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Beckett's. If I could ask him about the play, this is the first section I would talk to
was in the handling of the text. I believe that we were in large part successful in
rendering the text in a way that was both vivid and open. This was supported by the
physical work and environment which was conceptually open despite it's clarity.
allowed me to come into contact with some of the work that has been done in the
last few decades, in freeing actors from the physical and rhythmic constraints of
psychologically, or naturalistically derived staging. Because of this work I am
reasonably confident in creating movement and a physical reality for a production
that is cohesive on it's own terms. However, I have been very frustrated in my
attempts to free up the text of a play, and allow it to have a theatrical life of it's own.
I was very pleased by the results we achieved with the text in ENDGAME and feel
that I gained much insight into this issue.
an attempt to interpret the text directly to the audience, the text becomes free of any
assumptions about the character's psychology that the actor may have. What is
important is that the alternate approach must be in some sense dynamic enough to
hold the attention of the audience, and on a technical level it must answer the
musical needs of the text. Simply draining the words of meaning and playing them
as notes, works no better than filling each utterance with import and reducing the
text to it's purely semantic function. The truth lies somewhere in the difficult,
terrain between, and as soon as it is grasped it slips away and has to be found anew
for each line.