and their story. These props used allow us, as the audience, to question the reason behind it and unravel the frightening view of who we are.