The Complete Dramatic Works
Page 35
so in the end
close of a long day
went down
let down the blind and down
right down
into the old rocker
and rocked
rocked
saying to herself
no
done with that
the rocker
those arms at last
saying to the rocker
rock her off
stop her eyes
fuck life
stop her eyes
rock her off
rock her off
[Together: echo of ‘rock her off’, coming to rest of rock, slow fade out.]
Ohio Impromptu
Written in 1981. First performed at Ohio State University in 1981. First published by Faber and Faber, London, in 1982.
L = Listener.
R = Reader.
As alike in appearance as possible.
Light on table midstage. Rest of stage in darkness.
Plain white deal table say 8’ x 4’.
Two plain armless white deal chairs.
L seated at table facing front towards end of long side audience right. Bowed head propped on right hand. Face hidden. Left hand on table. Long black coat. Long white hair.
R seated at table in profile centre of short side audience right. Bowed head propped on right hand. Left hand on table. Book on table before him open at last pages. Long black coat. Long white hair.
Black wide-brimmed hat at centre of table.
Fade up.
Ten seconds.
R turns page.
Pause.
R: [Reading.] Little is left to tell. In a last–
[L knocks with left hand on table.]
Little is left to tell.
[Pause. Knock.]
In a last attempt to obtain relief he moved from where they had been so long together to a single room on the far bank. From its single window he could see the downstream extremity of the Isle of Swans.
[Pause.]
Relief he had hoped would flow from unfamiliarity. Unfamiliar room. Unfamiliar scene. Out to where nothing ever shared. Back to where nothing ever shared. From this he had once half hoped some measure of relief might flow.
[Pause.]
Day after day he could be seen slowly pacing the islet. Hour after hour. In his long black coat no matter what the weather and old world Latin Quarter hat. At the tip he would always pause to dwell on the receding stream. How in joyous eddies its two arms conflowed and flowed united on. Then turn and his slow steps retrace.
[Pause.]
In his dreams–
[Knock.]
Then turn and his slow steps retrace.
[Pause. Knock.]
In his dreams he had been warned against this change. Seen the dear face and heard the unspoken words, Stay where we were so long alone together, my shade will comfort you.
[Pause.]
Could he not–
[Knock.]
Seen the dear face and heard the unspoken words, Stay where we were so long alone together, my shade will comfort you.
[Pause. Knock.]
Could he not now turn back? Acknowledge his error and return to where they were once so long alone together. Alone together so much shared. No. What he had done alone could not be undone. Nothing he had ever done alone could ever be undone. By him alone.
[Pause.]
In this extremity his old terror of night laid hold on him again. After so long a lapse that as if never been. [Pause. Looks closer.] Yes, after so long a lapse that as if never been. Now with redoubled force the fearful symptoms described at length page forty paragraph four. [Starts to turn back the pages. Checked by L’s left hand. Resumes relinquished page.] White nights now again his portion. As when his heart was young. No sleep no braving sleep till–[Turns page.]–dawn of day.
[Pause.]
Little is left to tell. One night–
[Knock.]
Little is left to tell.
[Pause. Knock.]
One night as he sat trembling head in hands from head to foot a man appeared to him and said, I have been sent by–and here he named the dear name–to comfort you. Then drawing a worn volume from the pocket of his long black coat he sat and read till dawn. Then disappeared without a word.
[Pause.]
Some time later he appeared again at the same hour with the same volume and this time without preamble sat and read it through again the long night through. Then disappeared without a word.
[Pause.]
So from time to time unheralded he would appear to read the sad tale through again and the long night away. Then disappear without a word.
[Pause.]
With never a word exchanged they grew to be as one.
[Pause.]
Till the night came at last when having closed the book and dawn at hand he did not disappear but sat on without a word.
[Pause.]
Finally he said, I have had word from–and here he named the dear name–that I shall not come again. I saw the dear face and heard the unspoken words, No need to go to him again, even were it in your power.
[Pause.]
So the sad–
[Knock.]
Saw the dear face and heard the unspoken words, No need to go to him again, even were it in your power.
[Pause. Knock.]
So the sad tale a last time told they sat on as though turned to stone. Through the single window dawn shed no light. From the street no sound of reawakening. Or was it that buried in who knows what thoughts they paid no heed? To light of day. To sound of reawakening. What thoughts who knows. Thoughts, no, not thoughts. Profounds of mind. Buried in who knows what profounds of mind. Of mindlessness. Whither no light can reach. No sound. So sat on as though turned to stone. The sad tale a last time told.
[Pause.]
Nothing is left to tell.
[Pause. R makes to close book.
Knock. Book half closed.]
Nothing is left to tell.
[Pause. R closes book.
Knock.
Silence. Five seconds.
Simultaneously they lower their right hands to table, raise their heads and look at each other. Unblinking. Expressionless.
Ten seconds.
Fade out.]
Quad
Quad was first transmitted in Germany by Süddeutscher Rundfunk in 1982 under the title Quadrat 1+2. It was first transmitted by BBC2 on 16 December 1982. First published by Faber and Faber, London, in 1984.
A piece for four players, light and percussion.
The players (1, 2, 3, 4) pace the given area, each following his particular course.
Area: square. Length of side: 6 paces.
Course 1: AC, CB, BA, AD, DB, BC, CD, DA
Course 2: BA, AD, DB, BC, CD, DA, AC, CB
Course 3: CD, DA, AC, CB, BA, AD, DB, BC
Course 4: DB, BC, CD, DA, AC, CB, BA, AD
1 enters at A, completes his course and is joined by 3. Together they complete their courses and are joined by 4. Together all three complete their courses and are joined by 2. Together all four complete their courses. Exit 1. 2, 3 and 4 continue and complete their courses. Exit 3. 2 and 4 continue and complete their courses. Exit 4. End of 1st series. 2 continues, opening 2nd series, completes his course and is joined by 1. Etc. Unbroken movement.
1st series (as above): 1, 13, 134, 1342, 342, 42
2nd series: 2, 21, 214, 2143, 143, 43
3rd series: 3, 32, 321, 3214, 214, 14
4th series: 4, 43, 432, 4321, 321, 21
Four possible solos all given.
Six possible duos all given (two twice).
Four possible trios all given twice.
Without interruption begin repeat and fade out on 1 pacing alone.
Light (2)
Dim on area from above fading out into dark.
Four sources of differently coloured light clustered together.
Each player has his part
icular light, to be turned on when he enters, kept on while he paces, turned off when he exits.
Say 1 white, 2 yellow, 3 blue, 4 red. Then
1st series: white, white + blue, white + blue + red, white + blue + red + yellow, blue + red + yellow, red + yellow.
2nd series: yellow, yellow + white, yellow + white + red etc.
All possible light combinations given.
Percussion
Four types of percussion, say drum, gong, triangle, wood block.
Each player has his particular percussion, to sound when he enters, continue while he paces, cease when he exits.
Say 1 drum, 2 gong, 3 triangle, 4 wood block. Then
1st series: drum, drum + triangle, drum + triangle + wood block etc. Same system as for light.
All possible percussion combinations given.
Percussion intermittent in all combinations to allow footsteps alone to be heard at intervals.
Pianissimo throughout.
Percussionists barely visible in shadow on raised podium at back of set.
Footsteps
Each player has his particular sound.
Costumes
Gowns reaching to ground, cowls hiding faces.
Each player has his particular colour corresponding to his light. 1 white, 2 yellow, 3 blue, 4 red.
All possible costume combinations given.
Players
As alike in build as possible. Short and slight for preference.
Some ballet training desirable. Adolescents a possibility. Sex indifferent.
Camera
Raised frontal. Fixed. Both players and percussionists in frame.
Time (3)
On basis of one pace per second and allowing for time lost at angles and centre approximately 25 minutes.
Problem (4)
Negotiation of E without rupture of rhythm when three or four players cross paths at this point. Or, if ruptures accepted, how best exploit?
1. This original scenario (Quad I) was followed in the Stuttgart production by a variation (Quad II). (5)
2. Abandoned as impracticable. Constant neutral light throughout.
3. Overestimated. Quad I, fast tempo. 15’ approx. Quad II, slow tempo, series 1 only, 5’ approx.
4. E supposed a danger zone. Hence deviation. Manoeuvre established at outset by first solo at first diagonal (CB). E.g. series 1:
5. No colour, all four in identical white gowns, no percussion, footsteps only sound, slow tempo, series 1 only.
Catastrophe
For Vaclav Havel
Written in French in 1982. First performed at the Avignon Festival in 1982. First published in English by Faber and Faber, London, in 1984.
Director (D).
His female assistant (A).
Protagonist (P).
Luke, in charge of the lighting, offstage (L).
Rehearsal. Final touches to the last scene. Bare stage. A and L have just set the lighting. D has just arrived.
D in an armchair downstairs audience left. Fur coat. Fur toque to match. Age and physique unimportant.
A standing beside him. White overall. Bare head. Pencil on ear. Age and physique unimportant.
P midstage standing on a black block 18 inches high. Black wide-brimmed hat. Black dressing-gown to ankles. Barefoot. Head bowed. Hands in pockets. Age and physique unimportant.
D and A contemplate P. Long pause.
A: [Finally.] Like the look of him?
D: So so. [Pause.] Why the plinth?
A: To let the stalls see the feet.
[Pause.]
D: Why the hat?
A: To help hide the face.
[Pause.]
D: Why the gown?
A: To have him all black.
[Pause.]
D: What has he on underneath? [A moves towards P.] Say it.
[A halts.]
A: His night attire.
D: Colour?
A: Ash.
[D takes out a cigar.]
D: Light. [A returns, lights the cigar, stands still. D smokes.] How’s the skull?
A: You’ve seen it.
D: I forget. [A moves towards P.] Say it.
[A halts.]
A: Moulting. A few tufts.
D: Colour?
A: Ash.
[Pause.]
D: Why hands in pockets?
A: To help have him all black.
D: They mustn’t.
A: I make a note. [She takes out a pad, takes pencil, notes.] Hands exposed.
[She puts back pad and pencil.]
D: How are they? [A at a loss. Irritably.] The hands, how are the hands?
A: You’ve seen them.
D: I forget.
A: Crippled. Fibrous degeneration.
D: Clawlike?
A: If you like.
D: Two claws?
A: Unless he clench his fists.
D: He mustn’t.
A: I make a note. [She takes out pad, takes pencil, notes.] Hands limp.
[She puts back pad and pencil.]
D: Light. [A returns, relights the cigar, stands still. D smokes.] Good. Now let’s have a look. [A at a loss. Irritably.] Get going. Lose that gown. [He consults his chronometer.] Step on it, I have a caucus.
[A goes to P, takes off the gown. P submits, inert. A steps back, the gown over her arm. P in old grey pyjamas, head bowed, fists clenched. Pause.]
A: Like him better without? [Pause.] He’s shivering.
D: Not all that. Hat.
[A advances, takes off hat, steps back, hat in hand. Pause.]
A: Like that cranium?
D: Needs whitening.
A: I make a note. [She takes out pad, takes pencil, notes.] Whiten cranium.
[She puts back pad and pencil.]
D: The hands. [A at a loss. Irritably.] The fists. Get going. [A advances, unclenches fists, steps back.] And whiten.
A: I make a note. [She takes out pad, takes pencil, notes.] Whiten hands.
[She puts back pad and pencil. They contemplate P.]
D: [Finally.] Something wrong. [Distraught.] What is it?
A: [Timidly.] What if we were … were to … join them?
D: No harm trying. [A advances, joins the hands, steps back.] Higher. [A advances, raises waist high the joined hands, steps back.] A touch more. [A advances, raises breast-high the joined hands.] Stop! [A steps back.] Better. It’s coming. Light.
[A returns, relights cigar, stands still. D smokes.]
A: He’s shivering.
D: Bless his heart.
[Pause.]
A: [Timidly.] What about a little … a little … gag?
D: For God’s sake! This craze for explicitation! Every i dotted to death! Little gag! For God’s sake!
A: Sure he won’t utter?
D: Not a squeak. [He consults his chronometer.] Just time. I’ll go and see how it looks from the house.
[Exit D, not to appear again. A subsides in the armchair, springs to her feet no sooner seated, takes out a rag, wipes vigorously back and seat of chair, discards rag, sits again. Pause.]
D: [Off, plaintive.] I can’t see the toes. [Irritably.] I’m sitting in the front row of the stalls and can’t see the toes.
A: [Rising.] I make a note. [She takes out a pad, takes pencil, notes.] Raise pedestal.
D: There’s a trace of face.
A: I make a note.
[She takes out pad, takes pencil, makes to note.]
D: Down the head. [A at a loss. Irritably.] Get going. Down his head. [A puts back pad and pencil, goes to P, bows his head further, steps back.] A shade more. [A advances, bows the head further.] Stop! [A steps back.] Fine. It’s coming. [Pause.] Could do with more nudity.
A: I make a note.
[She takes out pad, makes to take her pencil.]
D: Get going! Get going! [A puts back the pad, goes to P, stands irresolute.] Bare the neck. [A undoes top buttons, parts the flaps, steps back.] The legs. The shins. [A advances, rolls up to below knee one
trouser-leg, steps back.] The other. [Same for other leg, steps back.] Higher. The knees. [A advances, rolls up to above knees both trouser-legs, steps back.] And whiten.
A: I make a note. [She takes out pad, takes pencil, notes.] Whiten all flesh.
D: It’s coming. Is Luke around?
A: [Calling.] Luke! [Pause. Louder.] Luke!
L: [Off, distant.] I hear you. [Pause. Nearer.] What’s the trouble now?
A: Luke’s around.
D: Blackout stage.
L: What?
[A transmits in technical terms. Fade-out of general light. Light on P alone. A in shadow.]
D: Just the head.
L: What?
[A transmits in technical terms. Fade-out of light on P’s body. Light on head alone. Long pause.]
D: Lovely.
[Pause.]
A: [Timidly.] What if he were to … were to … raise his head … an instant … show his face … just an instant.
D: For God’s sake! What next? Raise his head? Where do you think we are? In Patagonia? Raise his head? For God’s sake! [Pause.] Good. There’s our catastrophe. In the bag. Once more and I’m off.
A: [To L.] Once more and he’s off.
[Fade-up of light on P’s body. Pause. Fade-up of general light.]
D: Stop! [Pause.] Now … let ’em have it. [Fade-out of general light. Pause. Fade-out of light on body. Light on head alone. Long pause.] Terrific! He’ll have them on their feet. I can hear it from here.
[Pause. Distant storm of applause. P raises his head, fixes the audience. The applause falters, dies.
Long pause.
Fade-out of light on face.]
Nacht und Träume
Nacht und Träume was written for, and produced by, Süddeutscher Rundfunk in 1982. It was first transmitted on 19 May 1983. First published in English by Faber and Faber, London, in 1984.