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sightlines in the Horace Mann as well as my wanting to rig the "ash cans" for Nagg
and Nell to be smaller, by providing cutouts that the actors could hide in. I also
knew that I wanted to use the actual walls of the performing space as the walls of
that would restrict movement: A floor surface that made Clov's walking difficult
and the movement of the chair close to impossible. I agreed in principal, but her
suggestion that we cover the floor with old mattresses seemed too much (although
it is a very evocative image for the play).
recognizable space other than a stage. We talked a lot about the idea of everything
being makeshift in some way, as if Hamm and Clov had been trapped in the
basement of Columbia Teachers Collage and had to come up with the objects of
their lives with what they found. For my part this instinct had to do with my desire
to make the play as "real" as I could. Meaning that I was becoming less and less
interested in illusion and more and more interested in the play somehow breaking
into "real life."
eight feet wide with a flat on the upstage edge to be the back wall, I was shocked.
Initially it seemed antithetic to what I was looking for. However upon
consideration it became clear that it was better than what I had been thinking. By
constricting the movement with a ledge instead of walls the set would provide a
claustrophobic sense that was open to the audience. The obvious theatricality of it
fit much better with the direction that the acting was taking.
extend down to the floor of the actual stage. A translucent cube to the left and