Jez Butterworth: Jerusalem

Welcome to the Woods: An Introduction to Jerusalem

Hello! Welcome to your study guide for Jez Butterworth’s Jerusalem. If you like stories about rebellious outlaws, ancient myths, and the clash between the old world and the new, you’re going to love this play.

In your OCR A Level course, specifically for Component 02 (The language of poetry and plays), we don't just look at the story. We look at how the play is built. We will explore the "tools" Butterworth uses—like specific words, the way characters move, and even the stuff happening off-stage—to create a powerful experience. Don't worry if it seems like a lot at first; we’ll break it down piece by piece!

1. Dramatic Techniques: What Happens on Stage (and Off!)

Because this is a play, we have to think about more than just words on a page. We have to think about the performance. The syllabus asks you to look at dramatic techniques.

On-Stage and Off-Stage Action

Imagine a football match. The on-stage action is what happens on the pitch. But the off-stage action is what happens in the locker rooms or the stands—you can’t see it, but it changes the mood of the game.

In Jerusalem, Johnny "Rooster" Byron’s caravan is the center of the world. On-stage: We see the partying, the drinking, and Johnny’s storytelling. Off-stage: We hear about the "New Estate," the police closing in, and the Flintock Fair. This creates a feeling of being "surrounded" by a modern world that wants to destroy Johnny’s way of life.

Paralinguistic Features

This is a fancy term for how things are said, not just what is said. It includes gestures, facial expressions, and tone of voice.

Example: When Johnny tells his tall tales, his wide gestures and booming voice (his prosodics) make him seem like a giant or a king. When he is alone, his movements might be slower or more pained, showing he is just a man.

Don't forget: Pay attention to stage directions in the script. They tell you exactly how a character should move or look!

Quick Review: Dramatic Terms

Soliloquy: A character speaking their inner thoughts aloud when alone.
Asides: A quick comment to the audience that other characters "can’t hear."
Dramatic Irony: When the audience knows something that the characters don't (like knowing the bulldozers are coming while the characters are still partying).

Key Takeaway: Dramatic techniques turn a script into a living thing. Look for how the physicality of the actors matches the themes of the play.

2. Stylistic Analysis: The Power of Language

The syllabus requires you to use linguistic levels to analyze the text. This means looking at the "DNA" of the dialogue.

Lexis and Semantics (Words and Meanings)

Johnny uses lexis (words) that is often archaic (old-fashioned) or full of nature imagery. He talks about giants, blood, and the soil. This links him to the "Old England."

On the other hand, the officials from the Council use bureaucratic lexis. They use words like "compliance," "eviction," and "ordinance."

Analogy: It’s like a battle between a poetry book and a parking ticket. The two styles of speaking show the conflict between the characters.

Pragmatics (Reading Between the Lines)

Pragmatics is about how we understand meaning based on the situation. Johnny often uses irony or sarcasm to show he doesn't respect authority. When he talks to the Council officials, he isn't just giving information; he is performing a "power play" to make them look foolish.

Discourse (The Big Picture of Conversation)

Look at who controls the conversation. Does Johnny interrupt others? Does he speak in long monologues (big blocks of speech)? This shows he is the "Alpha" of his woods.

Memory Aid: The "L-P-D" Checklist
When analyzing a scene, ask yourself:
1. Lexis: What kinds of words are they using?
2. Pragmatics: What is their real intent behind the words?
3. Discourse: Who is "winning" the conversation?

Key Takeaway: Language is a weapon in Jerusalem. Johnny uses myths to defend himself, while the Council uses "official-speak" to attack him.

3. Pattern-Making and Pattern-Breaking

The OCR syllabus wants you to look at foregrounding. This is when the writer makes something stand out by creating a pattern or breaking one.

Repetition (Pattern-Making)

Johnny tells stories over and over. This creates a rhythmic, almost magical feel to his speech. It makes his lies start to feel like "truth" to his young followers.

Deviation (Pattern-Breaking)

Deviation is when something happens that we don't expect.

Example: Most of the play is filled with loud, chaotic talking. When a moment of silence or a short, blunt sentence occurs (like "Get out"), it stands out. This is a pattern-break that signals a shift in the mood from funny to serious.

Quick Review:
Foregrounding = "Highlighting" an idea.
Pattern-making = Using repetition to build a mood.
Pattern-breaking = Stopping a pattern to shock the audience.

4. Context: Why It Matters

Context isn't just history; it's the environment the play lives in.

Literary and Generic Context

Jerusalem is often called a "State of the Nation" play. It’s asking: What has happened to England?
It also uses Pastoral themes—this is a genre that looks at the beauty of the countryside vs. the "evil" of the city. Johnny is like a modern-day Robin Hood or a "Green Man" from folklore.

Social Context

The play is set on St. George’s Day. This is important because St. George is the patron saint of England. The whole play is a giant question mark over what "Englishness" means today. Is it the neat houses of the New Estate, or is it the messy, wild woods of Johnny Byron?

Did you know? The title Jerusalem comes from a famous poem by William Blake. It asks if a "holy" city could be built in England’s "green and pleasant land." Butterworth is using this famous idea to see if there is any "green and pleasant land" left.

5. Common Mistakes to Avoid

1. Just telling the story: The examiner knows what happens. Don't say "Johnny tells a story about a giant." Instead, say "Butterworth uses hyperbolic lexis in Johnny’s story to foreground his status as a mythic figure."

2. Ignoring the stage: Remember it’s a play! Always mention things like sound effects, lighting, or stage directions.

3. Forgetting the "Why": If you spot a metaphor, ask why it's there. Does it make Johnny seem more powerful? Does it make the Council seem more cold?

Summary Checklist for Your Revision

• Can I identify three paralinguistic features Johnny uses?
• Can I find an example of repetition in a monologue?
• Do I understand the difference between on-stage and off-stage action?
• Can I explain how the context of St. George's Day affects the play's meaning?

Final Encouragement: You've got this! Jerusalem is a wild ride of a play. If you keep focusing on how the language and the stage work together, you'll be able to write a fantastic analysis. Happy studying!