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WOYZECK
Directorial Concept, Scene Four, Scene Five, Scene Six, Scene 21,…
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Scene Five
SOUND
Gestus
A leitmotif of marching drums and trumpets for an ostentatious enterance of The Captain (his pompous nature) - he has no concept of living as a poor man.
Historicisation & Verfremdung
I would underscore a critical, mumbled chatter that uses language and accent to suggest it is extracted from the 1913 audience - pre-recorded, non-diagetic - speakers situated behind the audience - employing Verfremdung, engulfind the audience in 1913 ideologies.
"You always look so wrought"
Singular out of tune violin note on this line that The Captain repeats - symbolises degredation of Woyzeck's self-confidence, respect and deterioration of his sane mind.
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This scene estalishes the idea of the lazy, over-confident middle class represented by The Captain; mocks Woyzeck but has no sense of morality himself.
Scene Six
SOUND
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Verfremdung
A comical circus jingle (Entry of the Gladiators by Julius Fucik) played during The Doctor's condescending lectures - e.e.g "Can't hold your water! It's deceit, Woyzeck." - As if subconscious Woyzeck was pulling the strings of the scene - jingle undercutds the Doctor's authority and mocks the absurdity of his control of Woyzeck's body.
Disembodied Voices
Use of diagetic sound to project The Doctor's lines from various speakers situated behind the audience - presents The Doctor's lines as disembodies voices, a fragment of a mentally ill mind - e.g. "Woyzeck, you're philosophing again" suggests The Doctor's experiements invade Woyzeck's mind to surround and overwhelm him - faceless, unempathetic nature of Doctor's institutional power.
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This scene acts a discussion of morality, virtue and the nature of suffering.
Scene 21
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SOUND
Distorted Sound
A piano and violin collaboration with a high level of dissonance talking inspiration from the German Expressionistic film 'The Cabinet of Dr Caligari' (1920).
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Scene 13
LIGHTING
Tree Silhouettes
Recurring Motif
Gobos project harsh, jagged silhouettes of trees - Deliberate use of shadow and unrealistic angles of light to achieve nightmarish quality of concept (Inspired by Viktor Barnowsky's Dec 1913 production.
Gestic Opressor Silhouettes
Subtle silhouettes of Woyzeck's upper class oppressors in Tableau amonst the tree silhouettes - Pompous stance, elevated neck and stylised shape - subtly inserting the presence of their reigning classes to reflect their omniscient influence on Woyzeck's mental decline
"What's that you say?"
Woyzeck addresses the silhouettes as if he the Bourgeosie's presence is a fragment of his mind to emphasise his increasing erratic paranoia
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Scene 15
SET
Archetypes Door Frames
Foreboding free standing door frames on wheels labelled with Brechtian archetypes ("The Lover", "The Rebel", "The Everyman", "The Seducer")
SOUND
Aristocratic waltz music
To exemplify how the upper class are entertained by lower class suffering - making the audience question why they themselves feel the urge to laugh at the acting/music contrast
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CANDLEABRA CHANDELIERS
I will adorn the stage space with candleabra candeliers attached to the ceiling that mirrors the luxury and opulence of the Rococo style in the Munich Residenz Theatre.
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Brechtian Transitions
Harsh error in the fluid soundscape of the coggs movement (from the previous transition - marks the start of the scene
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Scene 14
SOUND
Musical Ensemble
Off-key, scratchy violin played off-stage
Brechtian Transitions
Harsh error in the fluid soundscape of the coggs movement (from the previous transition - marks the start of the scene
Playwright Intentions : To challenge social discrepancies, and to expose the dehumanizing effects of authority figures
Büchner saw mental breakdown as a consequence of social injustice
The play suggests that "madness" is a rational response to an irrational system
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