LIGHTING ‘METAMORPHOSIS’ -Deconstructing an answer
QUESTION: As a designer, outline your ideas for lighting this extract. Explain and justify how these would help to create an appropriate mood and atmosphere at this point in the play
Cut ‘n’ Paste this into a word doc and then Highlight/Underline
RED = references technical vocab,
GREEN for any pearls of wisdom (LINKS TO Social/Historic/Cultural)
BLUE = references to MOOD /KEY WORDS from the Question and/or Designer’s Intentions /Aims
Put a Q in the margin for quotes- count them! (Be aware of how they are used to justify or focus.)
The mood when Mr Samsa starts hurling apples at Gregor is violent and extreme. It’s as if all Mr Samsa’s pent up frustration comes out. As a lighting designer, I would cover the stage in a blood red wash on the line “Apple for you Gregor!”This would symbolise the anger being demonstrated by Mr Samsa. Being an expressionistic play, this symbolistic use of colour is justified. At the point when the apple hits Gregor (It’s sunk in”) I would follow Berkoff’s stage directions and have a strobe light flash on and off quickly- ‘strokes of lightning’. This would catch the family and Gregor in different poses: father triumphant, Mother and Greta distraught, Gregor in agony. It would also have the jumpy, jerky, non-naturalistic feel of a silent movie which would support the 1900s period I feel.
In the next scene, Berkoff puts ‘lights up on the FAMILY.’ In this scene, we see Greta practicing French and father sleeping. As a lighting designer, I would want to convey a more naturalistic mood by using a dim top light in warm yellow to indicate the gas light that would have been used in the 1910s. [See diagram]. I would focus a small profile at ground level onto the down stage right stool and have a flickering red fire effect created by a motorised gobo to create the illusion of a fire. This would link to Berkoff’s idea of total theatre where the audience is using their imagination without the need of an elaborate set. This naturalistic lighting would create an evening mood and a calmer atmosphere several days after the apple throwing.
In this part of the scene, Gregor is absent from the dialogue but there are still references to him when Mrs Samsa asks Greta ‘What’s he doing?’ Berkoff says in his Introduction ‘Gregor is always watching’so I would keep a dim pin spot on Gregor’s room. This would pulse larger then smaller several at the times when the family mentions him and keep reminding the audience of his presence in the scene.
In the last part of this scene, Gregor’s dream, I would want to emphasise the surreal mood that is present. Berkoff describes the family ‘as if under water’ and ‘twisting ‘around in their sleep’. I would use dim footlights coloured blue, which would up-light the facial expressions that the family have. This would have the effect of making facial shadows increase and emphasise the ‘horrified’ expressions Mrs S. is pulling, ‘Father – do something’. Gregor would be lit from the front by a tightly focused spotlight of white light which would gently pulse when he is not speaking. Its low angle also cast large shadows onto the cyclorama upstage – making the actor’s gestures and limbs look larger and more grotesque making this scene quite nightmarish in atmosphere.
What band is this and what number out of 10.
Name 2 things this example does that you didn’t do.
As a designer, outline your ideas for lighting this extract. Explain and justify how these would help to create an appropriate mood and atmosphere at this point in the play.
Extract used P109-112
Read the extract IN FULL
In pairs / small groups take EACH of the MOMENTS identified below and MIND -MAP (15 mins) the information you think is relevant to answer the question. [Include a diagram for the placement of the lights]
Your conversation needs to be FULL of the vocabulary of lighting (placement, type of lights, colour, special effects and over all MOOD /ATMOSPHERE)
MOMENT 1 = The apple throwing
MOMENT 2 = ‘New scene’ Bottom of P110/111
MOMENT 3 = ‘Gregor’s Dream’ P112
Create a MIND-MAP that has 1 introduction (with an overview of the context of the extract, your AIMS (affecting the audience) or how lights assist with Berkoff’s/Kafka’s style)
2-3 paragraphs where you EXPLAIN and JUSTIFY specific ideas/moments with terminology
(If time allows) Present ONE of your ideas/moments to the class.
IN CLASS you will write out your answer to the above question.
You may use your notes
You should attempt to have 5 quotes
You must have a diagram (but take no more than 5 mins producing it) TIP: your diagram isn’t meant to show ALL your lights for ALL of your ideas -use the diagram to ‘explain’ your most ambitious idea and refer to the diagram in your writing when you get to that bit of your answer.
EACH of your paragraphs should address one of the MOMENTS specified above.
THIS WORK WILL BE ASSESSED AGAINST THE MARKING CRITERIA
It is more than just placing actors on the stage. (stage picture)
They are the audience in the rehearsal room – ( what meaning will the audience understand from a line delivery or a piece of action)
They are responsible for the Overall Concept
They are responsible for the casting (what look – shape of actors do the characters suggest)
Here are some sentence starters to quickly GET WRITING ABOUT BEING A DIRECTOR.
COPY THESE INTO YOUR JOURNAL AND MAKE UP SOME OF YOUR OWN
The main idea in this extract is….
My directorial concept is to …..
My aim as a director is (EXPLAIN)… revealing [Insert your justification] for the audience.
By placing the characters (explain)….. the audience would understand [reveal something about the play/extract/character(s)…..]
I would instruct the actor playing X to……[insert something about physicality, voice or proximity]
This would reveal…….[explain what the audience would understand]
14 general points for improvement.
Read the Question carefully and the Extract even more so. [10-15 mins to read/prep for all 3 Questions]
No lengthy introductions – this is not your Standard Essay – Only in 1 answer should you plan to use the name/date/practitioner/ source material/ style info.
Avoid any lengthy explaining of PLOT or Themes – Only relate plot in so far as it creates a context for the EXTRACT given and what has happened just before. (No general plot of the whole play as the examiner will know this is a play about a man who transforms into an insect.)
Engage with the question in the 1st few lines. (know exactly what the question’s focus is) – “attitude of Lodgers to family” NOT family to Lodgers.
Zoom in ONLY after you establish the focus of your answer and the context of the moment you are focusing on.
Choose the ‘best moments’ – The Lodgers 1st entrance, interacting with Samsa’s, eating (as there’s lots of ideas already on the page)
Use paragraphs for EACH new moment you ‘go to!’
Start each paragraph with a strong statement: “I want to suggest that the Lodgers are greedy so I will direct them to sniff around the living room like pigs as if looking for food. On the line…. I would have them grunt before saying X and their ‘looking’ will be quick and jerky, with them occasionally going on all 4s to flag up this animalistic impression.
Look at the Stage Directions as much as the spoken words. As Berkoff is highly physical there’s a good chance that ideas, and action is hidden in the Stage Direction italics (e.g: mime…pig faces…greedy…copy each others movements.)
Time keeping – you won’t have a teacher calling out when to move on – 20 mins of writing PER Berkoff question (about 3 paragraphs) DO NOT STEAL TIME AWAY FROM OTHER BERKOFF QUESTIONS
Aim to use quotes (about 5-8 per Berkoff question) in the form of lines BUT also Stage Directions, and interviews with Berkoff
Don’t spend too long on one example – and don’t repeat the same skills or justification in multiple examples – SHOW THE EXAMINER YOUR RANGE OF UNDERSTANDING
Make sure your interpretation of the role can be supported by what the characters do and say.
Be more creative (add value to Berkoff’s ideas) – don’t just repeat what is implied in the stage directions. If you don’t do it like Berkoff sets it out then have another idea that is BETTER! [Justify your NEW idea]
Use some of the BIG terms (expressionism / total theatre) and knowledge of the whole play for your Justification.
“This is in keeping with the expressionistic style of the whole piece and would highlight the idea that their attitude to the family is one of ‘wants’ and ‘greed’ – they are out to exploit the Samsa’s as it is my director’s interpretation that they know how much the family need the money they can provide.”
As a performer, discuss how you would want your audience to respond to the role of Silvio in the course of the play. How would you perform the role in at least two sections of the play in order to achieve your aims? You must make specific reference to the social, cultural and/or historical context of So2M in your answer.
For this question – develop an essay plan.
Work out what you would say in the Introduction
Know what 3-4 aims /points you wish to get across
Work out which your 2 ‘sections’ will be.
Introductions – TIPS
A good place to drop in historic and social ‘pearls of wisdom. (E.g. what stock type is your character, their origins, how has Goldoni changed the character,
Mention your ‘interpretation’ and your actor’s ‘intention/aims’. [how old are they, how would they be dressed, what traits are you going to focus on revealing.
No need to list the scenes you will use [you can do that at the start of each paragraph] or state general plot. Plot detail needs to be relevant to your character.
[GENERIC OPENING] ‘A Servant to 2 masters’ (1745) is a fast moving comedy written by Carlo Goldoni towards the end of the 200 year period when Commedia dell’Arte was the most popular theatre form in Europe. It features instantly recognisable stock characters who are “an exaggerated mirror of Italian society” [Didi Hopkins]
As a director for Dr Lombardi and Pantaloon, discuss how you would create comedy in TWO sections of the play where they appear together. You must make specific reference to the social/historic and/or cultural context of ‘The Servant of 2 Masters’ in your answer.
Your answer needs to contain an Introduction (both a quick generic one for the play in general and a specific one explaining your directorial concept/aims. ]
Then a Body of 4-6 paragraphs that ‘zoom in’ on the ‘go-to moments’. This is the bit where you have to use the terminology of acting and directing. A short conclusion if time allows.
You must have quotes.
You must work in your historic/ social knowledge into your writing – NOT just bolt it on to your Introduction.
SAMPLE WRITING:
[Generic opening] ‘The Servant of Two Masters’ is a fast-paced comedy written by Carlo Goldoni in 1746 and strongly influenced by the style of Commedia dell’Arte. The play is populated with exaggerated stock characters like masters, lovers and servants, who were “an exaggerated mirror of Italian society” – Didi Hopkins.
[Specific Introduction] As the director of the Old Men (Il Vecchi), I would aim to show the disintegration of an old friendship. I would use the traditional qualities of Dr Lombardi and Pantaloon to create outrageous parodies, use physical comic violence and props and create moments of uncharacteristic behaviour to create comedy.
(Body) Paragraph structure – Point – Example – Explain (what, how, why)
In Act 2 Scene 1, Pantaloon attempts to tell the Dr. that the engagement between Silvio and Clarice is off, but he cannot get a word in edgeways. I will direct Dr L. to use a raised hand to silence Pantaloon and increase the volume of the first word of his next line drawing out the word to add greater importance to it – e.g: “S T O P!, I know exactly what…” This is intended to silence Pantaloon and drown him out. Pantaloon will get increasingly exasperated, rolls his eyes and huff and sigh. It will be funny as the Dr is unaware of Pantaloon’s behaviour as I will position him downstage. As the scene progresses and Pantaloon cannot finish his sentences: “Well actually…” and ” If you’ll allow me to speak…” I’d direct Pantaloon to show his increasing exasperation by making some gestures: looking at his watch attached to his waistcoat and using his hands to mimic the Dr’s mouth and endless talking. In this up stage position I can direct Pantaloon to upstage the Dr. The Comedy will be generated by the impudence of the ridiculing as well as the exaggerated ‘pompous and verbose’ qualities of Dr Lombardi.
When the Dr breaks into Latin, (a common trait which reveals him as an academic who has had a University education) I will direct him to stride around the front of the stage as if giving a lecture using a posh R.P accent, focusing on the audience and drawing out his vowels in order to sound impressive. This parody of a ‘know-it-all’ presents his pompous and pedantic traits. I would seek to create comedy from his exaggerated mannerisms, his physicality and his lack of understanding regarding the feelings of others – “He knows everything about everything, but understands nothing” – Ninian Kinnar-Wilson. His lack of awareness of what Pantaloon is doing behind him, should make the audience laugh at him.
To finish the scene I will direct Pantaloon to act like a child involved in playground bickering. He will illustrate the line, “The wart on the end of my arse is worth more than the entire house of Lombardi.” As he does so he’ll wiggle his bum in the direction of a shocked Dr L. He’ll stress the word ‘arse’ and generally deliver the final speech in a heightened state of agitation. All this will be comic as we do not expect this type of behaviour and language coming from a 70 year old ‘honest tradesman of my nation.’ (Goldoni)
Read the Commentary on Truffaldino (your copy of the set text) On the double page in your Journal make specific notes on the skills needed to play him, his origins, his characteristics (traits) and how he was developed by Goldoni. (Use the appropriate side – Traditional vs Goldoni’s Reforms)
stock character – stereotype –
character traits (adjectives)
animal types
Mask (draw it!)
Costume
Motivation
Social background (where is he from, what do others think of him, what does he think of himself?)
Watch the Harlequin section from the Blog / films clip [The World of Commedia – Post: 31st October 2022] and take notes on MOVEMENT.
Piccolo Theatre Servant of Two Masters, Omen Sade (Performer) as Arlecchino/Truffaldino in traditional commedia dell’arte costume with white-with-multi-colored-triangles, hat, battoccio (stick/club) and leather mask created by Antonio Fava.
As well as your NOTES you MUST find answers to these questions.
10. Why is he called Truffaldino and not Harlequin?
11. Are there any changes that Truff. undergoes at the hands of Goldoni.
12. What does Niniar Kinnar-Wilson mean when he says that Harlequinio is ‘amoral not immoral’?
CLASS WORK
Watch Video: Servant of Two Masters: Commedia Character Shorts-Lesson Two: Truffaldino (Go to 58 secs in and watch to 2 min 25 secs)
Discussion points:
What’s the Dr Lombardi line that is quotes mean to you?
———————————————————————-
Watch this demonstration for physicality.
Watch Video (Go to 46 secs in and watch to 2 min 45 secs)
Discussion points:
Why does Truff. stand straight out to the audience?
Light or Heavy
Lazzo of the Fly (9 mins in)
What is this showing us about the character?
Read or Stage the 1st Entrance {always a good idea to talk about the 1st entrance if given a question about interpretation or aims/effects} Start at 8:45 mins in
What do you notice about his energy? / Energy: Direct or Indirect?
What do you notice about focus (on whom?)
Goldoni says in his own introduction “to the Readers” that Truff. can be ‘doltish’
adjective
(of a person) stupid; idiotic: a doltish character.
When he operates in a thoughtless fashion
(eg: tearing up the bill of exchange – act 2 sc 9 – P51-55)
And then ‘mischievous’
adjective
1 causing or showing a fondness for causing trouble in a playful way: mischievous children | a mischievous grin.
(eg: serving 2 masters – act 2 sc 12)
PREPARATION FOR TRUFFALDINO (ACTOR) ESSAY
Examiner’s say the Indicative content for a performer focused question could include [remember you wouldn’t be expected to cover it all!!]
physical appearance, age, height, build, colouring, facial features
vocal qualities, pitch, pace, tone, accent
delivery of specific lines: interaction with others, eye contact, spatial relationships, physical contact
use of space
XXXX’s relationship with other KEY characters
movement, gesture, gait, posture, energy, demeanour and facial expressions
style/use of costume/make-up; of props and accessories
specific performance ideas clearly calculated to reveal the specified interpretation in key scenes, for example:
Social, cultural or historical context might include, for example:
reference to stock characters
structure of play
concepts of Commedia – lazzi, audience interaction
Extension: How has the character of Truff. been modified?
The costume for men from a privileged background Highway man ‘look’
You are performing the role of Beatrice from her first appearance in Act One to her exit at the end of Scene Three. Explain how you would create comedy from Beatrice’s disguise as Federigo. [or]
You are performing the role of Beatrice from her first appearance in Act One to her exit at the end of Scene Three. Explain how would you want to present Beatrice to the audience?
You must make specific reference to the social, cultural and/or historical context of The Servant of Two Masters in your answer. [25 marks]
Look at the 2 versions of the question – What is the difference? {Open & Closed Questions}
This is a typical essay with an essay structure – What is that?
[Remember (What /Statement – How / Example – Why /Explain – Link to the question or Social/Historic/reference.]
Your answer needs to be about 5-6 paragraphs in length.
[What should go into the Introduction?] – Pair talk
Some context for the question: who she is, why is she coming to Venice, that this is the 1st time we/audience sees her. =1-2 lines
Any historical or social information relevant to the Question.
What your intention as a performer would be. =1 line
Write your own – 5 mins
Explore HOW you would generate comedy from Beatrice first appearance (DISCUSS IN PAIRS)
Write your own paragraph – 7 mins {focus: a costume malfunction or a physical/vocal mishap}
Compare your Intros and 1st paragraphs to the ones below.
SAMPLE ANSWER – ‘DRAMA & THEATRE
(Mr Jones)
[Remember Structure: What /Statement – How / Example – Why /Explain – Link to the question or Social/Historic/reference.]
You are performing the role of Beatrice from her first appearance in Act One to her exit at the end of Scene Three. Explain how would you want to present Beatrice to the audience?
You must make specific reference to the social, cultural and/or historical context of The Servant of Two Masters in your answer. [25 marks]
Introduction:{Link to the question}
‘A Servant to Two Masters’ (So2M), written by Goldoni in 1745, is a fast, action-driven, comic play that has many well-known characters from the Commedia tradition. Beatrice is inspired by the stock characters of the Lover and the Master, but in this play her role is complicated by the fact that she is dressed in men’s clothing (disguised as her dead brother Federigo). She is searching Venice for her lover Florindo. As a result for most of the play she presents as a typical male Master. Women in the 18th century were not meant to be adventurers, but remain subject to the wishes of their father’s and husband’s. Therefore, seeing a woman dressed and behaving as a man would have been a source of amusement for the audience. It is this comic potential that I wish to draw out in the opening scenes.
Paragraph 2:What costume / 1st impressions would you make?
As Beatrice, I would wear a man’s costume loosely based on the stock character of The Captain (a Commedia character who doesn’t appear in Goldoni’s play.) I would have a hat with feather, a cloak, riding boots, a sword and an eye-patch. I would talk in a ‘foreign accent – possibly French to indicate that Beatrice is from Turin and an outsider to Venice.
In order to create comedy from Beatrice’s entrance and clearly show the difficulty she has in maintaining her deception, I would say to Pantaloon, “Your humble servant, sir,” as I bow, take off my hat and throw the cloak over my shoulder puffing out my chest with confidence. Then, as I realise I am revealing my female cleavage, I would quickly turn away and cover myself with the cloak. In a fluster, I would have a voice break on the next words, “Federigo Rasponi” here my voice would revert to a higher feminine pitch. I would stop, then cough and say the name again in a deeper more stereotypical male voice whilst adopting the macho stance of standing, hand on sword, with my legs shoulder width apart.
Paragraph 3:choose a different moment and perhaps a different aspect of the performance – e.g: if paragraph 2 was about Beatrice’s costume and physical appearance then Paragraph 3 could focus on vocal delivery.)
Remember to include quotes– what Beatrice says AND also what is said to her that she must react to!
Later in the scene when Brighella recognises me as a woman I would want to portray her sincerity and distress as it looks my true identity is about to be revealed. I would move across to him and bring him downstage so that my aside, “Please don’t give me away” can be said quietly and in a feminine voice for the audience’s hearing only. This would reveal to them (if they haven’t already done so) that Federigo is a woman in disguise. There would be an urgency in my tone. At the same time I would lift up my eye-patch so that he can see that I am actually only pretending to have an injury. I could also wink with this eye to indicate a secret ‘agreement’ between Brighella and Beatrice on the line, “love could drive e to far greater excesses.”
Conclusion: The fact that the audience will quickly understand that I am a woman in men’s clothing, but the other characters (except Brighella) don’t, makes them ridiculous and allows the audience to laugh AT Pantaloon, the Dr and others, (which is part of the social satire that Goldoni was intending.) On the other hand it makes me (Beatrice) out to be a more sympathetic character acting out of more noble motives like true love and in the hostile environment of men (an under-dog style story).
45 mins = Band 420/25 Mark scheme – “thorough and thoughtful response”
I think this has the right balance between social and historic facts and knowledge and specific examples of HOW the part could be acted. It has a range of interpretations for Beatrice. It has enough terminology and the actions/vocal choices fit the character and her situation. There is use of quotes and a reference to audience. To move into Top Band 5 this needs possibly another paragraph and more perceptive comments about audience perceptions and a bit more creative acting ideas.
Colour 1 = References to historic/ social play knowledge
Colour 2 = Specific examples of acting or direction
This writing below came from a Y12 student in their 1st attempt at writing about So2M. This is a great example of clear, concise (no waffle) writing with historical and social knowledge coming naturally from the analysis. There is an obvious knowledge of theatrical terms like stage directions, physicality and conventions like the aside. The only area for improvement would be to use a lot more quotes to hang ideas onto specific moment of the play.
The question they had was:
How would you direct the first two scenes of Servant of Two Masters?
For the very opening of the play in Act 1 scene 1 when Silvio and Clarice are about to be engaged, I would have the two Lovers center stage looking at each-other, they are holding hands and are as close to each-other as they can be: this is to emphasize the intimacy and the genuine love they have for each-other. This will also be underlined through their speech. Often they will clock the audience to show that they wish to express their love to the whole world. I would place them center stage so the audience can understand that the focus of the scene is on these two characters, however they are not down stage center, The reason for this will come later in the scene. As for how the two will act, I would direct them to use an overly-dramatized style of delivery. This would involve large hand and arm gestures that are balletic and return to the heart. Their speech would be breathy to indicate they are feeling strong passions and well articulated to indicate their high level of education, This will invoke some comedy in the audience as is the aim of Commedia dell’arte, but also shows that the love these two have is genuine. It will also work in contrast later on in Act 2 when they hate the sight of one another. Since they are not masked I would expect big facial expressions from them, one would react with glee when the other speaks for instance.[Quote needed] The two will follow similar traits: Silvio would not (in this scene) act masculine, he too will be like Clarice in a floating joyful, gentle, innocent manner, this will show the audience that the two really work as a pair.
In terms of staging for other characters in Act 1 Scene 1 I will focus on proxemics and the other characters will be stationed according to their relationship with the two lovers. Pantaloon will be by the side of his daughter and Lombardi will be at the side of his son. This will help establish information as to the relationships with each character to the audience even before there is dialogue. Brighella would be downstage left on the Pantaloon side and Smeraldina will be down stage right on the Lombardi side. If you looked at the stage from a birds eye-view it would resemble a triangle with the two servants at the bottom moving up to the masters and the lovers at the top. Even though Brighella isn’t a servant in this play in normal Commedia he is and so I wanted to hearken back to that idea. He is a friend of Pantaloon however so that is why he is on the brides’ side to show his connection to the Pantaloon household. Smeraldina is a servant to Pantaloon as well however she is on Lombardi’s side in down stage right because that is the furthest point from Clarice, this shows discord between master and servant between Smeraldina and Clarice, the two still like each-other but in the context of this scene Smeraldina is envious of Clarice love. Downstage right is also a good position for Smeraldina to break the fourth wall which I intend her to do when she speaks much like an aside where only the audience can hear. If I had an extended cast I would also have one extra member playing a Zanni like servant giving drinks to Pantaloon, Lombardi and Brighella but not Smeraldina to underline that she is not considered an important individual to serve. A Zanni character would also hearken back to original Commedia dell’arte.
Example: How would you direct the first two scenes of Servant of Two Masters?
For the very opening of the play in Act 1 scene 1 when Silvio and Clarice are about to be engaged, I would have the two Lovers center stage looking at each-other, they are holding hands and are as close to each-other as they can be: this is to emphasize the intimacy and the genuine love they have for each-other. This will also be underlined through their speech. Often they will clock the audience to show that they wish to express their love to the whole world. I would place them center stage so the audience can understand that the focus of the scene is on these two characters, however they are not down stage center, The reason for this will come later in the scene. As for how the two will act, I would direct them to use an overly-dramatized style of delivery. This would involve large hand and arm gestures that are balletic and return to the heart. Their speech would be breathy to indicate they are feeling strong passions and well articulated to indicate their high level of education. This will invoke some comedy in the audience as is the aim of Commedia dell’arte,but also shows that the love these two have is genuine. It will also work in contrast later on in Act 2 when they hate the sight of one another. Since they are not maskedI would expect big facial expressions from them, one would react with glee when the other speaks for instance.[Quote needed] The two will follow similar traits: Silvio would not (in this scene) act masculine, he too will be like Clarice in a floating joyful, gentle, innocent manner. This will show the audience that the two really work as a pair.
As a Director, how would you direct the actors in Act 1 Scenes 1 & 2 (So2M) to reveal the essential characteristics of their character, key relationships at the start of the play and any sub-textual issues. Make reference to the audience and to your aims as director?
[what do you need the audience to understand]
You don’t have to reference all the characters but you should have…
PREPARATION: before you write out a full essay answer, it is useful to consider the following. Your answers should be short paragraphs.
Where would you place the characters at the start of the play and why?
When you your change this placement (BLOCKING) and why? [Needs quotes/lines for your Justification]
How would you direct PANTALOON to reveal an essential TRAIT of his character?
How would you use STATUS as a way to create comedy? [Think the INVERSION of status – arrival of Truffaldino]
Areas on the stage (where is the most PRIVATE part of the stage?)
YOU SHOULD MAKE SURE THAT YOUR ANSWER COVER
PARAGRAPH 1 – The lovers
PARAGRAPH 2 – Pantaloon / Dr Lombardi
USEFUL SENTENCE STARTERS
Eg: “My intention as a director at this point in the play would be to show/reveal/ focus on…”
“It is important for the audience to understand X at this point in the play so, as a director, I would ……”
