Reading the Play: More Notes from Gini to DV et al

Notes about Jehanne, 17 June 2013

Gini is looking further at Gilles, as he has created Jehanne as both monster and saint

Is he sinking deeper into madness?

Is he not sane? insane? Note his behaviour after her death . . . 

Can we structure this as a spiral? Does he only imagine things? Some things?  Does he misinterpret?

Is the play about his spiral into madness? And he drags everybody into his sphere of madness . . or it infects them as it secretes out from his sphere . . .

The contents of his play are controlled by him, these facts are revealed in the presentation of Clark’s play.

This is the DARK side. . . . 

Now from the directorial side:

The DART and the LIGHT.

There are spiritual things in the world that we are not capable of explaining.  When she does appear to him, when he succeeds in conjuring her [or does she just appear? And by what agency?], and they get into an argument, it’s apparent that there are things that are not easily explained, scientifically or logically.  It needs to remain “supernatural,” to remain in a space of wonderment, we may recognize it but we may not be able to explain it.

What is it about their relationship that makes him go crazy after her death?

The play should end with a great conflagration, his death by fire.

 -----

The problem with Marie at the end of the play: not played by Jehanne. (as cast: Nikki)

Costumes notes: Marie should be in period mourning costume of the era that Gilles dies (1440)

-----

The play: it’s apparent that Clark may not have known how to finish the play.

See Pirandello’s Enrico IV:

. . . a play where the characters dress in costume in order to confuse the protagonist who has taken a fall (and is and disoriented) in order to maintain an elaborate ruse . .

----------

Gini's corresponding remarks in an email to the team:

Casey and Brittany,

I had a meeting with David today to share some thoughts.

We are all agreed that we are focusing on Gilles' "production", which 
he is performing to lure Jehanne to appear. I am thinking about 
approaching the play as his decent into madness. So things become 
increasing warped and dark as it goes along. And it culminates in his 
cutting Francois' throat.

But, at the same time, I want to preserve a bit of the mystical or 
supernatural, in the sense that there are things in life which are 
either beyond our comprehension or our desire to pursue. I think that 
when Jehanne does appear, this is such a moment. The fact that 
Francois is channeling Jehanne is possibly another such point - and it 
becomes stronger and stronger (the more scared he gets about the end).

The question is what is so important about Jehanne to Gilles that her 
death first drove him to the put on the great pageant, but more 
importantly, in our play, to play the rest of her life out.

I also see Marie as perhaps the only one in full period costume and in 
mourning version of that.

I have also suggested a great conflagration (Gilles' death) made of 
lights and effects (no live flame allowed - and artifical can be much 
more impressive).

I would like us all to think of images that we think of when madness - 
for example, going down a dark vortex or being surrounded by dark 
images and strange noises. Please - post what you see/hear.

Gini