THE HISTORY OF THEATRE7 final concept presentation

 

THE HISTORY OF THEATRE6

 

THE HISTORY OF THEATRE5

 Today, we split into 3 separate groups, with there being one director per group. We were tasked with coming up with our own unique interpretation of Lucky's monologue. Amelie was directing Emma and Silvana and interpreted it as having 2 contrasting emotions portrayed by 2 different people I was working with James, as the director (with him being the actor). This worked very well, as they split up the text into different possible emotions. The two actors communicated well, portraying the relationship well. It was clear that these two were similar to a brother and sister/sibling relationship, with the characters clearly disliking each other, however being forced to stay together.

Hugo was directing Tristan, and they played their contemporary interpretation in a bar. This was another scene that worked well, however, the movement of the piece was quite static. I felt the idea worked very well though and is a concept that I would consider using as my own. If I would be performing it myself, I would use my space a lot more.

I directed James, and interpreted it as a presentation given by an old man. In the context of the piece, Lucky would come out of his usual role and step out to tell it as a story. This is a very contemporary interpretation, as it is breaking the fourth wall. Halfway through the performance, I introduced some church music into the background. This completely changed the view of the audience on the meaning of the piece. Emma interpreted it as wedding music however I saw it as a funeral setting, with Lucky celebrating Pozzo's death. Ms Williams referenced a story surrounding a flood, suggesting that Pozzo and Lucky could have been sent to Vladimir and Estragon by god, and Lucky's speech is his frustrated expression as Vladimir and Estragon aren't using them as they should be.

THE HISTORY OF THEATRE4

VLADIMIR - CHARACTER ANALYSIS

One of the two main characters of the play. Estragon calls him Didi, and the boy addresses him as Mr Albert. He seems to be the more responsible and mature of the two main characters.

In any comedy piece, there are two characters, the “straight man” and the “fall guy”, Vladimir is considered the “straight man”, the more intelligent of the two characters, being concerned with a variety of ideas. Vladimir is the one character of the two who makes decisions and remembers significant aspects of their past and constantly reminds Estragon that they need to wait for Godot.

Even though neither of them knows anything about Godot, there’s an implication that Vladimir knows more about Godot than Estragon does, even though neither of them knows what Godot looks like or who he is.

Vladimir correlates some of their actions to the general concerns of mankind. In Act II, when Pozzo and Lucky fall down and cry for help, Vladimir interprets their cries for help as his and Estragon's chance to be in a unique position of' helping humanity. After all, Vladimir maintains, "It is not every day that we are needed . . . but at this place, at this moment in time," they are needed and should respond to the cries for help. Similarly, it is Vladimir who questions Pozzo and Lucky and the Boy Messenger(s), while Estragon remains, for the most part, the silent listener. Essentially, Vladimir must constantly remind Estragon of their destiny — that is, they must wait for Godot.

In addition to the larger needs, Vladimir also looks after their physical needs. He helps Estragon with his boots, and, moreover, had he been with Estragon at night, he would not have allowed his friend to be beaten; also, he looks after and rations their meagre meals of turnips, carrots, and radishes, and, in general, he tends to be the manager of the two.