I direct Don Juan, Moliere... I want to use my director's notebook for a new composition = Moliere + DeMolina + Pushkin and more... This is why I need a new page in this "plays" directory.
Yes, another step in my virtual theatre research. This time is on the web, not on stage.
Of course, I don't know, if I will have the time for the project (in addition to directing live show). The HamletDreams -- still waiting for me...
For now see eGroup online exchange!
Translations & Genre
I would like to use several of them, including by Richard Wilberg (Harvest Book Harcourt, Inc.)
[ strange and unpleasant introduction ] comments.
Dramatic composition: in act 3 DJ gets what he is acting for: the Heavens' respond, the Statue talks! Supernatural (God) enters this world. God does exist? Not proven yet, unless God acts! (Act 5)
As if DJ wants to see the Other World (as Dante), he is after all "Comedic Lover" (Commedia types), or "Tragic Hero" in comedy? "Social Rebel"? [ Faust connection ] The character organized like the whole play (open for widest interpretation), but what does hold it together? Plot? Elvira promises him revange in act one (then her brothers step in) -- and finally the Heavens! Oh, she was a nun! Was it her doing?
Director's Notes in shows.vtheatre.net/dj
Don Juan 2003 (sample)
Acting 121X
Anatoly Antohin
4-28-03
(A Review) Don Juan was a great production, directed by Anatoly Antohin. I went to see the play twice. Once was the first production and the second time was the last production. The first thing I noticed the second time I went was how much it had improved. The second thing I noticed was how much I had missed the first production. There were tons of undercurrents that swept right over the heads of the audience. Not only did the production deal with the moral to ultimate freedom but also with religion/ god, and the existence of human kind.
The play was preformed as Commedia Dell¨ˆ Arte. This is a comedy using stock characters that perform a comedy involving the audience. It seems the key to acting in Commedia Dell¨ˆ Arte is to be glib. The actors often pop out with lines that they came up with on the spot.
The actor that I thought did the best was Michael Karoly who played both the part to Don Carlos and Don Luis. He was a very convincing character. He was witty and imaginative. I also thought Andrew Cassel and Jeff Aldrich both did really well. All of these characters used their acting spaces well by moving all around the stage and they used their props very well. The way Cassel used his was great it seemed to symbolize much more than just a bible.
One problem I did have with the play is that in Commedia the characters are supposed to be one-dimensional and in Don Juan they were certainly not one-dimensional. Also I did not understand the deal with the beggar symbolizing Jesus.
I did like what contributions the two stand in comedians did. A lot of people found them stupid, repetitive, childish etc. However I was impressed with their ability to perform Commedia well. They came up with all sorts of witticisms etc. Which is precisely what this theme is about (being able to pop up with something on the spot involving the audience).
Some people used theirs costumes well like Rose with her nun outfit and the slutty red stuff underneath. She used this with her character very well. Michael also did a fabulous job with the outfit of the father. From the ⌠look at how beautiful I am¡ö hand to the tacky red long underwear. He used his costume to build his character.
I was really impressed with the entire production and theme. It was a great play and got across a lot of deep concepts and ideas.
Mono Studies: Moliere
ELVIRA: Listen to me a little longer, and you shall know what I have resolved. It is necessary that our fates should be decided. You are now upon the brink of a great precipice; you will either fall over it, or save yourself, according to the resolution you shall take. If, notwithstanding what you have seen, Prince, you act towards me as you ought, and ask no other proof but that I tell you you are wrong; if you readily comply with my wishes and are willing to believe me innocent upon my word alone, and no longer yield to every suspicion, but blindly believe what my heart tells you; then this submission, this proof of esteem, shall cancel all your offenses; I instantly retract what I said when excited by well-founded anger. And if hereafter I can choose for myself, without prejudicing what I owe to my birth, then my honour, being satisfied with the respect you so quickly show, promises to reward your love with my heart and my hand. But listen now to what I say. If you care so little for my offer as to refuse completely to abandon your jealous suspicions; if the assurance which my heart and birth give you do not suffice; if the mistrust that darkens your mind compels me, though innocent, to convince you, and to produce a clear proof of my offended virtue, I am ready to do so, and you shall be satisfied; but you must then renounce me at once, and forever give up all pretensions to my hand. I swear by Him who rules the Heavens, that, whatever fate may have in store for us, I will rather die than be yours! I trust these two proposals may satisfy you; now choose which of the two pleases you.
DON GARCIA OF NAVARRE, A monologue from the play by Molière. This translation by Henri van Laun was first published in The Dramatic Works of Molière. New York: R. Worthington Publishers, 1880. It is now a public domain work and may be performed without royalties.
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