Although the characters' distinctive individual stories are told in the first act of Caryl Churchill's play Top Girls, the overall effect is a cumulative chorus of girl problems. The dinner scene in Act I establishes the thematic basis upon which numerous women's issues can be raised. Despite the clamor of each character's self-centered monologue and subsequent disinterest or lack of sympathy for the narratives of others, the women of the first act are fundamentally united through common feminist concepts. The effective use of different literary techniques, captions and contextual parameters essentially serves to emphasize the final chorus of women's issues. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The predominant issue raised in Act I is that of social boundaries and identity expressed through the common premise of clothing. Several characters discuss the implications of clothing and its suggestions regarding conventional social conceptions. A disagreement between Isabella and Joan emerges over the idea of ​​dressing, whereby Joan's supposed masculinity conveyed through her clothing does not accord with Isabella's notions of femininity; tension and undertones of disapproval are implicit in Isabella's direction to Joan on the subject of dress: "I firmly repudiated any suggestion in the press that I was anything other than feminine." Furthermore, Nijo introduces concepts of clothing with respect to social boundaries in parallel with its contextual meaning. The cultural principles of 13th-century Japan are illustrated through 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 trousers of raw silk and a seven-layer dress in shades of red." Clothing is a significant theme on which issues of female identity are expressed, achieved through contradictory visions. The position of women in relation to men is also explored as represented through conflicting 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 his cultural upbringing: he states after Marlene expresses concern about the rape: "No, of course not, Marlene, I belonged with him." Such visions of limited relationships with men can be compared to the story of Griselda, who sacrificed her own children to comfort the misguided and troubled mind of her husband, Walter, who in turn believed that Griselda lacked the ability to “always obey him.” . ” and so he forced her to “prove” her love and loyalty to him. The surrender of her children based on Walter's troubled suspicions is an undeniable indication of Griselda's submission to men. The themes of objectification and powerlessness are carefully considered throughout Act I, and that theme inextricably links all the women even if they don't agree; Marlene, for example, has to physically get up from the dinner table after hearing Griselda's story: “I can't stand it. I'm going to pee." Maternal protection is a central feminist theme considered in Act I. Gret's horribly nightmarish monologue of terrifying rage is a consequence of suffering the loss of her son: "My baby, a soldier the he pierced with a sword (…) I was crazy, I hate bastards.” The maternal pain that Gret experiences can be compared to that represented in other stories of women who had lost their children. Nijo and Griselda.