MAD Essay Psych Warfare
Christina Rocco
Psychological Warfare
Modern American Drama
Edward Albee’s “The Zoo Story”, and Sam Shepard’s “Buried Child” both have examples of psychological warfare. Psychological warfare is described as using the powerful mind to influence others or yourself. In “The Zoo Story”, Jerry attempted to be successful in his life but does not succeed compared to Peter. This leads to an inner realization of society and its effects on the human psyche, as Jerry compares his position to that of being locked in a cage.
Albee’s “The Zoo Story” has two characters named Jerry and Peter. These two men are introduced to the audience as being very different in their appearance, but they are also very different in the ways in which they live their life. According to Turki “Jerry tries hard to create meaning in his life, but he does not succeed.” This sense of meaninglessness and emptiness gives him the impression that he is like a caged animal in a zoo, a psychological vision he creates in his own mind. The psychological warfare in this play is based on the two men’s lives and how they are dramatically different. Albee chooses totally different people to heighten the sense of misery that some people suffer from and whose suffering is unnoticed by other people. Jerry is a symbol of a degrading life and Peter is considered successful. This leaves the impression that as if Albee intended to say that those who came to enjoy watching the caged animals in the zoo are not aware of the animal’s suffering. The working man lives and dies and goes unnoticed according to Edward Albee’s “The Zoo Story”. Jerry speaks about his neighbors and says “there’s somebody living there, but I don’t know who it is. I’ve never seen who it is. Never. Never ever” (p. 659). In Shepard’s “Buried Child”, there are many twists and turns revolving around secrets. In this play, the family is permanently altered by their secret, which becomes a growing moral cancer to them, leaving each
Psychological Warfare
Modern American Drama
Edward Albee’s “The Zoo Story”, and Sam Shepard’s “Buried Child” both have examples of psychological warfare. Psychological warfare is described as using the powerful mind to influence others or yourself. In “The Zoo Story”, Jerry attempted to be successful in his life but does not succeed compared to Peter. This leads to an inner realization of society and its effects on the human psyche, as Jerry compares his position to that of being locked in a cage.
Albee’s “The Zoo Story” has two characters named Jerry and Peter. These two men are introduced to the audience as being very different in their appearance, but they are also very different in the ways in which they live their life. According to Turki “Jerry tries hard to create meaning in his life, but he does not succeed.” This sense of meaninglessness and emptiness gives him the impression that he is like a caged animal in a zoo, a psychological vision he creates in his own mind. The psychological warfare in this play is based on the two men’s lives and how they are dramatically different. Albee chooses totally different people to heighten the sense of misery that some people suffer from and whose suffering is unnoticed by other people. Jerry is a symbol of a degrading life and Peter is considered successful. This leaves the impression that as if Albee intended to say that those who came to enjoy watching the caged animals in the zoo are not aware of the animal’s suffering. The working man lives and dies and goes unnoticed according to Edward Albee’s “The Zoo Story”. Jerry speaks about his neighbors and says “there’s somebody living there, but I don’t know who it is. I’ve never seen who it is. Never. Never ever” (p. 659). In Shepard’s “Buried Child”, there are many twists and turns revolving around secrets. In this play, the family is permanently altered by their secret, which becomes a growing moral cancer to them, leaving each
Bibliography: of Critical Commentaries: Turki, H. (2009). The Caged Soul: A Study Of Edward Albee’s The Zoo Story. Al-faith Journal, 40(2), 123-129. Zinman, T. (1989). Sam Shepard and Super Realism. Modern Drama, 29 (3), 423-430.