Dream.

After the script was given to Stephanie Doe- Director for edits it was given back with new added scenes. These scenes were called ‘dream scenes’ and each character would have one during the performance. The ‘dream scenes’ helped link all scenes together and also brought a fairy tale element to the production. They helped the audience to understand characters and their emotions as they each explained a bit about the character. For example the Piano Tuners scene is done in a black out to show he is blind and his hearing senses are heightened as all conversations throughout the play are heard by him which is shown by all characters saying a few key lines whilst walking around the stage. The housekeeper scene shoes that she is stuck in a fairy tale world at the beginning and is trying everything to keep her world magical.

I feel that these dream scenes were important to add to the production as it helped the production to be more magical and like a fairy tale story. I also think it helped the actors to develop their own characters as reading these scenes helped everyone to understand the basis of their character and how they were important to the production.

Hannah Smith.

Character Development Scenes.

As we are producing a completely original piece of theatre we do not have the security of performing a well known play, which audiences may have preconceptions of characters backgrounds, personalities that the play therefore can miss out and take as a given to their audiences. I therefore believe it is important to offer the audience more of an incite into our characters, each having important back stories created in our casting session workshop that i believe we need to bring to the audiences attention.

It is a difficult task trying to relay information without making it seem as a necessary scene in order to continue with the rest of the play. I therefore believe that to contrast the naturalistic setting our script has created quite reminiscent of a fairytale, we can have a parallel surrealist movement woven into the play, representing a cryptic look into each characters pasts or current issues that have made them the the way they are today, without looking too matter of fact. The following scenes will be completely comprised of stage directions and no dialogue to play to the ‘tech heavy’ side of our production.

 

 (See ‘Appendices Character Development Scenes’ for the script i produced of these)

Further Drafts from New Synopsis.

After creating the new synopsis the script writers began to work on the new scenes that had been appointed to them. It was decided that we would write our own script and amend it if we felt it needed changes at script meetings. This worked well as we wrote the script a lot faster than before and all deadlines were met.

Drafts of new scenes

Scene 6

(The COUNT and SNOW CHILD enter the room and he arm around her waist holding her up. He takes her over to the bed and lays her down)

COUNT: Here. Get in bed and get warm.

(He pulls the cover over her)

COUNT: How long were you out in the woods? (She doesn’t reply and is just shaking in bed) It’s okay you’re here now. I’ll look after you, just try and get warm.

(The count begins to walk around the room and grabs clothing to cover the SNOW CHILD to keep her warm)

COUNT: This should keep you warm for now. I’ll get the housekeeper to bring up a bed warmer after she has come back from the market. I don’t think she will be too long.

(The SNOW CHILD begins to shiver even more and begins to curl up in a ball as she is so cold. The COUNT looks at the SNOW CHILD and begins to walk over to her slowly)

COUNT: Here. (He gets into bed with her from behind and holds her) I’ll warm you.

(The COUNT lays hugging the SNOW CHILD for a while)

COUNT: You really are like ice. Why did you not go for help or to the closest cottage? Look how week you are. Why did you stay out so long? If only I had found you earlier. I will help you as much as I can. Just try to get warm.

(The COUNT then begins to stroke the SNOW CHILDS head and moves her hair from her neck. He looks at her for a while)

COUNT: You know you are the most beautiful girls I have ever seen. (He grabs her hand and lifts it from under the covers and begins to stroke it) You’re skin is as white as snow. It’s so beautiful. I don’t understand why someone would let you out of their sight. (He kisses her hand) If I had a woman like you I would make sure you were looked after and cared for. I would never let anything bad happen to you.

(The COUNT sits up and moves the SNOW CHILD onto her back. He strokes her face and kisses her cheek)

COUNT: I don’t know what it is about you. You make my heart ache. I can’t bare to see you like this yet I don’t even know you. (Pause. He looks into her eyes) I’ve never felt this way before. (Pause. He kisses her lips. The SNOW CHILD does not move or do anything)

COUNT: I don’t understand why I feel like this. I never have before. (The SNOW CHILD doesn’t say anything and the COUNT kisses her again) But you are so beautiful.

COUNT: I think… I think that I may I love you.

(The COUNT begins to kiss the snow child on the cheeks and on the lips. The SNOW CHILD keeps still and closes her eyes. They then make love. Half way through the SNOW CHILD dies and we see this by her head turning to the side and her arm coming out of the bed and she is just lifeless. The COUNT carries on making love to her and in the end he holds her head to his chest and cries. He then picks up her body and exits)

End scene

Written by Hannah Smith

Scene Seven

The COUNTESS enters the stage, which is now set back in the woods. The COUNTESS is looking for the EX WIFE who she had spoke to previously. The EX WIFE is in the forest collecting wood. The COUNTESS spots the EX WIFE.

COUNTESS
Excuse me.

EX-WIFE
Yes.

COUNTESS
I’m sorry to have disturbed you, but I couldn’t stop thinking about what you said earlier.

EX-WIFE
About my…your husband

COUNTESS
(nods)

EX-WIFE
How old are you dear?

COUNTESS
Why?

EX-WIFE
You look young.

COUNTESS
I’m old enough.

EX-WIFE
Old enough for what?

COUNTESS (pause) Marriage. Happiness. Love.

EX-WIFE
So your his young trophy wife?

COUNTESS
NO!

EX-WIFE
Well where is he now then? Why, if he loved you so much, would he let you wander alone in these woods in the snow?

COUNTESS
I didn’t tell him I left. He loves me and trusts me.

EX-WIFE
So why didn’t you tell him you left?

COUNTESS
Because…

EX-WIFE
Because you know what he would say. You know that he wouldn’t be bothered. He probably has another woman back now with him.

COUNTESS
No.

EX-WIFE
So why did you come out here?

COUNTESS
To find you.

EX-WIFE
Go on.

COUNTESS
I think it is in your best interests that you stop saying, the horrible things about him.

EX-WIFE
You know don’t you.

COUNTESS
Know what?

EX-WIFE
About everything?

COUNTESS
There is nothing to know.

EX-WIFE
He’s a mad man. Have you seen the room yet? No I bet you haven’t but I bet he’s told you not to go in a “certain” room.

COUNTESS
So what if he did, it’s his personal space. It doesn’t really mean anything.

EX-WIFE
Well go in it then… I did

COUNTESS
No. What?

(Long pause)

COUNTESS
What did you see?

EX-WIFE
It was horrible. He told me not to go in the room. He gave me the keys, and said don’t go in this room. What could I do? I wanted to know why. I was his wife, the love of his life. Yet he was telling me I had to stay out of the room. NO SECRETS! I walked up to the door and I just knew I wasnt going to like what I was going to see on the other side of the door.

COUNTESS
What happened?

EX-WIFE
I placed my hand on the door handle, and i just felt this sense of…of…fear. Like he was stood right behind me. And I have never felt like that in my life. I opened the door and walked down the stairs, it was dark, and the smell was…well horrid.

COUNTESS
What was it?

(Long Pause)

EX-WIFE
It was the smell of…of lies. Cheats. FLESH. That, that horrible man had kept these secrets there, under my nose, under my bedroom.

COUNTESS
I’m confused. What was there?

EX-WIFE
His OTHER wives. The lot of them. There lying in a dark room. Rotting away for his pleasure.

COUNTESS
Other wives?

EX-WIFE
Yes. I am not the only ex wife your precious loving husband has. They were there dead lying in the chamber.

COUNTESS
But…what about you why are you here then if he keeps them?

EX-WIFE
I got away. As you need to too.

COUNTESS
What?

EX-WIFE
Get away while you can. Don’t even go back to the castle. Just run, run as far as you can for as long as you can…in fact come stay with me for a few days.

COUNTESS
No he loves me.

EX-WIFE
You keep telling yourself that, but correct me if i’m wrong. You came here to see me about it?

COUNTESS
Yes

EX-WIFE
So something had happened for you to come to me.

(Long Pause)

COUNTESS
There was this girl.

EX-WIFE
Girl?

COUNTESS
In the forest. The day I saw you. There was this girl. He was being weird, would not stop talking about wanting a girl from the snow. Then..

EX-WIFE
He found a girl?

COUNTESS
Yes. She was ill. Dying more like, and he wanted to help. He tried to insinuate he was only helping her, but I saw the way he looked at her.

EX-WIFE
How?

COUNTESS
A way he never looked at me. I thought he loved me, but the way I saw him look at her was actual love…it was the way I wanted to be looked at, the way that…(she remembers the way the PIANO TUNER touched her.)

EX-WIFE
You must leave.

COUNTESS
No. He will love me again / (she begins to run off) and he will see that I am the one for him. I can’t lose him. I can’t lose everything.

EX-WIFE
/ You have to go, or you will be next. HE WILL KILL YOU

End Scene

Written by Rob Bull

Scene Eight

The housekeeper and the count are alone. The count is sat pondering to himself while the housekeeper observes silently. Finally after a few seconds the housekeeper speaks up

HOUSEKEEPER. Where is she now?

Silence. The atmosphere is uncomfortable.

Where is the girl?

COUNT. Girl?

HOUSEKEEPER. The Child.

COUNT. The chamber.

The housekeeper is shocked

HOUSEKEEPER. What? Why have you put her in there?

COUNT. I…I didn’t know what else to do.

HOUSEKEEPER. You’re going to have to be more careful; you’re starting to slip up.

The Count stays silent. The Housekeeper starts to get impatient

Are you listening to me? Be cautious.

COUNT. It doesn’t matter anymore.

The Housekeeper is now infuriated

HOUSEKEEPER. angrily Are you insane? Your sorrow for that girl is infuriating; she’s dead, dead you hear me. And while you’re here feeling sorry for yourself that wife of yours is out there sneaking around asking questions.

COUNT. Where is she now?

HOUSEKEEPER. I observed her leaving the grounds; she has gone to the forest.

COUNT. Leave her, she knows nothing.

HOUSEKEEPER. I wouldn’t be so sure of that.

The Count says nothing

Listen to me; she’s been seen in the woods.

The Count becomes intrigued

COUNT. Who has?

HOUSEKEEPER. The one who escaped.

COUNT. I thought she died…faded into oblivion.

HOUSEKEEPER. Well she’s still alive.

COUNT. unsure What harm can she do? She’s insane.

HOUSEKEEPER. What is wrong with you?

COUNT. Nothing, I’m fine.

HOUSEKEEPER. You’re a disgrace. Your power is waning and your mind has become corrupted by ideals of love. Let go of that little harlot and do something about this hindrance.

COUNT. Get out.

HOUSEKEEPER. If you won’t do anything then I will remove the poisoned one.

COUNT. he stands I SAID GET OUT!

The Countess enters. She stops when the Housekeeper turns to face her. The Count sits back down. The Housekeeper turns back to the Count.

HOUSEKEEPER. I will take care of this predicament.

The Housekeeper leaves. The Countess watches as she goes then approaches the Count. He doesn’t look at her or even move.

COUNT. Where have you been?

COUNTESS. In the garden.

COUNT. That’s amusing; I don’t remember the woods being a part of the garden.

COUNTESS. taken aback I…How did you…?

COUNT. What were you doing?

COUNTESS. There has been rumours…there’s a woman in the forest.

COUNT. to himself So it’s true then…

COUNTESS. What?

COUNT. he stands This woman, what did she say?

COUNTESS. She…she…

COUNT. angrily SPEAK WOMAN!

COUNTESS. She told me about a room…
COUNT. temper flaring What room!?

COUNTESS. nervous A room that stunk of hate. A room of death….

COUNT. Well this is just perfect.

COUNTESS. distressed She told me she was not the first, that there were others before…

COUNT. Oh really please do go on.

COUNTESS. terrified that you were evil, that you were going to kill me…

COUNT. To kill you…

COUNTESS. She said that you didn’t love me!

The Count stops what he’s doing and stares at the Countess

COUNT. Love you?

COUNTESS. Yes.

COUNT. Oh my darling, I loathe you.

COUNTESS. No…

COUNT. What’s this? You don’t like that?

COUNTESS. You’re lying to me…

COUNT. Oh no, I think you’re lying to yourself.

COUNTESS. You are horrible.

The Count laughs. She goes to leave. He stops her

COUNT. You are mine.

COUNTESS. No, I’m not…

The Countess leaves

COUNT. And so it ends.

End Scene

Written by Lewis Chanel

Final Scene

(Scene opens on bloody chamber. The SNOW CHILD is in the middle of the chamber slightly raised and the Ex wives are around her in different positions. The COUNTESS walks on stage with a knife and looks traumatised at what she is looking at. She walks around the chamber trying to take everything in. She goes to touch some of the objects in the chamber and then notices the SNOW CHILD. She walks up to the SNOW CHILD and walks around her. She stops and stares at her for a while.)

COUNTESS: Whats so special about you? Peasant child. Look at you! Disgusting. I am far more beautiful and you took him away from me. You took all this away from me. I was living my dream and I had everything I have always wanted. He would buy me everything until you came along. It’s sickening really how he could love something like you.

(The COUNTESS begins to stroke the SNOW CHILDS face with her knife to show she is crazed linking to the scene 7. As she is doing this the door to the chamber opens and a males silhouette is shown on stage. The COUNTESS stands up straight with her knife clutched in her hand and it is obvious she thinks it is the COUNT. The male begins to walk into the chamber and the COUNTESS can sense that he is getting closer and closer. The PIANO TUNER is the male and he is trying to feel his way into the chamber feeling around for the COUNTESS. The COUNTESS is unaware who this is as she is facing the other way. The PIANO TUNER moves towards the COUNTESS and puts his hand on her shoulder. She is still gripping the knife tight)

PIANO TUNER: I heard the argument… (The COUNTESS turns sharply and plunges the knife into the PIANO TUNERS stomach. He keels over and she withdraws the knife and screams.)

COUNTESS: NO! NO! William?! NO! (She places him on the floor and begins stroking his face and touching his wound. She is getting blood all over her hands and is putting it all over his face as she is touching him.)

PIANO TUNER: Elizabeth… You must leave this place.

COUNTESS: No, No. I said I would come back to you. I promised. I promised.

PIANO TUNER: You did. You’re here with me now.

COUNTESS: (She is sobbing) But… No. I didn’t… I’m sorry. I’m sorry.

PIANO TUNER: (The PAINO TUNER smiles and touches the COUNTESS’ face as she is leaning over him) I love you, Elizabeth.

COUNTESS: I love you too. (They kiss and the PIANO TUNER dies) William? (She begins to shake him) William? (She says in disbelief and begins to cry) No. No.

(The COUNT enters the chamber. The COUNTESS is still on the floor crying)

COUNT: How touching.

COUNTESS: You! You did this! (The COUNTESS stands with the knife in her hand)

COUNT: My darling, I am not the one holding the knife.

COUNTESS: No.. but.. but you made him come down here. I know you did. You did something. You did this. (She turns back and stares at the PIANO TUNER and puts her hand over her mouth. She is trying not to cry)

COUNT: (Spiteful) I did nothing. This was all you… (His eyes light up) Did you enjoy it? Did you? (He walks around his chamber with confidents. Pause) I do. I’m a little upset that I will have to add you to my collection so soon. I was enjoying your company.

COUNTESS: I am nothing like you. You disgust me. Look at what you have done to these women. Sick. Your sick. I will be no part of your collection.

COUNT: You honestly think you will get away?

COUNTESS: Well one has already…

COUNT: (The COUNT laughs) Has she? I wouldn’t be so sure. (A light comes up and we see the EX WIFE dead in the chamber)

COUNTESS: (Gasps) No. But how…

COUNT: … Shhh. Secret.

(Long Pause. The COUNTESS moves towards the SNOW CHILD but does not take her eyes off the COUNT. He flinches as she gets closer but does not move from where he is standing)

COUNTESS: I didn’t think she would be in here. Not judging by the way you were looking at her in the woods.

COUNT: I did not kill her if thats what you mean.

COUNTESS: (Laughs) I do not believe that for a second. Look around you.

COUNT: (Angry) I DID NOT KILL HER. (He looks at the SNOW CHILD. Finds it hard to say) She… She died in my arms.

COUNTESS: How?

COUNT: (Looking at the SNOW CHILD still and is lost in his own thoughts and emotions) The cold. On the day I found her. She was so beautiful… Just like snow.

COUNTESS: (Mocking) Ohhh… Touching. (She COUNTESS puts the knife to the SNOW CHILDS neck)

COUNT: (Threatening) Do not touch her.

(The COUNTESS begins to move the knife across the SNOW CHILDS neck)

COUNT: I am warning you. Do. Not. Touch. Her.

COUNTESS: (Looks at the SNOW CHILD) How precious. (She slits the SNOW CHILDS throat)

COUNT: NO!

(In a rage the COUNT marches up to the COUNTESS and grabs her by the throat. The COUNTESS is chocking and he is threatening her though gritted teeth in her face)

COUNT: I said not to touch her. I said not to touch her! Look at what you have done. You have stained her with blood. You have stained my child with blood. Her neck… (He puts releases the COUNTESS and begins to stroke her neck as if he is planning to cut it where her necklace is) Her beautiful neck.

(The COUNTESS is weeping and sees this as her chance to kill the count. She slaps him and plunges her knife into his stomach and drops it on the floor and stumbles back. The COUNT falls to the floor but tries to reach up to the SNOW CHILD but he can’t reach. He dies. The COUNTESS is left on the floor of the chamber holding her knees. A spot light it on her for a few minutes as she just sits there)

End Scene.

Written by Hannah Smith

After we had all written the scenes they were all put together to make a final script which was then looked over by Stephanie Doe- Director to make any notes she felt were relevant. A full script draft was then put together.

Hannah Smith

Realisation.

After writing scenes one to three separately we came to the realisation that it would take to long to write the whole script if we stuck to this idea. Along with this we also realised that we did not have enough scenes to properly explain the story so the audience would understand. We took the decision to add more scenes to the performance and create a new synopsis of scenes.

New Synopsis

Scene One-

Housekeeper and countess- Getting ready for wedding. Staying the same.

Scene Two-

Count and countess passionate scene. Staying the same.

Scene Three- Rob (Done for 16th)

Count and countess meet the snow child- Scene two ends with the count and countess taking a walk. They are walking through the snowy woods and see the snow child. The count sees her beauty rushes to her aid and tries to make her warm. Hear about some backstory from the snow child. Why she is out there etc. countess is trying to get him away from the snow child as she doesn’t want any other women in his life that may sway him from her as she enjoys the wealth. He refuses to do as the countess says and she leaves. The countess then runs into the ‘crazy lady’ and the crazy lady warns the countess about the chamber etc. The countess is trying to get away this whole time and doesn’t really listen to what the crazy lady is saying.

Scene Four

Piano tuner and housekeeper- We find out more background information about the two. Ending needs changing as count and countess don’t walk in anymore. Me and Steph will edit this when it comes to doing it.

Scene Five- Lewis (Done for 16th)

Piano tuner and Countess- (needs adding onto) The countess comes back and she is shaken up about the incident with the crazy lady. She goes to her music room and finds the piano tuner in there playing the piano. She sits with him for a while and they begin to talk about his sight etc. She then begins to talk to him about what the crazy lady said to her about the chamber and how she isn’t sure what to believe. The piano tuner says that he has heard that these stories are true and the countess tells the piano tuner she is worried and isn’t sure what she should do about asking the count or not. They have a kiss in this scene towards the end. He promises to look after her or something.

Scene Six- Hannah (Done for 16th)

Snow child and count- The snow child and the count return to the castle. They go into the bedroom and the snow child is weak and we can see that she is finding it hard to walk etc. The count is helping her and puts her on the bed and gets in beside her. He says how beautiful she is and how he has never felt like this. He remarks about how beautiful her skin is as she is white as snow or something. She is just laying there and he begins to stroke her face and kiss her and show affection and love towards her. They then make love and she dies during sex. He weeps at the end.

Scene Seven- Rob (Done for 22nd)

Crazy lady and countess- After everything that has been said about the count the countess decided to go and search for the crazy lady as she wants to know more about the chamber etc. They meet again in the woods and the crazy lady explains what happened to her in the castle and about what she saw and warns the countess to run. The countess leaves the scene with rage as she has been used and she feels she does not have the upper hand on the relationship.

Scene Eight- Lewis (Done for 22nd)

Count and countess- Confrontation about everything that the countess now knows and she wants answers to why he has hidden all this from her. The count does not say much as he is upset over the death of the snow child. (I feel we need more discussion about this scene before i write anymore because I don’t know where this is meant to go)

Scene Nine- Hannah (Done for 22nd)

Countess finds snow chamber. I see this as a quiet scene with music and the audience just watch what the countess finds.

This just gives you all an idea about what is happening. I feel we need to clarify some scenes more as i’m not sure where they are going at the moment but hopefully we will be able to have a meeting soon and sort that all out. Hope this helps.

– Written by Hannah Smith

We felt that these added scenes would help explain the story more for the audience as long as help develop characters and emotions. Along with these changes to the script and synopsis a head script writer was appointed (Hannah Smith) as we needed to keep the script moving and deadlines needed to be set so everyone could begin learning their lines. After this decision was made I appointed scenes to certain people in the script writing team and dates that they had to be done by. This would then help the script be written so we could begin to perform.

Hannah Smith.

Characters and Casting Session Workshop

 ‘The Vision’ – Possible ideas to play with in the casting session:

  •    The Gothic revival of the fairy tale as a reflection on society and gender values.
  •      Inspiration/based loosely on Angela Carters deconstructed fairy tales ‘The Bloody Chamber’
  •     I feel the idea of corruption is a theme we should really play with, in acting, set design, lighting it can all tie in together.

“And for the first time in my innocent and confined life I sensed in myself a potentiality for corruption that took my breath away.”-(Countess Bloody Chamber)

  •      Exploring the idea of ‘corruption’ under and positive OR negative light in opposition to the ‘perfect’ fairy tale endings. If we explore the effect of corruption on the countess it actually pulls her away from the fairy tale innocence archetype.

“He sensed a rare talent for corruption.”

Exploration of gender binaries, fairy tale literature representation etc.

  •     E.g. the mirror scene in the bloody chamber shows the sexual awakening of the young woman, she herself views her corruption as positive as she looks at her reflected body.

“Elaine Jordan suggests that the death of the virgin girl is the symbol of ‘killing masculine representations’ not a ‘killing of women’ – (Regarding the Snow Child,  Deconstructed masculine evil in Angela Carter)

  • How do you feel about this?
  • Why is there a feeling that this image is not correct?
  • What sort of message have fairy tales inadvertently been creating?
  • Do you feel Angela Carter represents a female awakening in her tales?
  •     I place the countess as having just  finished her fairy tale ending and  married the count – and what we are left with is the ‘reality’ of her situation. What glitches are created between the fairy tale and real worlds that can transcend into more than just a spectacle. E.g. fairy tale vs. reality becoming childhood memories vs. adult life.

Character Breakdown (various interpretations for you to choose what you feel suits the character you visualise playing)

Count

  •      A typical villain or simply perceived this way through the countess subconscious desires to ‘be free’ from her innocent confined life? Is he used as an excuse for the countess to be corrupted?
  •   Where do you feel the evil really lies in this tale? If any true evil at all?
  •     The Count Vs. The Piano Tuner

As the inversion of binaries is something we are definitely approaching (on what scale remains to be explored, but im thinking big!) I do not necessarily see the count being your typical stalking, dark, piercing figure as like so many other traditional villains. He could perhaps be the most unsuspecting looking character who the audience feel truly shocked when faced with his actions, it challenges how they should feel and what stereotype they have come to expect … even when told that this is dark fairy tale, they still come with certain expectations.

Countess

  •   Is this girl really innocent?
  •   Does she herself have villainous qualities?
  •    Does she become her ‘own woman’ through corruption?
  •    Is this positive or is this negative?
  • How does it make you feel to think about something positive coming from such a deeply negative scenario

She has stepped out of the fairy tale, mundane world of her life and into ‘reality’, with this she welcomes her sexual female awakening. Some arguable villainous qualities that outrank the count. She takes the innocent image of the fairy tale character no longer in a positive light but as female repression. She becomes her own woman after marrying the count. She has longed for excitement and actually places herself in the situation. She is not ignorant or naïve to her marriage. She is curious.

The House Keeper

The house keeper keeps things ordered and is constantly trying to ‘maintain’ relationships, I vision her constantly trying to fix the corruption around her by fixing cracks in the sets, putting paintings back together, hiding broken mirrors etc She is very much part of the furniture, set in her old fairy tale ways – a character who refuses to leave the fairy tale setting but who finds herself placed in this new age of corrupt independence. The world, even this mock-fairy tale world is moving on and she is left behind.

The Piano Tuner

The blindness of the piano tuner gives him insite, as he is blind to the corrupt world around him – he is in his own world and this gives us room to explore what sort of world he imagines himself in

  • e.g. should it be a fairy tale like most people or should it be a version of reality?

He is in love with the countess because of her desire to be free, not because she is reserved or innocent. In some ways she is the very opposite of this innocent piano tuner, he is attracted to the differences between their two worlds.

I vision him being unable to tune the piano so even the music he plays is corrupted, as a literal representation of a dislocated time but which at the same time holds elements of truth and beauty to it that you would not get with a perfectly tuned piece of music.

The Ghost/ Spectre/ Mother/ Ex-wife/ Nature

This character is very much open to interpretation and it is something I want us all to explore in the casting session and reach a decision with.

  •      Should this character act as a warning? If so, to who?
  •   If it in an ex-wife character did he count truly love this woman?
  •      Do we want a supernatural element heavily involed? It was very common in gothic literature to have characters representative of nature. Reflective of mother nature, human nature etc

I imagine this character to be heavily linked with the design, almost a ‘Puck’ like character from Shakespeare’s Midsummer Night’s Dream – containing mystical, supernatural elements but with a rational truth or warning attached to them. (Also can help if any narration is needed, although I don’t want It to be heavily narrated!)

The Snow Child

Starting off as a pure innocent picture of perfection. The snow child almost seems out of place in our production because of her links to the traditional, but this is something that will work in creating and blurring the borders between the two worlds. I see the snow child as almost another narrative going on within our play, her own journey could perhaps mirror the passage from child hood fairy tale to the adult world?

  •      What happens to the snow child in the end?
  •     How do you think we can show this journey?

Workshop Tasks (some of this can be done in preparation for the workshop/casting session)

  •        Try to come with answers to all the questions I have posted above, I think it is important to have different perspectives put forward to create the best possible production. We will begin by discussing these so we have a feel for what sort of character we are pushing for in the casting session.
  •     As a short exercise, (if like you can prepare this beforehand alone or in pairs, and you will be given some time on the day) in order to explore the passage of time and the corrupt ‘fairy tale’ image I feel it would be useful to see where these ideas stem from. Take a well-known fairy tale character and move them on 15 years in their life to after their fairy tale ending.
  •        What has happened to these characters?
  •       Has there been a corruption?
  •   Do you feel they’ve maintained the perfect fairy tale ending?
  •  What images of corruption can you see?

This can be a short improvisation; perhaps the character simply reflecting like we will have the countess doing in scene 2, or it could be a quick scene from a day in their lives.

(for inspiration see the video below, a new film based on Hansel and Gretel 15 years into the future)

 

 

After this we will turn to the characters in our production and discuss how the previous exercise can be applied to the lives of our characters.

  •      Have an idea of the character you want to play and why you want to play this. What experience can you bring to this character?
  •    What corrupt images/symbols do you see in your character that you feel can be explored?
  •      You will be given a short extract of your character from the script with someone to read with you if need be, to get a feel for the role and to see if you suit it well and how you feel in this role after the workshop today.

… That’s it!

 

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