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* Phase 2
understand or connect to what a play "means."
between why the playwright wrote the play, and why we are performing it. It seems
to me that this is the foundation on which a production must be constructed.
touch with our reasons for presenting the piece, without imposing anything on the
play. I knew that this would be difficult. The play reaches so deeply into the darkest
murk of our lives, that to actually talk about what the play is dealing with is close to
impossible. I believed strongly that the essence of the play was unutterable.
Attempts to nail anything down could only limit our own vision of the play.
production would be mounted. We talked. Usually about what was going on in the
news: Mad Cow disease, various incidents of terrorism, air crashes etc. For the first
several months the play was rarely if ever mentioned, but there was no doubt that
we were indeed working on ENDGAME. There was no intention of bringing these
sorts of news events into the production. Rather by connecting the work on the
production to our view of the world, reading the newspaper became research.
Living became rehearsal on some level. Nothing in our lives and in the world we
saw would be irrelevant.
focus on specific aspects of our lives or society in this source work. Whereas in
many productions a theme of some sort could be defined, there was a conscious
effort on our part to stay away from any definition of relevance. We had to keep it
completely open to preserve the essential elusive nature of the play.