Although the characters' distinctive individual stories are told in Act I of Caryl Churchill's play Top Girls, the overall effect is a cumulative chorus of women's problems . The dinner scene in Act I establishes thematic grounds upon which many issues relating to women can be raised. Despite each character's self-centered monologues and resulting disinterest or lack of sympathy for the others' narratives, the women of Act I are fundamentally united by common feminist concepts. The effective use of several literary techniques, settings and contextual settings essentially serves to emphasize the ultimate refrain of women's issues. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay The predominant issue raised in Act I is that of social boundaries and identity as expressed through the premise common clothing. Several characters debate the implications of dress and its suggestions regarding conventional societal views. A disagreement between Isabella and Joan surfaces over the idea of ​​dressing, whereby Joan's assumed masculinity as conveyed through her clothing does not mesh with Isabella's notions of femininity; tensions and undertones of disapproval are implicit in Isabella's direction to Joan on the subject of dress: "I firmly rejected any suggestion in the press that I was anything other than feminine. » Additionally, Nijo introduces the concepts of clothing as it relates to social boundaries, alongside its contextual meaning. The cultural principles of 13th-century Japan are illustrated by Nijo's glorified elaboration of clothing as an indication of social status: "When I was chosen to give sake to His Majesty's brother (...) I wore pleated pants in raw silk and a seven-layer dress in shades of red. Clothing is an important theme on which questions of female identity are expressed, through contradictory points of view. The female position in relation to men is also explored as represented through contradictory beliefs. Marlene's belief in the universal unacceptability of rape contrasts with Nijo's recognition and acceptance of his own objectification before the emperor. Nijo's understanding is the result of her own cultural upbringing: she states after Marlene expresses her concerns about the rape: "No, of course not, Marlene, I belonged to her." » Such views of diminutive relationships with men can be compared to the story of Griselda, who sacrificed her own children to comfort the wayward and troubled spirit of her husband, Walter, who in turn believed that Griselda had no not the ability to “always obey him.” » and thus forced her to “prove” her love and loyalty to him. The abandonment of her children based on Walter's disturbed suspicions is an undeniable indication of Griselda's understood submission to men. Themes of objectification and powerlessness are carefully examined throughout Act I, and this theme inextricably links all of the women even if they disagree; Marlene, for example, has to physically remove herself from the dining table after hearing Griselda's story: “I can't stand this. I'm going to pee. » Maternal care is a central feminist theme addressed in Act I. Gret's horribly nightmarish monologue, full of horrific rage, is a consequence of the suffering caused by the loss of her child: "My baby, a soldier the has.