Green when Gustav was getting into Adolf's ear - jealousy; envy; evil; sickness (mental and physical?)
Blue - when Tekla arrived;
White - when Adolf got panicked; had fits; came across realisations; he was highlighted to draw focus to him
As the play progressed, lighting states shifted - became more orange-tinted to show that time was passing and sunset was approaching. Could also represent the intensity of the arguments building
Lighting went dark when Gustav was seducing Tekla and snapped back to bright when he stopped
Red - anger and passionate/violet moments
Under-stage lighting in the final scene - eruption combined with rear projection?
Lighting changes were subtle and smooth keeping in line with Naturalism
Set / Staging
Rear projection changed from clear blue; to pink; snap red in the final scene - lava? Paint stroke?
Set in a wellbeing resort in QLD; hence the wood-panelled; infinity pool etc gum leaves in background
Trees at the back were dead - represented the fragility and ease of ignition of the relationships; the relationships was dead?
Close proximity to the audience increased the confronting nature of the performance
Stage had many levels that the actors could exploit
Sound / Music
Subtle and in the background. Used to build suspense
Magpies to have a new day
Naturalism = diegetic sound. Some non-diegetic sound too
Piano (sadness); sax; cello (tension); guitar (romance)
Highlighted clear moments on plot
The hair as a flirtatious device for Tekla? Hair is up and business-like / professional but enough to play with
was red: nail and toepolish; dress; lipstick; Gustav showed her colour and palette; still wears Gustav's earrings; earrings has jade inserts same colours as Gustav's clothing; dress had a tribal pattern - fearless, uncontrolled; slits in dress were sexual and sensual; showed 'enough' leg. Red is associated with passion; temptation; love; lust
was blue, with yellow shoes - combine them together and you get green like Gustav. Physically showed his occupation (incl. hair). Removed his layers - the apron; the glasses; jacket; representing layers coming off and becoming more vulnerable. Dirtiest due to clay. Hair like Tekla?
: grey/green old man clothes due to his need. Humble, worthy of pity (part of his mask). Combination of blue and red = brown? He was in the middle of them, tonally. Hair slicked back, like the snake, slimy.
Expressive and dynamic movement and physicalisation
: sturdy, power stances, sneaky, slithering, curved back, hands behind the back, devilish with the grey hair, eye movements, small smiles and 'putting on a mask'. From mouse to cat to snake
: playful; mobile, sinuous, flirtatious, flowing, circular arm movement; long strides; never stayed in one spot for long; always moving
: fragile; wide eyes and open mouth; childish; like a fly; jittery; moved quickly between physical states and emotional states; submissive and sensitive
Gustav was often physically higher that Adolf. E.g. pulling hair, above him in epilepsy scene; grabbing shoulders; patting on head
Gustav's inner monologue was clearly demonstrated through face and body. Also didn't need to see his face to know his emotional reaction.
Epileptic fits were a physicalisation of the mental control that Adolf had; also played on previous anxiety
(props, symbols, etc)
Infinity pool and drinking glasses of water - used to douse the flames of the arguments (and provide refreshment)
Sculpture represented the physical form of the sex object; no face; 'melons', side hips. Also demonstrated the sexual nature of Adolf and Tekla's relationship.
Drawing book also had lots of naked women
Props used by Gustav to oppress Adolf
Lust and Desire
The importance of love in a marriage
Betrayal, Jealousy and Revenge; faithful; loyal
Power and Control in relationships; emotional abuse; manipulation
Marital/Gender Roles - the lover; the husband; domination; etc
Paranoia and Suspicion; insecurity
The artistic process - art reflecting the individual experience
Separation; distance; connection
Everyone has a part to play in relationships (building and destroying); questioning the roles of individuals in relationships; the power inherent in gender roles and relationships; are gender role inherent or created? CHANGE IS AFOOT
Genre and Style
A genre that combines both comedic and tragic moments. Frequently the events are so tragic that laughter is the only escape
Classic tragedies follow the downfall of a protagonist due to a 'fatal flaw'
A style of performance where the characters are represented as real people; setting is consistent; time is as we see it onstage
August Strindberg and
: David Mealor,
Set and Costume Design
: Ailsa Paterson,
: Mark Pennington,
: Quentin Grant,
: Caroline Craig, Matt Crook, Peter Kowitz