LAplay

Question 1:

In order to better suit the medium of film in the production of Beckett's //Play,// the film maker employed various special effects and screen cuts in order to adapt Beckett's stage instructions. For example. the effects of the lighting on each face when each talked was replaced with a close up on the face. This works better for film than the spotlights because of the added effect it creates such as in the extreme close-ups of the actor's eyes and mouths. In order to add to the distorted atmosphere of the play, the film maker also employed the use of warped transitions and blackouts in order to emphasize the dark themes of the action. Additionally, the film maker was allowed to show shots of the backs and profiles of the actors whereas in the actual play the audience can only see the front of the actor's faces, such as when the male character begins to talk about images of drifting. Ultimately, the transition from theatre to film allows for greater flexibility in the staging and also significantly adds to the impact of the atmosphere within the production.

Theatricalism Videos

In the film version of Beckett's //Play,// theatrical elements such as extreme close-ups and cuts as well as acting techniques contribute to the overall theatricalism of the production. Close ups on the eyes and mouths of the actors in particular emphasized the dramatic elements of the dialogue even though the actors spoke in an even and fast monotone throughout the film, and captured each movement and twitch that otherwise may go unnoticed by an audience. The eerie laughs of woman 1 also illustrate an example of theatricalism as it seemed unnatural and spontaneous.

In //Einstein on the Beach,// the actors move painfully slow across the stage as if in slow motion, emphasizing each movement that would otherwise be undetected by the audience if acted as if in real time. The dance-like movements add to the surrealism of the play as well as to the theatricalism, and also invoke a certain response from the audience unique to this genre of theatre, whether it be a form of surprise, awe, or utter confusion.

In Wilson's interpretation of Shakespeare's Sonnet 23, the actor's costumes serve as the first striking and theatrical characteristic as they are metallic and gender bending, with eccentric make-up. Then, as the middle actor begins to scream/sing the lines of the sonnet in German, without even moving the actor sparks a reaction by the audience. While the audience may be confused, one of the main points of theatricalism is to create a memorable image, which this production achieves, despite it's odd outward appearance.

In Wilson's interpretation of Shakespeare's Sonnet 71, similar techniques are employed but the factor of movement is added. With often slow and deliberate movements, the actor accentuate every twitch and turn and pose in a theatrical manner. Again the yelling and intense music also contribute to the theatricalism of the production.