Le big bazar

Push up

Posted in International bazar by Sarrdanapale on mars 15, 2009

Tambours dans la nuit – Bertolt Brecht

Posted in Littérature bazar by Sarrdanapale on mai 12, 2008

Je viens de terminer Tambours dans la nuit.

Murke : Il a un oeuf dans la tête

Kragler : Qu’il sorte !

Et le kangourou saoul pleure.

Baal – Bertolt Brecht

Posted in Littérature bazar by Sarrdanapale on mai 4, 2008

Je viens de terminer Baal. Il y a des auteurs si célèbres qu’on oublie parfois de les lire. Bertolt Brecht est de cela (malgré Antigone, ballon d’essai.)

Tout le monde est d’accord sur un point : il ne faut jamais être le dernier amant d’une femme, quand elle est devenue une Madame Arnoux, vieille et décatie, il n’y a que la déception.

« Mais l’amour c’est comme une noix de coco, qui est bonne tant qu’elle est fraîche, et qu’il faut cracher quand le jus a été sucé et qu’il reste la pulpe, laquelle a un goût amer. »

Après les avis divergent : Vaut-il mieux qu’elle soit vierge ou attendre d’être le dixième amant pour en profiter à son apogée ?

Pour un œuvre littéraire, c’est un peu pareil. Vaut-il mieux prendre le risque des premières pages maladroites, de ces coups de langue qui ne savent pas où ils vont ou bien commencer directement par l’œuvre principale, celle dont on est sûr qu’elle aboutira à l’orgasme ?

Mais opter pour la deuxième solution, c’est aussi prendre le risque de passer à côté des premiers soupirs de plaisir, ceux par qui – et c’est Racine qui l’affirme – Narcisse, c’en est fait, Néron est amoureux !

Ayant le théâtre complet sous la main, mon choix est fait, commençons par Baal.

Baal, personnage éminemment sympathique, à mi-chemin entre Rimbaud et Pete Doherty en passant par François Villon. Le poète tombeur-alcoolique-maudit , personnage aujourd’hui lassant à force d’être rabâché mais qui gardait encore tout son attrait à l’époque.

Vive la bestialité

Vive l’homosexualité latente

Vive les partouzes avec des sœurs orphelines

« Baal (il titube) : Je veux être un éléphant qui pisse dans le cirque quand tout n’est pas beau… »

La nuit juste avant les forêts – Bernard-Marie Koltès

Posted in Littérature bazar by Sarrdanapale on mai 1, 2008

Je viens de terminer La nuit juste avant les forêts, une longue phrase ininterrompue. Mon deuxième Koltès et déjà, un peu plus de plaisir, on accroche à l’histoire, on revient de temps en temps vers une ou deux pages incomprises.

Le troisième sera le bon.

« comment avoir une idée sur quelqu’un sans avoir baisé avec elle ? cent mille ans avec elle sans baiser, et tu en sais toujours rien, que les grandes phrases qui te rendent dingue, qu’est-ce que tu connais d’elle avec les grandes phrases, si tu ne sais pas comment elle est avant,, si tu ne sais pas comment elle bouge, comment elle respire, si elle parle et fait des histoires, ou si, au contraire tu lui plais vraiment bien, et qu’elle ne dit rien, se retient, garde tout en secret pour toi et pour elle, qu’est-ce qu’on connait de quelqu’un si on ne sait pas comment elle respire après avoir baisé, »

Dans la solitude des champs de coton

Posted in Littérature bazar by Sarrdanapale on avril 26, 2008

Je viens de terminer Dans la solitude des champs de coton.
Titre merveilleux.

Mon premier Koltès.

“Si par hypothèse je vous disais que ce qui me retient ici était l’incertitude où je suis de vos desseins, et l’intérêt que j’y prends ? Dans l’étrangeté de l’heure et l’étrangeté du lieu et l’étrangeté de votre avance vers moi je me serais avancé vers vous, mû de ce mouvement conservé en toute chose de manière indélébile tant qu’un mouvement contraire ne lui est imprimé. Si c’était par inertie que je me suis approché de vous ?”

L’extrait résume mon sentiment
L’attention s’égare souvent, revient parfois.
Dealer ou Client, une ou deux jolies phrases ne suffisent pas.

Purifiés – Sarah Kane

Posted in Littérature bazar by Sarrdanapale on avril 25, 2008

Je viens de terminer Purifiés.

Aime beaucoup Sarah Kane, mais là,

l’incompréhension

Le soleil brille de plus en plus, les rats couinent de plus en plus fort et la lumière devient aveuglante, et le bruit devient assourdissant.

Noir

Il faudra relire pour vraiment comprendre.

A bientôt Grace/Graham/Tinker

Graham : Jure-le.

Tinker : Oui.

Grace : Sur ma vie.

Moi : Oui, je le jure sur la vie de Grace.

Antigone – Bertolt Brecht

Posted in Littérature bazar by Sarrdanapale on avril 23, 2008

Je viens de terminer Antigone de Bertolt Brecht.
« L’acte de copier est méprisé ; il faut se libérer de ce mépris. Copier n’est pas « plus facile ». Ce n’est pas une honte mais un art. Plus précisément : il faut en faire un art pour que ne se produisent ni routine ni sclérose. »

La guerre est finie Créon. C’est trop tard.

Play

Posted in Littérature bazar by Sarrdanapale on décembre 10, 2007

PLAY

A play in one act by Samuel Beckett
Written in English  in late 1962-3. First published in German, as Spiel, in Theatre Heute (July 1963). First published in English by Faber and Faber, London, in 1964. First performance was of Spiel, translated by Erika and Elmar Tophoven, at the Ulmer Theater, Ulm-Donau, on 14 June 1963. First performed in Britain by the National Theatre Company at the Old Vic Theatre, London, on 7 April 1964.
Front centre, touching one another, three identical grey urns (see page 319) about one yard high. From each a head protrudes, the neck held fast in the urn’s mouth. The heads are those, from left to right as seen from auditorium, of w2, m and w1. They face undeviatingly front throughout the play. Faces so lost to age and aspect as to seem almost part of urns. But no masks.
Their speech is provoked by a spotlight projected on faces alone (see page 318).
The transfer of light from one face to another is immediate.
No blackout, i.e. return to almost complete darkness of opening, except where indicated.
The response to light is immediate.
Faces impassive throughout. Voices toneless except where an expression is indicated.
Rapid tempo throughout.
The curtain rises on a stage in almost complete darkness.
Urns just discernible. Five seconds.
Faint spots simultaneously on three faces. Three seconds. Voice faint, largely unintelligible.
w1:

w2:    [Together.
See page 319.]    Yes, strange, darkness best, and the darker the worse, then all well, for the time, but it will come, the time will come, the thing is there, you’ll see it, get off me, keep off me, all dark, all still, all over, wiped out– Yes, perhaps, a shade gone, I suppose, some might say, poor thing, a shade gone, just a shade, in the head–[Faint wild laugh.]–just a shade, but I doubt it, I doubt it, not really, I’m all right, still all right, do my best, all I can–
M:        Yes, peace, one assumed, all out, all the pain, all as if . . . never been, it will come–[Hiccup.]–pardon, no sense in this, oh I know . . . none the less, one assumed, peace . . . I mean . . . not merely all over, but as if . . . never been–

[Spots off. Blackout. Five seconds. Strong spots simultaneously on three faces. Three seconds. Voices normal strength.]
w1:
w2:
M :     [Together]    I said to him, Give her up–
One Morning as I was sitting–
We were not long together–

[Spots off. Blackout. Five seconds. Spot on w1.]
W1 : I said to him, Give her up. I swore by all I held most sacred–
[Spot from w1 to w2.]
W2 : One morning as I was sitting stitching by the open window she burst in and flew at         me. Give me up, she screamed, he’s mine. Her photographs were kind to her.         Seeing her now for the first time full length in the flesh I understood why he         preferred me.
[Spot from w2 to M.]
M :  We were not long together when she smelled the rat. Give up that whore, she said,        or I’ll cut my throat–[Hiccup.]
pardon–so help me God. I knew she could have no proof. So I told her I did not        know what she was talking about.
[Spot from M to W2.]
W2 : What are you talking about? I said, stitching away. Someone yours? Give up whom?         I smell you off him, she screamed, he stinks of bitch.
[Spot from w2 to w1.]
W1 : Though I had him dogged for months by a first-rate man, no shadow of proof was         forthcoming. And there was no denying that he continued as . . . assiduous as         ever. This, and his horror of the merely Platonic thing, made me sometimes wonder         if I were not accusing him unjustly. Yes.
[Spot from w1 to M.]
M :  What have you to complain of ? I said. Have I been neglecting you? How could we        be together in the way we are if there were someone else? Loving her as I did, with        all my heart, I could not but feel sorry for her.
[Spot from M to W2.]
W2 : Fearing she was about to offer me violence I rang for Erskine and had her shown        out. Her parting words, as he could testify, if he is still living, and has not forgotten,        coming and going on the earth, letting people in, showing people out, were to the        effect that she would settle my hash. I confess this did alarm me a little, at the time.
[Spot from W2 to M.]
M : She was not convinced. I might have known. I smell her off you, she kept saying.       There was no answer to this. So I took her in my arms and swore I could not live       without her. I meant it, what is more. Yes, I am sure I did. She did not repulse me.
[Spot from M to W 1.]
W1 : Judge then of my ashonishment when one fine morning, as I was sitting stricken in       the morning room, he slunk in, fell on his knees before me, buried his face in my lap       and . . . confessed.
[Spot from w1 to M.]
M : She put a bloodhound on me, but I had a little chat with him. He was glad of the       extra money.
[Spot from M to W2.]
W2 : Why don’t you get out, I said, when he started moaning about his home life, there        is obviously nothing between you any more. Or is there?
[Spot from w2 to w1.]
W1 : I confess my first feeling was one of wonderment. What a male!
[Spot from w1 to M. He opens his mouth to speak. Spot from M to W2.]
W2 : Anything between us, he said, what do you take me for, a something machine? And       of course with him no danger of the . . . spiritual thing. Then why don’t you get out?       I said. I sometimes wondered if he was not living with her for her money.
[Spot from w2 to M.]
M : The next thing was the scene between them. I can’t have her crashing in here, she       said, threatening to take my life. I must have looked incredulous. Ask Erskine, she       said, if you don’t believe me. But she threatens to take her own, I said. Not yours?       she said. No, I said, hers. We had fun trying to work this out.
[Spot from M to W1.]
W1 : Then I forgave him. To what will love not stoop! I suggested a little jaunt to       celebrate, to the Riviera or our darling Grand Canary. He was looking pale. Peaked.       But this was not possible just then. Professional commitments.
[Spot from w1 to w2.]
W2 : She came again. Just strolled in. All honey. Licking her lips. Poor thing. I was doing       my nails, by the open window. He has told me all about it, she said. Who he, I said       filing away, and what it? I know what torture you must be going through, she said,       and I have dropped in to say I bear you no ill-feeling. I rang for Erskine.
[Spot from w2 to M.]
M : Then I got frightened and made a clean breast of it. She was looking more and more       desperate. She had a razor in her vanity-bag. Adulterers, take warning, never admit.
[Spot from M to w1.]
W1 : When I was satisfied it was all over I went to have a gloat. Just a common tart.       What he could have found in her when he had me–
[Spot from w1 to w2.]
W2 : When he came again we had it out. I felt like death. He went on about why he had       to tell her. Too risky and so on. That meant he had gone back to her. Back to that!
[Spot from w2 to w1.]
W1 : Pudding face, puffy, spots, blubber mouth, jowls, no neck, drugs you could–
[Spot from w1 to w2.]
W2 : He went on and on. I could hear a mower. An old hand mower. I stopped him and        said that whatever I might feel I had no silly threats to offer–but not much stomach        for her leavings either. He thought that over for a bit.
[Spot from w2 to w1.]
W1 : Calves like a flunkey–
[Spot from w1 to M.]
M : When I saw her again she knew. She was looking–[Hiccup.]–wretched. Pardon.       Some fool was cutting grass. A little rush, then another. The problem was how to       convince her that no . . . revival of intimacy was involved. I couldn’t. I might have       known. So I took her in my arms and said I could not go on living without her. I don’t       believe I could have.
[Spot from M to W2.]
W2 : The only solution was to go away together. He swore we should as soon as he had       put his affairs in order. In the meantime we were to carry on as before. By that he       meant as best we could.
[Spot from w2 to w1.]
W1 : So he was mine again. All mine. I was happy again. I went about singing. The        world–
[Spot from w1 to M.]
M : At home all heart to heart, new leaf and bygones bygones. I ran into your ex-doxy,       she said one night, on the pillow, you’re well out of that. Rather uncalled for, I       thought. I am indeed, sweetheart, I said, I am indeed. God what vermin women.       Thanks to you, angel, I said.
[Spot from M to W1.]
W1 : Then I began to smell her off him again. Yes.
[Spot from w1 to w2.]
W2 : When he stopped coming I was prepared. More or less.
[Spot from w2 to M.]
M : Finally it was all too much. I simply could no longer–
[Spot from M to W1.]
W1 : Before I could do anything he disappeared. That meant she had won. That slut! I        couldn’t credit it. I lay stricken for weeks. Then I drove over to her place. It was all        bolted and barred. All grey with frozen dew. On the way back by Ash and        Snodland–
[Spot from w1 to M.]
M :  I simply could no longer–
[Spot from M to W2.]
W2: I made a bundle of his things and burnt them. It was November and the bonfire was       going. All night I smelt them smouldering.
[Spot off W 2. Blackout. Five seconds. Spots half previous strength simultaneously       on three faces. Three seconds. Voices proportionately lower.]
W 1 :         Mercy, mercy–
W 2 :    [Together]    To say I am–
M :         When first this change–

[Spots off. Blackout. Five seconds. Spot on M.]
M : When first this change I actually thanked God. I thought, It is done, it is said, now all       is going out–[Spot from M to W1.]
W 1 : Mercy, mercy, tongue still hanging out for mercy. It will come. You haven’t seen       me. But you will. Then it will come.
[Spot from W1 to W2.]
W 2 : To say I am not disappointed, no, I am. I had anticipated something better. More       restful.
[Spot from W2 to W1.]
W 1 : Or you will weary of me.
[Spot from W1 to M.]
M : Down, all going down, into the dark, peace is coming, I thought, after all, at last, I       was right, after all, thank God, when first this change.
[Spot from M to W2.]
W 2 : Less confused. Less confusing. At the same time I prefer this to . . . the other       thing. Definitely. There are endurable moments.
[Spot from W2 to M .]
M : I thought.
[Spot from M to W2.]
W 2 : When you go out–and I go out. Some day you will tire of me and go out . . . for       good.
[Spot from W2 to W1.]
W 1 : Hellish half-light.
[Spot from W1 to M.]
M : Peace, yes, I suppose, a kind of peace, and all that pain as if . . . never been.
[Spot from M to W2.]
W 2 : Give me up, as a bad job. Go away and start poking and pecking at someone else.       On the other hand–
[Spot from W2 to W1.]
W 1 : Get off me! Get off me!
[Spot from W1 to M.]
M : It will come. Must come. There is no future in this.
[Spot from M to W2.]
W 2 : On the other hand things may disimprove, there is that danger.
[Spot from W2 to M .]
M : Oh of course I know now–
[Spot from M to W1.]
W 1 : Is it that I do not tell the truth, is that it, that some day somehow I may tell the truth       at last and then no more light at last, for the truth?
[Spot from W1 to W2.]
W 2 : You might get angry and blaze me clean out of my wits. Mightn’t you?
[Spot from W2 to M .]
M : I know now, all that was just . . . play. And all this? When will all this–
[Spot from M to W1.]
W 1 : Is that it?
[Spot from W1 to W2.]
W 2 : Mightn’t you?
[Spot from W2 to M .]
M : All this, when will all this have been . . . just play?
[Spot from M to W1.]
W 1 : I can do nothing . . . for anybody . . . any more . . . thank God. So it must be       something I have to say. How the mind works still!
[Spot from W1 to W2.]
W 2 : But I doubt it. It would not be like you somehow. And you must know I am doing        my best. Or don’t you?
[Spot from W2 to M .]
M : Perhaps they have become friends. Perhaps sorrow–
[Spot from M to W1.]
W 1 : But I have said all I can. All you let me. All I–
[Spot from W1 to M .]
M : Perhaps sorrow has brought them together.
[Spot from M to W2.]
W 2 : No doubt I make the same mistake as when it was the sun that shone, of looking      for sense where possibly there is none.
[Spot from W2 to M .]
M : Perhaps they meet, and sit, over a cup of that green tea they both so loved, without       milk or sugar not even a squeeze of lemon–
[Spot from M to W2.]
W 2 : Are you listening to me? Is anyone bothering about me at all?
[Spot from W2 to M .]
M : Not even a squeeze of–
[Spot from M to W1.]
W 1 : Is it something I should do with my face, other than utter? Weep?
[Spot from w1 to w2.]
W 2 : Am I taboo, I wonder. Not necessarily, now that all danger is averted. That poor creature–I can hear her–that poor creature–
[Spot from w2 to w1.]
W 1 : Bite off my tongue and swallow it? Spit it out? Would that placate you? How the mind works still to be sure!
[Spot from W1 to M .]
M : Meet, and sit, now in the one dear place, now in the other, and sorrow together, and      compare–[Hiccup.] pardon– happy memories.
[Spot from M to W1.]
W 1 : If only I could think. There is no sense in this . . . either, none whatsoever. I can’t.
[Spot from w1 to w2.]
W 2 : That poor creature who tried to seduce you, what ever became of her, do you      suppose?–I can hear her. Poor thing.
[Spot from W2 to M .]
M : Personally I always preferred Lipton’s.
[Spot from M to W1.]
W 1 : And that all is falling, all fallen, from the beginning, on empty air. Nothing being       asked at all. No one asking me for anything at all.
[Spot from w1 to w2.]
W 2 : They might even feel sorry for me, if they could see me. But never so sorry as I for      them.
[Spot from w2 to w1.]
W 1 : I can’t
[Spot from w1 to w2.]
W 2 : Kissing their sour kisses.
[Spot from W2 to M .]
M : I pity them in any case, yes, compare my lot with theirs, however blessed, and–
[Spot from M to W1.]
W 1 : I can’t. The mind won’t have it. It would have to go. Yes.
[Spot from W1to M .]
M : Pity them.
[Spot from M to W2.]
W 2 : What do you do when you go out? Shift?
[Spot from W2 to M .]
M : Am I hiding something? Have I lost–
[Spot from M to W1.]
W 1 : She had means, I fancy, though she lived like a pig.
[Spot from W 1to W2.]
W 2 : Like dragging a great roller, on a scorching day. The strain . . . to get it moving,      momentum coming–
[Spot off  W2. Blackout. Three seconds. Spot on W2.]
W 2 : Kill it and strain again.
[Spot from W2 to M .]
M : Have I lost . . . the thing you want? Why go out? Why go–
[Spot from M to W2.]
W 2 : And you perhaps pitying me, thinking. Poor thing, she needs a rest.
[Spot from W2 to W1.]
W 1 :Perhaps she has taken him away to live . . . somewhere in the sun.
[Spot from W 1to M.]
M : Why go down? Why not–
[Spot from M to W2.]
W2 : I don’t know.
[Spot from W2 to W1.]
W 1 : Perhaps she is sitting somewhere, by the open window, her hands folded in her      lap, gazing down out over the olives–
[Spot from W 1to M.]
M : Why not keep on glaring at me without ceasing? I might start to rave and–      [Hiccup.]–bring it up for you. Par–
[Spot from M to W2.]
W 2 : No.
[Spot from W2 to M .]
M : –don
[Spot from M to W1.]
W 1 : Gazing down out over the olives, then the sea, wondering what can be keeping      him, growing cold. Shadow stealing over everything. Creeping. Yes.
[Spot from W 1to M.]
M : To think we were never together.
[Spot from M to W2.]
W 2 : Am I not perhaps a little unhinged already?
[Spot from W2 to W1.]
W 1 : Poor creature. Poor creatures.
[Spot from W 1to M.]
M : Never woke together, on a May morning, the first to wake to wake the other two.     Then in a little dinghy–
[Spot from M to W1.]
W 1 : Penitence, yes, at a pinch, atonement, one was resigned, but no, that does not     seem to be the point either.
[Spot from W1 to W2.]
W 2 : I say, Am I not perhaps a little unhinged already? [Hopefully.] Just a little?     [Pause.] I doubt it.
[Spot from W2 to M .]
M : A little dinghy–
[Spot from M to W1.]
W 1 : Silence and darkness were all I craved. Well, I get a certain amount of both. They      being one. Perhaps it is more wickedness to pray for more.
[Spot from W 1to M.]
M : A little dinghy, on the river, I resting on my oars, they lolling on air-pillows in the       stern . . . sheets. Drifting. Such fantasies.
[Spot from M to W 1.]
W 1 : Hellish half-light.
[Spot from W 1to  W2.]
W 2 : A shade gone. In the head. Just a shade. I doubt it.
[Spot from W2to M.]
M : We were not civilized.
[Spot from M to W 1.]
W 1 : Dying for dark–and the darker the worse. Strange.
[Spot from W 1to M.]
M : Such fantasies. Then. And now–
[Spot from M to W2.]
W 2 : I doubt it.
[Pause. Peal of wild low laughter from W2 cut short as spot from her to W1.]
W 1 : Yes, and the whole thing there, all there, staring you in the face. You will see it.     Get off me. Or weary.
[Spot from W 1to M.]
M : And now, that you are . . . mere eye. Just looking. At my face. On and off.
[Spot from M to W 1.]
W 1 : Weary of playing with me. Get off me. Yes.
[Spot from W 1to M.]
M : Looking for something. In my face. Some truth. In my eyes. Not even.
[Spot from  M to W2. Laugh as before from W2 cut short as spot from her to M.]
M : Mere eye. No mind. Opening and shutting on me. Am I as much–
[Spot  off. Blackout. Three seconds. Spot on M.]
As I much as . . . being seen?
[Spot off  M. Blackout. Five seconds. Faint spots simultaneously on three faces.      Three seconds. Voices faint largely unintelligible.]
W 1 :          Yes, strange, etc.
W 2 :    [Together]    Yes, perhaps, etc.
M :         Yes, peace, etc.

[Repeat play.]
M : [Closing repeat.] Am I as much as . . . being seen?
[Spot off M. Blackout. Five seconds. Strong spots simultaneously on three faces.       Three seconds. Voices normal strength.]
W 1 :         I said to him. Give her up–
W 2 :    [Together]    One morning as I was sitting–
M :         We were not long together–

[Spots off. Blackout. Five seconds. Spot on M.]
M : We were not long together–
[Spot off M. Blackout. Five seconds.]
CURTAIN
LIGHT
The source of light is single and must not be situated outside the ideal space (stage) occupied by its victims.
The optimum position for the spot is at the centre of the footlights, the faces being thus lit at close quarters and from below.
When exceptionally three spots are required to light the three faces simultaneously, they should be as single spot branching into three.
Apart from these moments a single mobile spot should be used, swivelling at maximum speed from one face to another as required.
The method consisting in assigning to each face a separate fixed spot is unsatisfactory in that it is less expressive of a unique inquisitor than the single mobile spot.
CHORUS

W 1    Yes strange    darkness best    and the darker    the worse
W 2    Yes perhaps    a shade gone    I suppose    some might say
M    Yes peace    one assumed    all out    all the pain

W 1    till all dark    then all well    for the time    but it will come
W 2    poor thing    ashade gone    just a shade    in the head
M    all as if    never been    it will come    [Hiccup.] pardon

W 1    the time will come    the thing is there        you’ll see it
W 2    [Laugh . . . . ]    just a shade        but I doubt it
M    no sense in this    oh I know        none the less

W 1    get off me    keep off me    all dark    all still
W 2    I doubt it    not really    I’m all right    still all right
M    one assumed    peace I mean    not merely    all over

W 1    all over    wiped out–
W 2    do my best    all I can–
M    but as if    never been–

URNS
In order for the urns to be only one yard high, it is necessary either that traps be used, enabling the actors to stand below stage level, or that they kneel throughout play, the urns being open at the back.
Should traps be not available, and the kneeling posture found impracticable, the actors should stand, the urns be enlarged to full length and moved back from front to mid-stage, the tallest actor setting the height, the broadest the breadth, to which the three urns should conform.
The sitting posture results in urns of unacceptable bulk and is not to be considered.
REPEAT
The repeat may be an exact replica of first statement or it may present an element of variation.
In other words, the light may operate the second time exactly as it did the first (exact replica) or it may try a different method (variation).
The London production (and in a lesser degree the Paris production) opted for the variation with following deviations from first statement :
1. Introduction of an abridged chorus, cut short on laugh of w 2, to open fragment of second repeat.
2. Light less strong in repeat and voices correspondingly lower, giving the following schema, where A is the highest level of light and voice and E the lowest :
C First chorus.         1
A First part of 1.
B Second part of 1.
D Second chorus.                      Repeat 1
B First part of Repeat 1.
C Second part of Repeat 1.
E Abridged chorus.             Fragment of Repeat 2
C Fragment of Repeat 2.

3. Breathless quality in voices from beginning of Repeat 1 and increasing to end of play.
4. Changed order of speeches in repeat as far as this is compatible with unchanged continuity for actors. E.g. the order of interrogation  w 1, w 2, M, w2, w1, M  at  opening of 1 becomes w2, w1, M, w2, M, w1 at opening of repeat, and so on if and as desired.

Tagged with: , ,

Play by Samuel Beckett Part 2

Posted in Littérature bazar by Sarrdanapale on décembre 10, 2007
Tagged with: , ,