2008 -- stagematrix
* Director & Designers
Mary Poppins Tickets Wicked Tickets Tarzan Tickets Cirque du Soleil Tickets
Showcase & case study: I don't know, if I will be able to complete 17 pages "scene-by-scene" commentary and the pages on all characters. Plus, the set and etc. And this time we do not do anything "virtual"... Well, there is a screen for the shadow theatre (images).
Go to Tara's pages for more info!
3 Sisters, Mikado, 12th Night, Hamlet, The Importance of Being Earnest, Dangerous Liaisons, Don Juan
prof. Anatoly Antohin Theatre UAF AK 99775 USA (907)474-7751
I need three good actors. Love triangle. Love is suppressed, not cool. They lie to themselves. Why do they afraid to love? Why do we affraid to love? You surrender the power over yourself to another. To be in control of your own life is to love nobody!
Play! Games. They have nothing else to do. They are social actors and treat their lives as material for staging.
Fight with God. And every authority. Fight with all. With yourself. Establishing INDIVIDUAL freedoms.
"Either kill me or take me as I am, because I'll be damned if I ever change..." Sade, from a letter to his wife, written in prison, November 1783
Existentialism, Horror (Living as Dying), Sex and Terror
Method Acting & Realism: Forum
Push BM on actors!!
Directors: use the Don Juan sounds for treatment of each scene (get your own music).
Christopher Hampton was born in the Azores at Fayal, Jan. 26, 1944. He finished his education at New College, Oxford, and his first play, When Did You Last See My Mother?, was mounted at the Royal Court Theatre, London in June 1966 and transferred to both the West End and Broadway. His Les Liaisons Dangereuses was first produced by the Royal Shakespeare Company at the Other Place in Stratford on Avon, 1985, transferring to London in 1986 and New York in 1987.
Dangerous Liaisons (1988)
Cruel Intentions (1999)
In the past twenty years, three films showcasing some of Hollywood's finest actors have borrowed the same unlikely source material: Choderlos de Laclos' 1782 novel Les Liaisons Dangereuses, the story of a group of decadent French aristocrats whose licentious games bring many to ruin. Though the book had been filmed before -- Roger Vadim's 1959 movie starred Jeanne Moreau and Gerard Philipe as a couple of nouvelle Parisian swingers -- the inspiration for the revival was Christopher Hampton's 1985 stage play based on Laclos' novel, which won rave reviews on both sides of the Atlantic and proved that the source material had not become dated despite its age.
A Search for a Postmodern Theater: Interviews with Contemporary Playwrights by John L. Digaetani; Greenwood Press, 1991 :
DiGaetani: It had been done before as a play in France, no?
Hampton: Yes, and in England as well as it turned out. John Barton did an adaptation for the Royal Shakespeare Company in the early sixties called The Art of Love. There was another adaptation in the fifties in Paris, and for all I know various others as well. I was only aware of the film by Roger Vadim which I saw when I was about fourteen years old while playing hookey from school. I read the book first because it was assigned as part of a course at Oxford -- I studied French and German there. I was very impressed with the novel; it was one of the books I reread frequently. In 1976 when the National Theater moved from the Old Vic to the new building, they suddenly became frantic for product because they had three theaters instead of one. They approached me and asked me to translate a play by Marivaux called La Double Inconstance. I declined, deciding it would be too difficult to translate, and made a counterproposal of adapting Les Liaisons Dangereuses. They thought about it for a while and then said no. From time to time over the next few years I suggested this project to people and could never get anyone remotely interested in it, except my agent Peggy Ramsay, who always thought it was a good idea. In 1984 the Royal Shakespeare Company offered me an open commission so I took it and did Les Liaisons Dangereuses. They weren't pleased with the idea because their earlier version had not been at all a success. As for my method, it became clear to me that the first thing you had to do was abolish the geography of the book. The two main characters only meet once toward the end of the book, all the rest is done completely by correspondence. That was clearly the first problem to address. If you developed a plot so that the two main characters had a series of meetings, then you had to work out very carefully a new geography for the book. There had to be a plausible repositioning of all the principal characters. Organizing visits to the chateau -- all those kinds of things.
DiGaetani: You wouldn't want to have people read letters on stage.
Hampton: That's apparently what happened in John Barton's production -literally an abridgement of the text with people reading letters to one another. I wasn't interested in that approach at all. Changing the geography of the book caused problems in the distribution of the plot. I had to move around a lot of incidents so that they would all fit. The next problem was what sort of style to write the play in. I started by writing a sort of eighteenth-century pastiche English, which was fun to do but quite soon I saw that this style would distance the work from the audience. The play would lack the immediacy that I wanted. Then I redid the play making the language completely contemporary, and that didn't work either. In the end, I decided on a style that had an eighteenth-century syntax with long sentences and complicated subordinate clauses with a contemporary vocabulary. That was made easier for me because I was working from the French original. If I had been adapting a great eighteenth-century English novel like Tom Jones, I would have been obliged to reproduce the language from the novel. And indeed when the play was retranslated back into French for the Paris production, it had to be extensively redone in light of the language of the novel. [123-124]
The French Revolution is coming; the sounds of the street -- and runs from time to time across the stage. The masses. The shadows.Bad and Evil as subjects of investigation, the Age of Science, experiments.
Sexual connotations in everything! De Sade. The aminalist instint is transformed into psychological overdrive. Emotional porno. That is the true sexual revolution (arrived to masses in 1960s). The gender became sex! I place the erotic pix and even music, because the sensuality getting lost in words. Listening instead of showbusiness! How to push the visual? Too mental. Where is the decadent smell? Poetry is lost (never introduced) to American culture? The games, the play, acting 24/7!
The Grand Opera setting -- the feel. "Darling, you look marvelous," dressed ashers. You are invited to the high society party in Paris.
The backdrop with the heads and hands holes for the social chorus to applode and vote (grades for wit, dress and etc.) Final score at the end?
Actors walking in -- and kissing the public?
The characters repeatedly draw outlines around each other's bodies, whether by sprinkling fine streams of beach sand around each other's reclining torsos, or by a shadowy hand caressing a body's shadow. In one astonishingly tender moment, he caresses her body with air -- he attaches a miniature fan to his hand and runs it over the contour of her body, setting her flowing hair and sheer blouse aflutter. [The Lady With the Lapdog" (Dama s Sobachkoi)]
Les Liaisons Dangereuses
[ since I didn't get everything I needed am going back to the original Don Juan ]
DL is too serious to be a good script!
The One Hundred And Twenty Days Of Sodom
Individualism: “I wanted only to try to live in accord with the promptings which came from my true self. Why was that so very difficult?”
The answer to De Sad in the show and in American culture; in many ways we are self-censored more than century ago. We faked sexual revolution!
@2005 vtheatre.net *
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http://www.godamongdirectors.com/scripts/cruelint.txt script online *