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* Phase 5
the play intimately. Jay and Rachel were veritable experts on the production history
and could speak volumes on almost any word in the play.
perform the play. We were working, right from the beginning on speed. Barney's
work on Nagg was an immediate injection of energy into the process. His instincts
were to push the text to a very high level of energy. This set the bar for the rest of
the cast. It was clear that the text needed not only speed but an energized speed.
"turns" and the pauses in the text. If the pauses were awkward, for the characters as
well as for the audience then the text began to take on the feeling of a series of jokes
without punch-lines. Vaudeville turns that were broken. It seemed that the more
Hamm and Clov tried to make the turns work, the more the pauses seemed to fit
into the structure. This both accelerated and energized the text. It created a sense of
danger and desperation that also allowed for comedy.
embarrassing almost to the point of being painful and only laughable because they
were on the stage. These moments seemed to come only when we took the speed of
the text to the edge of everyone's ability. Earning the pauses took on a profound
divided the play into very loose French Scenes. The obvious entrances and exits
made the clearest breaks. There were a couple of other places where a significant