AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra
In English Letters
By
Dwi Prasetyo Agung Nugroho Student Number: 034214048
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
THE EFFECT OF ECONOMIC PROBLEM TO GIOVANNI’S
PERSONALITY DEVELOPMENT
IN DARIO FO’S WE WON’T PAY! WE WON’T PAY!
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra
In English Letters
By
Dwi Prasetyo Agung Nugroho Student Number: 034214048
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
YOGYAKARTA 2008
An optimist sees opportunities
in every danger.
A pessimist sees dangers
in every opportunity.
(Benjamin Franklin)
Two are better than one….
For if they fall,
One will lift up the other.
(Ecclesiastes 4:9-10)
A thing of beauty
Is a joy forever
(John Keats)
This undergraduate thesis is dedicated to
My Lord, Jesus Christ My beloved parents
My dearest sisters My beloved Alfonsa Ika
All my friends
ACKNOLEDGEMENTS
Praise to God that finally I finished my thesis. I would like to thank Jesus Christ for His blessing throughout my life and for guiding me during my darkest path and for accompanying me in writing and completing my undergraduate
thesis.
My gratitude goes to my advisor, P. Sarwoto, S.S., M. A., who has given light to my dark mind with his advises and suggestions during the writing of my
thesis. I also thank Elisa Dwi Wardani, S.S, M.Hum., my co-advisor, for reading my undergraduate thesis and giving me suggestions in order to make it better. I
also thank all my lecturers for guidance and their time to share their knowledge
during these years of study and to all staffs of English Letters Department, Sanata
Dharma University for all the help.
My deepest gratitude goes to my beloved father, Bapak LB. Surojo and my beloved mother Ibu Sri Sulastri. Thank you for your love, prayer and patience. I love you Mom. I love you Dad. Thanks to my beloved sisters,
Chatarina Kristi Sulastri and Serafika Trisakti Puspitasari who always give colors to my life. I also thanks to my lovely Alfonsa Ika Andriani for giving me the second chance to be a better man and for giving the light to my dark heart. I
love you babe!!! Mwuuuuaaaach!
My special thanks goes to Yohanes Adi, Sustiani, Yeremia L, Hadiarto, Cosmas Andy, Hernita, Jati P, Johny, The Big Bagor, Bayu for all the fun during these years, and for sharing their strength and spirit during my time in
Siwi, YIA Yogyakarta and all my friends students of English Letters 2003. Thanks for the beautiful friendship!!
Dwi Prasetyo Agung Nugroho
TABLE OF CONTENTS
CHAPTER II: THEORETICAL REVIEW………... 6
A. Review of Related Studies………. 6
B. Theoretical Review………. 7
1. Theory on Character and Characterization………. 7
2. Theory of Personality and Personality Changes………. 12
3. Theory of Personality Development………... 15
C. Theoretical Framework……….. 17
A. Giovanni’s Characterization ……….. 22
1. Before Experiences Personality Development……… 23
2. After Experiences Personality Development……… ……. 31
B. The Economic Condition in Giovanni’s society……… 36
C. The Influence of The Economic Condition towards Giovanni’s personality Development………... 39
CHAPTER V: CONCLUSION……… 49
BIBLIOGRAPHY………. 53
Giovanni’s Personality Development in Dario Fo’s We Won’t Pay! We Won’t
Pay!. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata
Dharma University, 2008.
Nobody shares the same personality in this world, every person is different from the other. The diversity of the personality can be influenced not merely by someone’s internal factor but it came mostly from the external factor, such as the influence of the environment. The environmental factors can be family determinant, changes in significant people, and changes in environment, while the internal factor can be changes in self concept. Related with the statements above, the analysis will be focused on how the economic problem influences Giovanni’s personality development.
The objective of the study is to answer three main problems stated in the problem formulation. First, it is meant to identify Giovanni’s characteristic described in the play. Second, it is meant to analyze the economic condition in Giovanni’s society. Third, it is meant to identify how the economic problem influences Giovanni’s personality development.
In the analysis, the writer used library research to collect data related to the topic of the study. This study applies some theories to answer the questions stated in the problem formulation. They are the theory on character and characterization and the theory on personality and personality development. The writer also uses psychological approach because the focus of the study is analyzing the character’s personality development.
The analysis concludes that Giovanni’s personality development is influenced by the economic problem in the society. The economic problem influences Giovanni’s personality development through three factors, they are changes in significant people, changes in environment, and changes in self concept. From the factor of significant people, Giovanni’s personality is influenced by his relatives who also experience the economic problem. From the environmental factor, the personality is influenced through what happened in the society where Giovanni lives as the effect of the economic problem. While in changes in self concept, the economic problem influences Giovanni’s personality through the way he judges things in his mind.
ABSTRAK
DWI PRASETYO AGUNG NUGROHO. The Effect of Economic Problem to Giovanni’s Personality Development in Dario Fo’s We Won’t Pay! We Won’t
Pay!. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata
Dharma University, 2008.
Kepribadian yang ada dalam diri tiap manusia tidak ada yang sama. Perbedaan kepribadian ini tidak hanya dipengaruhi faktor internal seseorang tapi juga karena pengaruh dari faktor eksternal, seperti pengaruh lingkungan sekitarnya. Faktor-faktor lingkungan tersebut dapat berupa pengaruh keluarga, perubahan pada orang-orang terdekat, perubahan pada lingkungan tempat tinggal. Sedangkan faktor internal dapat berupa perubahan prinsip hidup. Berkaitan dengan pernyataan diatas, analisis ini akan dititikberatkan pada bagaimana masalah ekonomi berpengaruh pada perkembangan kepribadian dari tokoh Giovanni.
Tujuan dari studi ini adalah untuk menjawab tiga permasalahan utama. Pertama, studi ini dimaksudkan untuk menggambarkan tokoh Giovanni pada drama tersebut. Kedua, studi ini dimaksudkan untuk mendeskripsikan keadaan ekonomi pada lingkungan di mana tokoh Giovanni tinggal. Ketiga, studi ini dimaksudkan untuk mengidentifikasi pengaruh masalah ekonomi yang terjadi dalam masyarakat terhadap perkembangan kepribadian pada tokoh Giovanni.
Dalam analisis, penulis menggunakan metode penelitian pustaka untuk mengumpulkan data yang berhubungan dengan topik dari studi ini. Studi ini menggunakan beberapa teori yang digunakan untuk menjawab pertanyaan-pertanyaan yang dirumuskan pada rumusan masalah. Teori-teori yang digunakan adalah teori tentang tokoh dan penokohan dan teori tentang kepribadaian dan perkembangan kepribadian. Penulis juga menggunakan pendekatan psikologis karena fokus dari studi ini adalah untuk menganalisa perkembangan kepribadian dari seorang tokoh.
Hasil analisis menunjukan bahwa perkembangan kepribadian dari tokoh Giovanni dipengaruhi oleh masalah ekonomi yang dihadapi baik oleh masyarakat ataupun tokoh Giovanni sendiri. Masalah ekonomi tersebut mempengaruhi perkembangan kepribadian Giovanni melalui tiga hal, yaitu perubahan pada orang-orang terdekat, perubahan pada lingkungan, dan yang terakhir adalah perubahan pada prinsip individu. Pada perubahan orang-orang dekat, kepribadian Giovanni dipengaruhi oleh keluarganya yang juga mengalami masalah ekonomi tersebut. Melalui lingkungannya kepribadian Giovanni dipicu oleh kejadian yang terjadi di lingkungannya. Sedangkan pada perubahan prinsip, kepribadian Giovanni ditentukan oleh perubahan cara Giovanni menilai suatu hal.
A. Background of the Study
The works of literature, which generally describe the reality of human life or as an imitation of human life, always contain many things which can be analyzed or
studied. Literary works usually contain stories or even depicting the condition about
politics, economy, social life, and culture happened in the time when those works
were written. There are always some new things which can be learned from them.
Literature, if it is defined as anything written, then the definition is both too
broad and too narrow. It is too broad to say that literature is anything written because
people can ask for “literature” in order to see the menu in a restaurant. On the other
hand, to say that literature must be written or printed is too narrow because it
excludes oral literature such as ballads that are sung and the recited stories (Barnet,
1963:1). Based on Wikipedia, the origin of the word “literature” comes from the
Latin word “littera” that means "an individual written character". In other word, it
represents the letter itself.The meaning of literature itself is writings that are valued
as works of art, as it is described in the first definition stated in the Oxford English
Dictionary. While Robert Frost, in An Introduction to Literature, says that literature
is a “performance in words.” He also adds that literature has in it an element of
entertaining display. The kind of literary works themselves vary, such as poems,
novels, short stories, and plays or dramas.
2
A play is a form of literature, almost always consists of dialogue between
characters, intended to be performed rather than to be read. However, many people
and especially scholars simply just read and study plays in an academic manner. So,
the term play refers both to the written works of playwrights and to their complete
theatrical performance. Through the works of literature, one may understand human’s
personality that can be found inside the character in the story.
Character can be considered in two different things. The first, it maybe
considered as individuals who appear in the story or in this case a play. The second
may refer to the description of attitudes, interests, desires, emotions, and moral
principals of the individuals (Stanton, 1965: 17). In short, the meaning of character
can be both the actor in the story and also the characteristics of the characters. There
must be certain links between the actor and it characteristics or the characterization.
Every character has their personality and conflict. The personality and the conflict are
differ one to another. Every character has his or her uniqueness.
According to Laurence Perrine, character can be differentiated into two based
on the criterion of the characters’ development in a novel, namely, a static character
and the dynamic or developing character. A static character is the character who
essentially does not undergo the process of change and development as a result of the
happening in the story. A static character is “the same sort of person at the end of the
story as he was at the beginning”. The developing character is the character that
and the plot in the story. A developing character ‘undergoes a permanent change in
some aspects of his character, personality, or outlook” (Perrine, 1974:71).
Based on Elizabeth Hurlock’s description on the personality changes, there
are eight conditions that are responsible for the personality changes. They are the
physical changes, changes in the environment, changes in significant people, changes
in social pressure, changes in role, strong motivation, changes in self concept, and
psychotherapy. (1974: 124-130)
From the statements above, it will be interesting to discuss “We Won’t Pay!
We Won’t Pay!’ written by Dario Fo. Giovanni, as one of the characters in the play is
described as a person with his unique quality. He has a problem in dealing with his
financial needs that lead him into his character development.
As one of famous plays in the world of literature, “We Won’t Pay! We Won’t
Pay!’ presents a satirical comedy that criticizes the social and political condition in
Italy during the year of 1970’s. As a famous playwright, Fo is well known for his
power in telling the truth through his ‘famous method’, that is jokes.
He took the opportunity to do what he does best: tell a joke and the truth. Thus his speech was ebulliently silly but also a serious plea for the importance of laughter, irreverent laughter in the face of authority. (Review by Robert Avila for SF Bay Guardian)
Here Giovanni, one of the protagonists, experiences the character
development during his struggle in order to break free from the boundary of the free
market system in the neighborhood. The basic needs as food, settlement, and privacy
4
This thesis focuses on the character named Giovanni as one of the
protagonists. The focus is on how the character is depicted in the play. Especially on
the character development and also about how the social condition, in this case the
economic condition, influences the process of character development.
B. Problem Formulation
This paper will discuss three main points that will be analyzed further.
1. How is Giovanni’s character depicted in the play?
2. How is the economic condition described in the story?
3. How does the economic problem influence Giovanni’s personality?
C. Objectives of the Study
By having a close reading and deep analysis to the work, this paper aims to
answer the two problems stated in the problem formulation. The first objective is to
find out the characteristics of Giovanni in this play. By knowing the characteristics of
the character in this play, later on we will be able to find out how the character really
develops its characterization or even create a totally different characterization that is
contradictory with the previous. After we get the first objective, then we will come to
the second objective; that is to describe the economic condition in the society where
Giovanni as the central character lives. The final objective after knowing the
society influences Giovanni’s character to have certain changes toward his
characterization.
D. Definition of Terms 1. Personality
Personality is somebody’s set of characteristics, the totality of somebody’s
attitudes, interests, behavioral patterns, emotional responses, social roles, and other
individual traits that endure over long period of time (Webster, 2005:1083).
According to International Encyclopedia of Psychology, personality is
defined as the unique combination of thought, feelings, and behavior that make
individual distinct from others (1996: 1228).
2. Personality Development
In Elizabeth Hurlock’s Personality Development, Allport defines that
personality development is a stage in growth of constantly changing and evoking
processes within an individual. Furthermore, it determines his or her uniqueness in
speech, in relations to people and things, in mannerism, in fantasy, and in other ways
CHAPTER II
THEORETICAL REVIEW
A. Review on Related Studies
The play by Dario Fo surely attracts people to give comments on its fresh
jokes and its power toward the society. Most critics give their criticisms based on the
story itself and also based on the way Fo delivers his message through the jokes.
In "Les Miserables" Jean Valjean stole a loaf of bread to feed his starving family and got in big trouble. In Dario Fo's "We Won't Pay, We Won't Pay," a contemporary housewife struggling to make ends meet helps ransack a grocery store, and gets in big trouble, too - but with a significant difference: "Les Miserables" is earnest, high-flown drama, while "We Won't Pay" is farce. (Robert Hall for Berkeley Daily Planet)
From the comment from Robert Hall above, it’s clear that he attempts to show
the similarity of the two plays, how the characters are involved in a trouble because
trying to satisfy their basic need. He also tries to define how "We Won't Pay" is
different from "Les Miserables" from the way they deliver their own messages.
Dario Fo's most performed play is popular for a reason: it's sure-fire funny. You can read the script on a bus and find yourself laughing aloud; and seeing it acted -- by consummate professionals or by undergraduate apprentices -- is guaranteed to knock you loose from your seat, if not actually to roll you in an aisle. (Russ Hunt)
While Russ Hunt, in his comment above, reveals more about the strength of
this play. He talks about how the funny part of the script can make you shocked. He
shows how the comedy really gives strong impact to the readers.
Mariana Kristina (2004) in her undergraduate thesis analyses the influence of
the society towards Jeanette’s character development as seen in Jeanette Winterson’s
Oranges Are Not the Only Fruit. Her work has the similar topic with the writer’s but
she does it on the different work and using the different approach. She says in her
work that character development, in this case is Jeanette’s, is influenced by the social
condition where the character lives.
This study will focus more on the characterization of Giovanni, then how his
characterization experiences the development before he experiences the economic
problem and after he experiences the economic problem, the description of the
economic condition in the environment, and also it will study how the economic
problem influences the character development.
B. Theoretical Review
To reach a greater understanding to the character and the characterization, the
theory of character and the methods of characterization will be discussed in this
chapter.
1. Theories on Character a. Character
The term character may refer to two meanings. The first, it maybe considered
as individuals who appear in the story or in this case a play. The second may refer to
the description of attitudes, interests, desires, emotions, and moral principals of the
8
actor in the story and also the characteristics of the characters. There must be certain
links between the actor and it characteristics or the characterization.
The characters in the story are the persons who are endowed with moral and
dispositional qualities as what is being expressed in what they say and what they do
(Abrams, 1981:20). While E.M. Forster says in his book Aspect of the Novel that the
actors in a story are, or intended to be, human beings. He also says that since the
novelist himself is a human being, there must be an affinity between him and his
subject matter. Further more, he explains that a novelist is a creator who makes up a
number of characters, then gives them names and sex, assigns them gestures, and
causes them to speak and perhaps to behave consistently (1974: 30-32). Forster’s
statement implies that the characters in fiction are to be similar with the real people in
life.
b. Types of Character
According to Robert Stanton (1965: 17-18) characters can be differentiated
into main or central characters and peripheral characters. A main character is the
person who is relevant to every event in the story, meaning that usually the events
cause some changes either in him or in the reader’s attitudes toward him. A main
character appears continuously, so it seems that he dominates the whole story. On the
other hand, a peripheral character is a person who seems to appear rarely in the story.
Based on the function of characters’ presentation, characters can be divided
into the protagonist and the antagonist. Lynn Alternbend & Leslie L. Lewis (1966:59)
say that while reading a novel, a reader often identifies himself with a certain
character(s), gives sympathy and empathy, and engages himself emotionally to the
character(s). The character that is being treated so is called the protagonist. In other
words, the protagonist is the character of the ideal norms and values manifestation
that the readers admire. On the other hand, the antagonist is the character who
opposes the protagonist, directly or indirectly, spiritually or physically (Alternbend &
Lewis, 1966:59).
Based on the characteristic, there are also two types of character, namely
simple or flat character and complex character or round character (Forster, 1974:75).
A flat character is a character who possesses just one certain dispositional quality. He
or she seems less to have a trait or behavior which can give a surprising effect to the
readers. But, the flat characters can be easily recognized and more familiar wherever
they come in and easily remembered by the reader afterward (Kenney, 1966:28).
The second type of character is called round by E. M Forster because we can
see all sides of this character. The character possesses many traits. If it is compared
with flat character, a round character is more lifelike. Besides, he or she possesses
various attitude and also capable in surprising us (Abrams, 1981: 20-21). Therefore
the round character is more difficult to be understood.
Laurence Perrine (1974:71) proposes the classification of the characters based
10
and the dynamic or developing character. A static character is the character who
essentially does not undergo the process of change and development as a result of the
happening in the story. A static character is “the same sort of person at the end of the
story as he was at the beginning” (Perrine, 1974:71). The developing character is the
character that undergoes a change and development in accordance with the
development of events and the plot in the story. A developing character ‘undergoes a
permanent change in some aspects of his character, personality, or outlook” (Perrine,
1974:71).
The distinction between a static and developing character can be connected
with the simple and complex character. A static character, either good or bad, is a
simple character because he may not be revealed through all sides of his life. On the
other hand, the developing character will tend to be a complex character. The reason
is that by the change and the development of his attitude and characteristic, the sides
of his life may be revealed. Similar to a simple character, a static character is less
appropriate with the reality of human life. It will be possible if there is a person who
is never influenced by the environment. On the other hand, the developing character
is more lifelike (Nurgiyantoro, 1995: 103).
The change is something important and basic, it may be large or small one,
and may be for better or for worse. The change of a character must follow the three
criteria below:
i. The change must be within the possibilities of the character who makes it.
character finds himself.
iii. It must be allowed enough time for a change of its magnitude believably to take
place.
c. Methods of Characterization
Characterization is the representation of a person in dramatic or narrative
works. This may include direct methods like the attribution of qualities from
characters’ actions, speech, or appearance (Baldick, 1990: 34). Characterization has
the importance for presenting the characters’ presentation.
According to M.J. Murphy (1972: 161-173), there are nine ways in which the
author attempts to make his character understandable and alive for the readers, they
are: personal description, character as seen by another, speech, past life, conversation
of others, relations, direct comment, thoughts, and mannerisms. In a personal
description, the author can describe directly a person’s appearance and clothes. In a
character as seen by another, the author describes the character through the eyes and
opinions of another. In a speech, the author gives the reader clue to the characters
through what they say. In past life, the author lets the readers learn something about
the person’s past life by giving the readers a clue through his direct comment, the
person’s thought, conversations, or through the medium of another person.
Then, in a conversation of others, the author gives the readers clues to a
person’s character through the conversation of other people and the things they say
12
his reaction to various situation and events. In a direct comment, the author describes
or comments on the character directly. In thoughts, the author gives the readers direct
knowledge of what a person is thinking about. The last, in mannerisms, the author
tells something to the readers about the character by describing the manner, habits, or
idiosyncrasies.
William Kenney (1988: 34-37) provides four methods of characterization,
namely discursive method, dramatic method, contextual method, and characterization
by transference. The author who employs the discursive method simply tells the
readers about the characters. On the other hand, the author who employs the dramatic
method shows something about the characters by allowing the character to reveal
themselves to the readers through their dialogue and action. Therefore, the readers
here are free to interpret the characteristic of the character. In contextual method, the
author describes his characters by the verbal context that surrounds them. Using the
method of characterization by transference, the author usually suggests psychological
traits of a character by the transference of physical traits.
2. Theory of Personality and Personality Changes
ElizabethHurlock describes that the changes in the personality pattern can be
divided into three main categories. First, some changes are for the better and some for
the worse. Second, some are qualitative and some are quantitative. Third, some occur
a. Better and worse
Personality changes for better or for the worse reflect the kind of the life
adjustments that the individual is making at the time. Successful adjustment at any
age, for example, improves the self concept and the person exhibits greater poise, self
confidence, and self assurance. By the contrast, failure or failure to come up with self
expectations leads to a deterioration in the self concept and to feelings of inadequacy
and inferiority which are expressed in antagonisms, defensive reactions, depression,
and many other behavior patterns that lead to poorer personal and social adjustments.
b. Qualitative and quantitative
The qualitative changes, either the complete replacement of a desirable trait
an undesirable one or the opposite, do not normally occur even in the early years of
life. For the most part, changes are quantitative. The characteristics already present
are reinforced, strengthened, or weakened.
c. Slow and rapid changes
Changes are regarded as slow when they are barely perceptible, while rapid
changes are readily apparent to all. Normally, personality changes are slow and
gradual. (1974: 120-122)
Hurlock also explains about eight conditions that are responsible for the
personality changes. They are the physical changes, changes in the environment,
14
motivation, changes in self concept, and psychotherapy (1974: 124-130). The suitable
conditions that are fit with the problems are stated as below.
i. Changes in environment
A change in environment will not guarantee an improvement in personality. In
fact, the change may and often has the opposite effect. Whether it does so or not will
depend largely on how well the person is accepted in the new environment and how
well the environment meets the person’s needs.
ii. Changes in significant people
When the significant people in an individual’s life change, and when the
person tries to adapt the pattern of behavior and the attitudes, beliefs, values, and
aspirations to theirs, changes in the person’s personality pattern are inevitable. These
changes may not either be marked, nor they are always permanent.
iii. Changes in self concept
Self concept is the core of the personality pattern and it determines the kind of
adjustment the person will make. A change in self concept will bring a change in the
entire personality pattern. Changing one’s self concept requires tremendous self
insight. This means that a person must be able and willing to see himself as what the
actual is, not as the person like to be or as others perceive the person.
Those conditions above give two effects, good and bad effect. The effect that
is got depends on how people pass the process. Those who cannot pass the process
successfully will get the bad effect and those who are able to pass it will get the good
This study uses the theory to analyze the development or the changes in
Giovanni’s personality. By using this theory, hopefully the pattern on Giovanni’s
personality will be seen.
3. Theory of Personality Development
In Hurlock’s Personality Development, Allport describes that personality
development is a stage in growth of a constantly changing and evoking process
within an individual. The process becomes more complex, in the patterning of one’s
self concept, habits, attitudes, emotional states, sentiments, and motives. Furthermore,
it determines the person’s uniqueness in speech, in reactions to people and things, in
mannerism, in fantasy, and in other ways directed toward the specific goal to adjust to
the environment (1974: 7). Hurlock also states that human life consists of two
aspects, which are individual and social aspects. For the individual aspects, it is
concerned with physical changes and human’s personality development. Human’s
personality development itself is influenced by two factors. First is human’s early
experience within family. Second is important events happening outside the home
(1974: 19-20).
There are eight factors that can determine someone’s personality pattern. They
are physical, intellectual, emotional, social, aspirations and achievement, sex
determinant, educational determinant, and family determinant (Hurlock, 1974:
16
problems. They are: emotional determinant, social determinant, and family
determinant.
a. Emotional determinant
Emotions, whether fleeting or persisting, give color to the individual’s
perception of himself and his environment and affect the behavior. Emotion can add
pleasure to a person’s life and motivate action that improves the social and personal
adjustments. On the other hand, emotions can make life painful and cause failure to
adjustment. Emotions have direct effects and indirect effects. The direct effects come
from physical and mental disturbances, while the indirect effects come from the
reaction of members of the social group toward the person who experiences the
emotion.
b. Social determinant
The social group expects its members to conform to its standards. The social
group sets developmental tasks, or learning experiences which the person is expected
to master at an age when most people of that age are capable of mastering them. In
short, every social group expects its members to learn to be socialized and to learn to
play and approve social role.
c. Family determinant
The direct effect is that the family influences the personality development by
molding and by communication. Indirectly, the influence comes from identification,
C. Theoretical Frame work
In order to get further understanding toward the development of Giovanni’s
character, all the described theories need to be applied. In order to reveal the
characteristic of Giovanni, the theory stated by M. J. Murphy about the nine methods
of characterization will be used. If it is possible, all of the methods will be applied on
this matter. Besides applying the theory from Murphy, the author will also use Chris
Baldick’s theory on characterization. Later, to figure out the development, the theory
from Perrine about the static and developing character will be applied. In order to see
the description of the economic condition in the society, the writer simply has a close
reading to the text. Then, in order to see how the economic problem causes the
development, the theory of personality development will be applied to Giovanni’s
CHAPTER III METHODOLOGY
A. Object of the Study
The work analyzed in this thesis is a play entitled“We Won’t Pay! We Won’t
Pay!” written by a famous Italian playwright Dario Fo that is translated into
American version by Ron Jenkins.
“We Won’t Pay! We Won’t Pay!” from the original title “Non Si Paga! Non
Si Paga!” is a satirical comedy which criticizes the economic and political condition
in Italy in 1970’s. This humorous play was performed for the first time in Milan, Italy
in 1974, directed by its own writer Dario Fo. In 1978 it was his first play to receive a
production in the United Kingdom, under the title “We Can Not Pay! We Won’t
Pay!” This production began in the Half Moon Theater. After a sold-out run, it
moved to the commercial West End where it remained for an impressive two years. It
has had numerous English-language productions in Britain, Ireland, Australia, and the
United States. Because of its popularity abroad, which included several years in the
repertoire of the Berliner Ensemble, Fo produced a revised, updated version in 1980.
In that year 24,000 Fiat workers were laid off, so Fo made the male characters in the
play as Fiat workers. He also included topical references to the political situation in
Poland and Afghanistan and made jokes about Pope John Paul II. The play is
considered his most comic and entertaining work in terms of the plot reversals and
the complications and in terms of its fusion of political points and farce.
It would be nice to have a slapstick comedy that was actually about something, a madcap farce with a point, a play where the laughter and meaning would be so tightly integrated that it would be impossible to tell where one ends and the other begins. Fo’s comedy, both written and set in 1970s Italy, is about a time when inflation was rampant, prices increased daily, and the working classes were getting more and more hungry -- both literally, for food, and metaphorically, for change. (Vladimir Zelevinsky)
By 1990’s “We Won’t Pay! We Won’t Pay!” had been performed in thirty-five
countries. The most recent American version, produced in 1999 by the American
Repertory Theater in Cambridge, Massachusetts with the Oscar-winning performer
Marisa Tomei in the role of Antonia, used the translated version of Ron Jenkins.
The story begins with a crime and chaos in the neighborhood supermarkets.
The play opens with Antonia describing to her friend Margherita how women at the
supermarket staged an impromptu protest against rising prices by liberating their
groceries. Antonia's glee swiftly turns to consternation: Her husband Giovanni is a
strict man who follows the rules and laws, and he is not going to do what she has
done. Some of the purloined goods end up hidden in Margherita's coat, leading to a
charade of pregnancy that gets truly out of hand and drives the rest of the play. There
are cops to deal with (all played by the same actor), a stray coffin, the vengeful Santa
Eulalia, and Giovanni's discovery that fetuses in the womb float in pickle juice. In the
second act of the story, the main characters are driven by the condition that the
economic condition has led them into more complex problem. Giovanni finally
decides to do something that actually contradictory with his nature, stealing bags of
20
characters to their limits. Such as the rent problem, the eviction letter, the truth that
actually both the women is not pregnant, and finally the major chaos between people
and the police.
B. Approach of the Study
In this play, Giovanni experiences the major development of his character. It
seems that he has a great depression toward what has happened in his society. In
order to understand more about the cause, the psychological approach will be applied
in this paper. This approach will try to reveal Giovanni’s personality condition in
facing the pressure from his environment. This approach is more appropriate because
the development that occurs in Giovanni’s character is caused by a great pressure
from his environment; that is the economic condition that presses him and the society.
Psychological approach is applied because literature and psychology are
related. Mary Rohrberger and Samuel H. Wood say that both literature and
psychology discuss people and human lives, although they are different in some
ways. Literature discusses man and his life that is expressed by the writer through the
language in the works. Psychology is a study of man’s life together with his mind and
behavior (1971: 6-15). They also say that this approach brings us to the analysis of
the work from psychological point of view of human being (1971: 13). While Wilfred
L. Guerin says that psychological approach is an excellent tool for “reading beneath
interpretive tool by modern critics and to show by examples how readers may apply
this interpretation to enhance the understanding and appreciation of literature (1979:
120).
C. Method of the Study
In doing this thesis, library research has the main role to find the supporting
theories and ideas. Besides doing the library research, to get more accurate data to
analyze the problems, sources were also taken from the internet, mostly about the
comments on the work.
There were some steps done in this study in order to get the conclusion. First,
all related work about “We Won’t Pay! We Won’t Pay!” and all supporting theories,
ideas, and comments were gathered together to be analyzed further. After the data
were collected, the second step was applying the theories to the subject matters. In
order to find the answer of the first problem formulation, the writer was using the
methods of characterization stated by M. J. Murphy. All of the nine methods were
used to find the characteristics of Giovanni. For the second problem, the writer gave
the description of the economic problem based on what stated in the text. Then for the
third problem formulation, to see how the economic problem influences the character,
the writer used the theory of personality by Elizabeth Hurlock. The theory was
applied more on how the character experienced the development and also to see the
CHAPTER IV
ANALYSIS
This chapter will discuss further more about the three problems formulated in
the problem formulation in chapter I. They are about Giovanni’s characterization,
about the economic condition in the society, and how the economic problem gives
influence toward the character development. For the first problem, which is about
Giovanni’s characterization, the analysis will be done in two different parts in order
to see the development. First, it will attempt to describe how the characterization in
the beginning of the play and then the characterization at the end of the play or after
experiencing the process of character development. For the second problem, the
analysis will give more attention to how the condition of economic problem in the
society is described and for the last problem, the analysis will see further about how
the economic condition influences the development.
A. Giovanni’s Characterization
In this play, Giovanni as one of the protagonists can be categorized as a
dynamic character since he undergoes a change and development in accordance with
the development of events in this play. In order to understand more aboutGiovanni’s
personality development, the writer will divide the analysis on his characterization
into two parts. The first part is about Giovanni’s characterization before he
experiences the development, and the second is about the characterization after he
experiences the development.
1. Giovanni’s characterization before he faces the economic problem.
As a comedy play, Giovanni has the humorous side in order to support the
atmosphere of the comedy. As the central character, he holds the main role in making
the comedy comes to life. Most of the comedies in this play are thrown by his
dialogue and attitude. Giovanni as a married man is a very ignorant person. His
knowledge seems so limited. Even though he is ignorant, he always thinks that he
always knows things well.
Giovanni. Listen, I’m not that stupid…Luigi her husband, works next to me on the assembly line. He tells me everything…and he never said anything about having a baby….
Antonia. Well…there are some things…people don’t bother to talk about. Giovanni. What are you talking about? Is it too embarrassing? “Oh God, I
made my wife pregnant!”(Barnet: 1106)
The quotation above shows how Giovanni thinks that he knows everything about
Margherita’s pregnancy. He thinks that his wife tells a lie about it because
Margherita’s husband, Luigi, never tells anything to him. He thinks that since Luigi
never say anything about having a baby then there’s no reason to believe that
Margherita is pregnant. He thinks that Luigi will tell him everything, including this
personal thing. The clearest part of his ignorance appears when he has to clean the
floor from the ‘water’ that comes from Margherita’s belly.
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never knew! Before we’re born, we spend nine months floating in pickle juice? (Barnet: 1113)
The quotation above shows that as a married man, he does not know anything about
fetus. He thinks that when women get pregnant, she’s having her baby floating in
pickle juice.
His silliness is also shown when he tries to open the meat composed for cats
and dogs. He thinks things in a very strange way without considering the logical one.
Giovanni. …They forget to give you the key. Oh look, it’s self-opening. For dogs and cats who are self starters. (Open the can and sniffs it) Ah doesn’t smell too bad…kind of like ground kidney with pickled marmalade and a dash of cod liver oil. (He puts the can next to his ear and laughs) You can hear the ocean! (Laughs in disgust)(Barnet: 1108)
From the quotation, it seems that Giovanni has an ‘alternative’ thought of things
around him. Instead of considering the logical, he prefers to think the silly thing in his
mind. Besides creating jokes through his words, Giovanni also makes jokes trough
his physical actions. He continuously does some stupid mimes in expressing his
thoughts. Like when he is trying to refuse to eat the bird seed for canaries.
Antonia. Oh, don’t be silly…Angela next door makes it every morning for her husband…and he loves it…
Giovanni. Yeah, I noticed he’s been growing few feathers lately! And this morning when we were waiting for the bus his foot started going like this. (Mimes chicken walk) And then when the bus came he… (imitates rooster) “Cockadoodledoo” (Mimes a rooster flapping wings) “I think I’ll be getting to work on my own today.”(Barnet: 1108)
Giovanni thinks if he eats the bird seed he will have some feathers growing on his
want to have it for his meal. Not only to show refusal, but he also shows his stupid
mimes when he feels that people insult him, or even when he insults people.
Giovanni. Yeah! Look it’s right here: costs only ten cents a pound…eat a little bit…and before you know it…a few feathers...and then…then your wings start to flutter…(imitates a rooster) and you become a chicken. Or maybe you’d prefer another barnyard animal. A pig perhaps. (He snorts) After all you are a cop. (Snorts again). (Barnet: 1108)
He’s so upset when the sergeant interrupts his meal. Then he insults him with his
stupid mimes to show that he feels insulted by the sergeant.
Giovanni. Your colleague from the Police force just did that a little while ago. Trooper. That doesn’t matter. We’ll do it again ourselves.
Giovanni. So you don’t trust them…You’ve come to make sure they haven’t botched things up! Then I guess the National Guard will come to check up on you. Next it’ll be the CIA…and the frogmen from the marines will show up in our bathtub… (He mimes a grotesque frogman). (Barnet: 1111)
He feels so insulted by the troopers who come to his house for a search. He is so
upset about it that he insults the troopers back for breaking his privacy. He always
makes serious things less serious by giving less serious responses to them. Even when
the situation is so formal or even tense, he still shows his stupid action.
Since he is such an ignorant person, people can provoke him easily. He will
just trust everything told to him. Even though sometimes the story seems illogical in
other people’s mind. Just say something with some made up, then he’ll believe it. He
can fall easily to the story, especially when the story teller is his wife Antonia. She is
so expert in making Giovanni believes in everything.
26
Giovanni. You mean you think they’d actually put bags of pasta and sugar under the bed? I’d better take a look. (Barnet: 1110)
Every single word comes out from Antonia, Giovanni will believe it without any
doubt. He follows everything without any further thinking.
Antonia. …But what’s this stuff? The bird seed? Don’t tell me that dopey Giovanni really cooked up a bird seed sup with rabbit heads! All you have to do is feed him a story and he swallows the whole thing. (Barnet: 1115)
The quotation shows how Giovanni does thing just based on what his wife tells him.
Antonia is not serious when she says about having bird seed as dinner, but Giovanni
with his ignorance just take it seriously and he eats it without considering that the
bird seed is not a human food. He believes his wife’s words. No matter how nonsense
the words are, he will just do it.
Another character that supports the comedy is his panic side. When Giovanni
gets panic, he makes something up exaggeratedly.
Antonia (stops him; she’s seen the cover of the coffin inside the wardrobe door). Giovanni…what’s that?
Giovanni (talks to distract her while he tries to come up with a plausible response). The gas tanks…are there…But you could at least have warned me…instead of letting me worry…all it would have taken was a phone call…
Antonia. Giovanni, what’s that?
Giovanni. All it takes is a dime…a quarter…you could have asked a nurse…you could have said: “Look, call my house…no, call the bar downstairs from my house…and say…’listen, tell my husband…’” Antonia (trying to interrupt him) Excuse me, Giovanni, what is that thing… Giovanni (desperate, doesn’t know what to say). Hello, could you tell my
husband that everything’s fine…(Barnet: 1122)
Antonia is asking about the casket that Giovanni hides in the wardrobe. Since the
the subject. Antonia’s curiosity leads her to keep asking, while Giovanni becomes
confuse to think the right way to change the subject. That makes his answer seems
irrelevant with the question and sounds so weird. He feels that he’s oppressed by
Antonia’s question that he does not know how to escape from the situation. When he
is in the middle of a situation that he feels oppressed, he will just say anything
crossed in his mind. The more tension that he feels, he will get panic even more.
Then he will say something nonsense about everything comes to him. When his panic
reaches its peak, what comes out from his mouth will just be a nonsense murmur.
Antonia. Giovanni, what is that brown wooden object?
Giovanni. Don’t change the subject! How come…instead of calling me…about the baby…you keep talking to me about that disgusting piece of wood...I’ll burn it…I don’t know why I ever bought the thing…it’s…it’s…
Antonia (exasperated). Giovanni, what is it?
Giovanni. You still don’t get it do you? Don’t you ever watch TV? A child…would understand right away, even a child…watching TV…the commercials…especially when you see the foam…the waves……(Barnet: 1122)
Giovanni is described as a well-organized person. He is trying to manage
things in his life, even though most of his well organization results in a little bit
weirdness.
Antonia (points at wardrobe). Yeah! For ten years…every time we have an argument…he locks himself in that wardrobe. He’s very organized about it! He has his little flashlight, his little chair. And he reads Dante’s “Inferno.” He’s trying to memorize it. (Barnet: 1106)
Giovanni is very well organized person, even though his well organization is shown
in a strange way, like what he does in his wardrobe. He prepares things that he needs
28
himself in the wardrobe. His silly well organization can also be seen through his plan
to tell Luigi about Margherita’s pregnancy.
Giovanni. …What a mess! Who knows how Luigi will take it when he comes home tomorrow and all of the sudden finds out he’s a father…he’ll have a stroke! And then what if he finds his kid transplanted into the belly of another woman…he’ll have a double stroke…and drop dead on the spot! I’ve got to talk to him first. Prepare him for it, little by little…give him the big picture…yeah, that’s it…I’ll start with the Pope…
(Barnet: 1113)
Besides having the characteristic to strengthen the comedy, Giovanni also has
his normal characterization as a normal human being. Behind his ignorance, he is a
man with dignity. A man who’s life always based on the rules. In the very beginning
of the play, Giovanni is depicted as a man who always obeys the rules. He does
everything in his life according to the law.
Antonia. …He’s a law and order freak. Who knows what kind of tantrum he’ll throw! “How could you do such a thing?,” he’ll say. “My father built a good life for his children by following the rules. I follow the rules. We’re poor, but we’re honest!”….(Barnet: 1105)
Since he has great obedience to the law, he tries to apply it to his life especially to his
family. He wants his wife to follow him give her obedience to the law. He does not
want if people close to him break the law. He even will not tolerate if his family
break the law.
As a man who follows orders and laws, he also puts great respect to the law officers.
He thinks that someone has to make the society give respect to the law. He thinks that
there should be someone to put the order.
Giovanni. …We need police, don’t we? Without them, we’d have chaos…someone has to lay down the law! (Barnet: 1109)
His attitude toward the law can be seen also through the way he gives opinion about
the neighbors who are arrested by the police. He seems so strict if dealing with
crimes. He gives no pity on them. He says that they deserve to be arrested because
they have broken the law (Barnet: 1109). He always chooses to take a legal step into
his first consideration in solving problems in his life. Even though he’s very stressed
by the society, he still keeps his step straight on its path. He does not want to do any
crime. He’s a hard worker who prefers to struggle harder than to make an illegal
action. He has a great dignity that makes him thinks straight to keep his action legal.
He will try to stop people who will break the law in his sight, especially his relatives.
Giovanni. Are you crazy. Do you want to lower yourself to the level if thieves and looters. I don’t take stuff that’s not mine. I work for what I have (Barnet: 1116).
Since he is very strict in dealing with the law and he thinks that he is a good citizen,
so he does not like if people call him a criminal or suspect him as a thief.
Sergeant. There was an assault on the supermarket today. A thousand women, and men too, removed a large quantity of merchandise at reduced prices…and some of them didn’t pay anything at all. We’re looking for the stolen goods, or if you prefer, the merchandise acquired at deep discount.
30
As a man who has great dignity, Giovanni always tries to say the truth to
people. No matter whether his words will insult others, the most important for him is
that he says what he thinks as the truth. He will just say exactly the same with what
he hears or what he sees without any lies or any further thinking about the
consequence of his words.
Giovanni. No, no. you shouldn’t talk like that, because they’re disgusted by all those things themselves. Isn’t that true, officer, that you’re fed up by robbing people in the name of authority. Tell my wife how you police officers are sick and tired of salivating when the whistle blows: “Follow orders! Jump. Bark! Bite like a bunch of guard dogs…”(howls like a dog on a chain)
Trooper. Could you say that again, please? (Giovanni barks) No, the part about the guard dogs?
Giovanni. Yes, I was just saying that you’re bought and sold by the politicians to help them can get re-elected!
Trooper. Is that right?
Trooper (turns to the two troopers). Cuff him! Giovanni. Handcuffs? Excuse me, but why? Trooper. For insulting public official.
Giovanni. What insult? I’m just saying what your colleague the police sergeant told me a few minutes ago…he’s the one who told me that you feel like servants of the politicians, slave of the system.(Barnet: 1111)
The quotation above really shows how Giovanni’s honesty has dragged him into
trouble just because he does not realize that his honest words insult the troopers.
What he thinks is just he says exactly as what the police sergeant told him. His
biggest honesty really shown when finally at the end of the play Giovanni really tells
the truth to his wife. He has the courage to reveal his illegal action to his wife.
As a married man, Giovanni is described also as a man who has great love and
concern to women. He is very kind to women. He shows big attention to women
close to him.
Giovanni (goes to the door). Are you loosing you mind, letting a poor pregnant woman stand out in the hall? Oh my God, Margherita, what are you doing there. Come inside, come in. (Margherita enters trying to stop herself from laughing) What’s wrong. Why are you crying? (Barnet: 1110)
From the quotation, he really shows his care to Margherita who’s ‘pregnant’.
He does not have heart to see a pregnant woman stands alone in the hall. He gives his
attention to her. He also shows his great love when finally Antonia has her ‘cesarean’
and becomes ‘pregnant’.
Giovanni. Come…come here…you shouldn’t be standing up…(sits her on the bed) not with that cesarean…you know…maybe it would have been better for you to stay there at the hospital. (Barnet: 1121)
He loves his wife so much that he wants to keep his wife and the ‘baby’. He
thinks about the safety and the health of his wife and her ‘baby’. He’s so protective
about it.
Antonia. Yeah. Do some cheering for Margherita. Go lift her up on you shoulders. I have to go. (She gets up and rushes to the door)
Giovanni (blocking her way). Go? Are you crazy? You’re not going anywhere…except to bed…to stay warm…in fact we’ll move the bed next to the heater. (Begins to move the bed) (Barnet: 1122)
The quotation shows how Giovanni really protect his wife and the ‘baby’. He does
not want if his wife too busy. He wants his wife just to stay on the bed for the sake of
32
2. Giovanni’s characterization after he faces the economic problem.
After experiencing the economic problem, Giovanni’s characterization can be
described as below.
After knowing that he is fired, Giovanni makes the greatest change in his life.
he finally decided to take things that don’t belong to him. Giovanni becomes a thief,
together with Luigi they steal bags of coffee that fall from the truck. Even more, he
takes the lead in stealing the bags of coffee. He becomes the leader in a crime.
Giovanni. Come on. Help me load up this stuff. Let’s take it all (Barnet: 1116). The
quotation shows how Giovanni invite his friend, Luigi, to join in his action to take the
bags of coffee. He is so energetic in doing the action. After becoming a thief, he also
runs away from the trooper who chases him.
Trooper. Stop or I’ll shoot.
Giovanni. Go ahead and shoot. (Barnet: 1116)
The conversation between Giovanni and the trooper above shows the condition when
the trooper tries to catch Giovanni, but Giovanni escapes with the stolen goods. He’s
not just escaping from the trooper, he also insults and mocks the trooper to shot him.
After taking the lead in stealing bags of coffee, Giovanni becomes braver in doing his
action. He also encourages his partner in this action. Giovanni. You can do it. We’re
almost there. (Barnet: 1116)
As the leader in the crime, Giovanni becomes more creative in making plans.
He also becomes more logical in thinking.
Giovanni. Are you sure?
Luigi. Absolutely. Come on. Give me the keys to your house and I’ll go get them.
Giovanni. Yeah, with the State Trooper waiting outside my house! Trac…You’re under arrest!
Luigi. No, after all this time, he must be gone.
Giovanni. Don’t kid yourself. That guy’s a bloodhound. We can’t even think of going back there. (Barnet: 1119)
The conversation between Giovanni and Luigi above shows how Giovanni has a
logical thinking in anticipating the State Trooper. He knows well that the Trooper
will chase them until he gets them and will be waiting for them near the house, so that
he stops Luigi to go to take his keys.
Since Giovanni’s way of thinking grows more logically, he is able to make
plans in taking the next steps more creatively also. He makes plans how to take the
bags of coffee to his house without any interruption from other people, especially the
trooper. His creative plan can be seen from his dialogue with the Gravedigger.
Giovanni. No…maybe we can take it to my house. I live just down the street…I’ll take care of everything. But you’d have to let us load these sacks into the casket…so our stuff won’t get wet in the rain. The casket has a lid I hope?
Gravedigger. Yes, yes, it’s a regulation casket. It’s cheap, but even so we never make them without the lid.
Giovanni. What a great country we live in! Every coffin has a lid!
Gravedigger. Okay, let’s go: I’ll go ahead so you can load up the casket. (He leaves)
(They gather the bags)
Giovanni. I’d like to see a cop who’s got the guts to stick his nose into a dead man’s casket. I’ll be the corpse, and you can be the undertaker making a delivery to the house. Come on. Let’s get the sacks and go. (They leave) (Barnet: 1120)
The quotation gives a depiction on how Giovanni makes plan to escape from the cops
34
so that the police will not try to make a search on them. At this point, he is so calm in
making his plan. He thinks that no one will have the courage to disturb a dead man,
so he hides all the coffee sacks into the casket to make it save from the police.
Giovanni is also described as an emotional man. He has a bad temper. His
anger bursts out when he finds out that his beloved wife is a robber. She stole some
goods from the supermarket. Then, his anger bursts even more when finally the
policeman gives him the eviction letter.
Antonia. Yes, but I only paid for half of it, the rest I stole… Giovanni. Stole? You’ve become a robber?
Policeman. I’ve got an eviction notice here. You’ve got a half hour to get ready. We’ll be back in a few minutes to give you a hand…(They leave) Giovanni. This is really unbelievable…I’m loosing my mind!
Luigi. Calm down, Giovanni…when it comes to talking about stealing, we should keep our mouths shut.
Giovanni. What do you mean keep our mouths shut? What’s that got to do with it? We were in the middle of the street, don’t you understand the difference…she’s a disgrace, a dishonest criminal. (Barnet: 1123)
When Antonia tells him that she stole the goods, Giovanni is so mad about it. He is
angry because Antonia has done something that he hates for the most in this world,
steals something that does not belong to them. Even though he also steals things, he
still considers his wife doing a worst thing than he does. He always wants his wife to
be a good woman, he wants her to obey the rules and to be honest (Barnet: 1105). He
is so angry because his wife is not like his expectation. He thinks that his action is
better than his wife’s because he does it to keep survive, while his wife is just
following the other people. Then things seem beyond his expectation, he thinks that
letter. This condition makes him really stressed that makes him becomes wilder and
his anger becomes bigger.
Another dialogue that shows Giovanni’s anger is when he finally finds out
that the ‘baby’ is just sugar, rice, and pasta.
Antonia. Sure, you’re right…I’m nothing but a criminal who throws mud on your poor but honorable name…and who also toys with your delicate sentiments of fatherhood…because you should know…(removes packages from belly) all I’ve got in my belly is sugar, rice, and pasta. Luigi. The baby, the transplant…(to his wife) Margherita?
Giovanni. I’m going to murder her…I’ll murder her! (Goes towards Antonia but is blocked by Luigi)
Old Man. Well, now that I’ve done what I came for…I’ll bid you children goodbye. Have a nice day. (He leaves)
(The noises outside keep getting louder. Women and men yelling. Orders shouted. Sirens)
Giovanni. You dirty liar. How dare you joke about the story of our son! (To Luigi) Let me go. (Barnet: 1123)
The dialogue above shows how Giovanni looses his temper and becomes so angry
with his wife. As an honest man, he also expects his wife to be honest too. He even
states that they must be honest in every situation (Barnet: 1105). That is why he feels
so upset when his wife lies to him about her pregnancy or especially about their son.
He considers his wife has done a big lie that is unforgivable about the pregnancy. Her
lies add the stress on Giovanni. At this point his anger reaches its peak that he wants
to kill his own wife that he loves. This is the point where Giovanni turns into a very
furious man.
As his character develops, Giovanni also turns into a wise man. He sees things
around him with clear conscience. He considers things happened around him with
36
Giovanni. Of course it’s happening. People have been putting up with things out of fear. But fear can turn into rage when you can’t see any way out and you watch your bills piling up and up and up and you’ve got nothing in the bank. And you keep getting downsized and downsized and downsized until no one can even see you anymore. (Barnet: 1124)
He is watching through the window in his house to the chaos that happened on the
street just in front of the building, people strike back and the police are forced to
retreat. He sees thing that happened in his society as the result of the economic
condition in the environment.
Giovanni. Desperation’s funny isn’t it. Especially when it’s somebody else’s. Then it’s really funny. It’s a scream. It’s a riot. Remember the Los Angeles riots. Nobody expected them. You’re smiling, aren’t you. Sure, we all know that the poor people just burned down their own neighborhoods, and left themselves flat on their asses with nothing to show for all their rage. But just wait, because it might turn out that, little by little, they’re going to get up off their asses onto their knees. And then they just might drag themselves up off the ground and onto their feet. And that’s when we better start paying attention, because when people stand up for themselves, they can always find to make things happen. (Barnet: 1124)
From the final dialogue between the major characters in the play, it can be seen that
Giovanni really feels the condition in his society deep down in his heart. He feels
involved with the condition emotionally that makes him able to say something wise
about the chaos. He really can feel the sorrow of the people in his society.
B. The Economic Condition in Giovanni’s Society
In order to understand how the economic problem influences Giovanni’s
Giovanni’s society. The economic condition in the story can be seen through how the
people can fulfill their daily needs such as food, housing, and job.
In the story, people are really mad about the rising prices. They feel that they
are really in a bad financial condition as represented by Antonia.
Antonia. This morning I had to go grocery shopping, but I didn’t know how I could buy anything, because I didn’t have any money. So I walked into the supermarket, and I see a crowd of women. They’re all raising hell because the prices are higher than they were just the day before. (As she talks she looks into the sacks and goes back and forth putting things into the kitchen shelves) The manager’s trying to calm them down. ‘Well, there’s nothing I can do about it,’ he said. ‘The distributors set the prices, and they’ve decided to raise them.’”They decided? With whose permission?” “With nobody’s permission. It’s the free market. Free competition.” “Free competition against who? Against us? And we’re supposed to give in?...While they fire our husbands…and keep raising prices…” So I yelled, “You’re the thieves!,”…and then I hid, because I really scared. (Barnet: 1104)
The quotation above shows how Antonia tells her friend Margherita about the
condition at the supermarket. The women feel that they have enough dealing with the
raising prices in the neighborhood. They can’t stand any longer because the prices are
uncontrollable and they are worried if they can’t afford to buy anything to fulfill their
basic needs. They are stressed about their financial condition. There are a lot of
downsizing in the society that make their husbands unemployed. This makes their
financial condition becomes worst and the raising prices just bring it down to the
lowest level.
This economic disaster in the society has made people stand together to fight
back those who make the people feel this crisis. They support their action that they
