t they could never think differently, especially with the strong force of Clive present. In the second act the characters are also played by their appropriate sex with the exception of Lin's 5-year-old daughter played by a man. Once again it takes the role of a dramatic device to further the action and the thoughts of the audience. The characters, without Clive, in the second act try to find out their own roles pertaining to themselves instead of dependent on a White, male figure telling them who they are.. This play is steeped with qualities and devices that help Churchill's point ring with clarity.Where did she go?Revisiting the PastAfter the acclaim of Cloud Nine Churchill made yet another change to her style. She became focused on a broader range, dealing now with social critique instead of the feminist-socialist approach of earlier in her career. Her works during this phase, namely Top Girls, Fen, and Serious Money, showed her revisiting past personal styles and revising them. It showed her "extracting elements from both the epic and personal areas of theatre, reshaping traditional devices, and melding all of these factors into a truly original style" (Kritzner 138). These plays tend to have a lesser approach of optimism than those previous in her career, but she continues to question the set up of society.Revising MythRevision of myth, as I have found, is a typical element in most feminist writings. The analysis and re-analysis of the construction of modern day thought is a device widely used. This was Churchill's next implement. She wrote A Mouthful of Birds and Ice Cream under this style. Alicia Ostriker, a writer of mythical poetry, wrote that there are three main reasons why women writers go towards the mythological side of life. " to be taken seriously as a writer, to get at something very deep in herself, and to release an imprisoned meaning not yet discovered in the previous versions of the myth" (Kritzner 172). ...
