COME into the garden, Maud,
For the black bat, night, has flown,
Come into the garden, Maud,
I am here at the gate alone;
And the woodbine spices are wafted abroad,
And the musk of the rose is blown.
Alfred Tennyson, 1st Baron (1809–92)
When composing a script, you are well advised to begin with a strong dramatic hook. The intention is to have the audience hanging on every word and action. They must willingly suspend disbelief as they are immersed in the world created on stage.
Stage One : Existential Moment –
Audience exits, stage left.
Metatexual awareness seeps through
The Fourth Wall.
Note concerning text (most of the characters) – that it is of Self – it is, it breaks the illusion that it is reality – never, when the text is recognized as text.
Director’s notes to self – play begins with Audience exiting, stage left.
Note on text ( reminder about characters) – this is a vehicle – it is in motion. It breaks the illusion that it’s reality – not when the text is recognized by the characters in the audience that it is a text.
Director’s notes to self – Scene one action opens with the Game as it begins with the release of the Hearing’s findings, those left see the point of corresponding situations between the audience and the characters . Remember, like Husserl and Heidegger, Sartre distinguished ontology from metaphysics and favoured the former.
If the text is not recognized as a text :
- The fourth wall is the agreement-upon boundary between audience and performers.
- Sartre agrees with the tradition that “being” or “to be” is not a concept.
The objective is blurring the boundaries between the fictional world and the real world – the stars my destination.
I have seen the director’s notes – it opens in the action of the Game. The audience participates when the scene begins with a Hearing that releases the stage from the rest of the fictional population; the Public are symbolized by the Key. The corresponding characters respond – please refer to the stock responses of the situation. These are found between archetypes and cliches.
Empty stage waiting –
Characters exit – action –
Play commences now.
Selfielessness – The state of being without selfie. This second Selfieless image explores Selfielessness in a state of motion. This image recalls the poem Antigonish . The first stanza is well known.
Yesterday, upon the stair,
I met a man who wasn’t there.
He wasn’t there again today,
I wish, I wish he’d go away…
( See Post : Existential Friday: Daguerre Upon the Stair )
For musical accompaniment I recommend the work of violinist Evanthia Reboutsika. She was born on November 6, 1958 in Kato Ahaia, Greece. She has collaborated with many important Greek composers and singers .