eBook
Related collections and offers
Overview
Product Details
| ISBN-13: | 9781841508320 |
|---|---|
| Publisher: | Intellect Books |
| Publication date: | 01/01/2003 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 306 |
| File size: | 12 MB |
| Note: | This product may take a few minutes to download. |
Read an Excerpt
Invisible Country
Four Polish Plays
By Teresa Murjas
Intellect Ltd
Copyright © 2012 Intellect LtdAll rights reserved.
ISBN: 978-1-84150-832-0
CHAPTER 1
Ashanti (1906)
Wlodzimierz Perzynski
Reading Ashanti
Presentation of the Translation
As suggested in my Introduction to Invisible Country, this particular translation is presented somewhat unconventionally. It is interspersed with text boxes containing documentation of my 2012 research production of the play. My intention in incorporating information about the production is not to over-determine the reader's interpretation of the play text, nor to imply a 'correct' approach to its practical realization. Rather, I aim to evoke the conditions and critical choices that informed a given theatre production – created in an academic context – which was realized specifically in order to develop the translation and contextual research published here.
My inspiration for this mode of textual presentation can be traced to an aspect of Bertolt Brecht's practice, which he developed with the Berliner Ensemble, namely, that of creating 'model books'. These forms of performance documentation had a part-reflective, part-instructional function. The main anchoring feature of their structure was production imagery, such as photographs and designs. They were intended to present the researcher with a view of the solutions that had been developed by a group of practitioners during their realization of a given play text, written by Brecht. Simultaneously, they exposed an ideologically-driven process of choice-making and its politico-historical contexts.
The reflections and images presented here are offered in the spirit of sharing with the reader a sustained and collective process of practice-led interpretation and research.
Please note:
• The text boxes contain my reflections on the research performance and its practical and – to some degree – linguistic evolution. Some of them incorporate imagery from the performance, generated by Matt Ager and Lib Taylor, plus related text. Others contain that imagery alone, or text alone.
• The text boxes intersperse the translation at relevant points in the narrative. As such, the images also function within the conventions of 'illustration'. Where written material accompanies them, it focuses on analysing theatrical channels of communication and systems of performance, which I put in place as director of a research performance. The written material was developed whilst working on this book, and resulted from critical reflection. This was itself based on visual documentation of the performance (including video recording and photographs), rehearsal notes and personal memory. Collectively, these varied sources form an archive of this book's evolution.
• There are numerous possible ways of reading this section of the book. One is to read 'between' the translation and the text boxes: another, to follow them as separate strands. A given mode and 'rhythm' of reading will, I expect, be primarily informed by the intention of the reader and her/his contexts for – and purpose in – reading.
• I have not directed any of the other translations in this book. As such, I consider them to be less developed 'drafts', whose evolution has been directly informed by my practice-as-research work on Ashanti.
• The reflections do not appear in the form of micro-linguistic analyses of specific translational choices. Indeed, the translation published here is not the version of my translation that was used during the performance being documented. That translation continued its development both during and after the run of performances, over two subsequent years. It altered in tone, inflection and register, as indicated in the Introduction. It continued to be shaped by the discoveries I made as a result of directorial choices. Its most recent 'manifestation' has been included in this book.
Performing Ashanti
Space and setting
Early productions of this play would have employed a box set. The locations involved (two apartments and a hotel room) would have been fully realized theatrically, to look like realistic environments. As a contemporary director, I decided to take a different approach, and used space rather more expressionistically in order to foreground themes that I regarded as critically significant.
Ashanti (1906)
Wlodzimierz Perzynski
Dramatis Personae
EDMUND LONSKI (MUNIEK, MUNIO), a young landowner
BRATKOWSKI, his uncle
BARON KRECKI, LONSKI'S friend
STANISLAW ROMKOWSKI, a painter
LUTOBORSKI, a landowner
DIRECTOR JAN,LONSKI'S servant
MESSENGER
FRANEK (FRANUS), a hotel waiter
MRS LUBARTOWSKA WLADKA LUBARTOWSKA (WLADZIA, ASHANTI),her daughter
MAID VIOLA, WLADKA'S friend
Act 1
A fashionably arranged room in LONSKI's bachelor apartment. On the left hand side the door to the bedroom, screened by a heavy portiere. On the right, doors to the hallway. Upstage, windows. Against the wall on the left hand side stands a piano. In the corner on an easel a picture turned away. A winter's day. Four o'clock in the afternoonDusk. A beam of light shines through from the bedroom.
Scene One
JAN, LONSKI, KRECKI
A bell rings. From LONSKI's bedroom enter JAN, he goes to the hallway, after a while returns, leading KRECKI with him.
KRECKI: (A balding blonde man; a small moustache and sideburns, his face is harrowed, he is dressed according to the latest fashion) Is he awake?
JAN: His lordship is dressing.
KRECKI: (Approaches the bedroom door) Hello, Munio.
LONSKI (Offstage) Ah, Baron, it's you! Hello.
KRECKI: Sleep well?
LONSKI So-so. (He enters from the bedroom, he is half dressed, in a coloured shirt, entering he ties his cravat) And you?
KRECKI: A good night's sleep leaves me shattered ... Rare event, thank God.
LONSKI (Approaching the window) Our decadent lifestyle! Ah, the lamplighters, already ...
KRECKI: Yes – it's still quite early.
LONSKI: (Looks down onto the street) Just look at that snow!
KRECKI: All day, relentless! I hoped it might ease off on my way home. (LONSKI looks through the window at the street, starts whistling) Shall I tell him to lower the blinds and light a lamp?
LONSKI: What for? Let's stay like this.
KRECKI: Atmospheric lighting? You're not feeling – amorous?
LONSKI: Not quite sure ... wait, I'll put on my jacket. (He enters the bedroom, returns shortly) Damnation! A daily dose of natural light – half an hour at least – that's what I need – remind me.
KRECKI: As you wish. I'm your friend – and must tolerate your little quirks.
LONSKI: You old goat!
KRECKI: (Winces) Sometimes you're ... frightfully rude.
LONSKI: Don't be angry ... I was only tea ... (Yawns) Teasing.
KRECKI: You're not tired, surely?
LONSKI: Just bored, with everything ... (Approaches the window) All that snow ...
KRECKI: Ha, you've got snow sickness!
LONSKI: Don't you ever get bored?
KRECKI: No – not bored or tired either.
LONSKI: It's true! An iron constitution. Everyone agrees ...
KRECKI: That's right – even the most devout – I'm an idealist, like them.
LONSKI: Is that so!
KRECKI: Why yes ... I instruct today's youth – for example, you – in how to have a jolly good time. With absolute dedication, I uncover, exclusively for you, unique sources of subtle distraction. I'm not unlike ... mm ...
LONSKI: Who?
KRECKI: Powerful character from ancient mythology – his name escapes me – I'm not the bookish type! Do let me know when your poetic mood wears off – I'll see to the lighting and blinds.
LONSKI: Of course.
KRECKI: And guess what I was doing, while you were fast asleep?
LONSKI: I've no idea. Sleeping as well, I expect.
KRECKI: Now, now!
LONSKI: You secured – upon your word of honour – a loan of twenty five roubles – until tomorrow.
KRECKI: In Poland – these days!
LONSKI: Then I'm stumped. Reveal all.
KRECKI: The ingratitude! And mocking tone! I found something – for you ... mm, hmm! (He blows a kiss)
LONSKI: What, exactly?
KRECKI: A pearl ... No really – a veritable pearl!
LONSKI: Oh! And has this ... pearl ... been pinned in many cravats?
KRECKI: Nobody's actually. Not, that is, from our circle.
LONSKI: The rest don't count?
KRECKI: Certainly not! The virginity baseline for tarts – lies here. The same baseline for society ladies – here. Poles apart, you see.
LONSKI (Laughing) You old goat ...
KRECKI: My little joker ...
LONSKI: Yes, yes, temper, temper. When will you show me?
KRECKI: Today – we'll eat dinner, together. Agreed?
LONSKI: Who is it? Tell me.
KRECKI: No. I'll show you.
LONSKI: Who is it? A seamstress? Shop girl?
KRECKI: You'll see ... now, now ...
LONSKI: Is she young?
KRECKI: Eighteen.
LONSKI: And pretty?
KRECKI: Now, Munio - remember - there's not a single woman alive who's so ugly that she lacks one positive asset. And such are the assets sought by true connoisseurs. (He narrows his eyes and traces a meaningful gesture in the air with his hand) You see?
LONSKI: Pure philosophy, dear Baron. Shame you'll die intestate ...
KRECKI: Tragic ... but my works shall endure ... fifty years from now, restaurants will still be serving filet of deer à la baron krecki.
LONSKI: (Holds out his hand) Bravo!
KRECKI: Why thank you. Modesty is my finest asset. Right, I'm off. I'll bring her over, and then we'll devise a plan of action. Agreed?
LONSKI: Very well. She does at least bother to wash, this pearl?
KRECKI: Oh no – that's precisely what magnifies her savage appeal. See you shortly. Ten minutes. (KRECKI exits)
Scene Two
LONSKI, BRATKOWSKI, JAN
LONSKI: (Lights a cigarette and paces the stage. The bell is heard. He stops and looks expectantly in the direction of the door. Enter BRATKOWSKI)
LONSKI: (Rushing up to him) Uncle! (They kiss)
BRATKOWSKI: How are you, my boy?
LONSKI: When did you arrive?
BRATKOWSKI: Yesterday night.
LONSKI: Why didn't you send a message?
BRATKOWSKI: Oh, it was late. Catching you at home can be tricky, I know. Here for a few hours, that's all, on business. Must get back tonight.
LONSKI: Tonight? A wasted journey. You could stay in Warsaw for a couple of days.
BRATKOWSKI: Out of the question. Must leave tonight. For the wedding, day after tomorrow.
LONSKI: What wedding?
BRATKOWSKI: Oh, in Wojtkowice – little Zawadzka girl.
LONSKI: Alright ...
BRATKOWSKI: You see, you've not the foggiest what's going on at home.
LONSKI: Alright, yes that's right ... Kazio'sgetting married ... So glad you jogged my memory ... I must send a telegram.
BRATKOWSKI: I've a better idea. Pack your things and come with me. They'll be delighted and you'll have a good time and it's the right thing to do.
LONSKI: Hm ...
BRATKOWSKI: Consider it ... please ... just you remember, Warsaw living, cash down the drain ... Hm ... hm ... year, or two, it'll be goodbye Placzków before you know it. Damned shame, if you ask me.
LONSKI: Glass half empty, uncle, again.
BRATKOWSKI: And after that, shared lodgings with any old Tomek, Rysiek or Bartek, or else, loitering on street corners. No fun then, is it.
LONSKI: It won't come to that.
BRATKOWSKI: Was krecki here?
LONSKI: Yes he was.
BRATKOWSKI: I met him downstairs, by the gate. Slithered by ... pretending not to see me. Why throw your lot in with rogues like that?
LONSKI: He's very entertaining.
BRATKOWSKI: I bet you feed him, water him and he borrows your money as well.
LONSKI: Oh, he's comparatively cheap, I'm sure and someone like him is always handy in the city.
BRATKOWSKI: Handy for the devil's work. I'm here to make plans for this evening. Are you free?
LONSKI: Absolutely! At your disposal, uncle, entirely.
BRATKOWSKI: You're not looking so well, by the way. Life on the edge, I expect! Well, your decision? Are you leaving with me?
LONSKI: Indeed I am.
BRATKOWSKI: At last, a glimmer of sense. And what's this? (He approaches the easel)
LONSKI: My portrait. Friend of mine, a painter.
BRATKOWSKI: Let those artists suck you dry as well, that's right, it's all bound to end terribly well. (He takes his hat and cane) I'm leaving at midnight. Where shall we meet?
LONSKI: How about the theatre?
BRATKOWSKI: Aha, well, if there's something jolly on, I could be tempted.
LONSKI: I'll take you to a smashing operetta.
BRATKOWSKI: Marvellous! And we'll talk as much as we like on the train.
JAN: (Entering) Pardon, sir, the messenger's brought a note. (He hands him the letter) He's waiting.
LONSKI: Apologies, uncle. (He smiles)
BRATKOWSKI: What's so funny?
LONSKI: Nothing at all. (To JAN) Tell the messenger to hold on. (JAN exits)
BRATKOWSKI: Well, goodbye for now. Wait for me ... wait ... just come straight to the theatre.
LONSKI: Alright I will.
BRATKOWSKI: Yes and be ready. As for that Baron, I'd get rid of him, if I were you. (Exits)
Scene Three
LONSKI, MESSENGER, JAN
LONSKI: (Goes to the bedroom, brings a small travelling bag, puts it on the armchair, then rings for JAN) Where's that messenger?
JAN: In the hall.
LONSKI: Call him.
JAN: (Goes towards the door) Come here, you oaf. (The MESSENGER enters)
LONSKI: You know the man, who gave you this?
MESSENGER: I do, sir. Baron krecki.
LONSKI: He's at the patisserie?
MESSENGER: Yes.
LONSKI: You'll go to him and say one word – 'now'. Just that word! Alright?
MESSENGER: Oh yes, if you please, sir.
LONSKI: Hurry up then. (Hands him some money)
MESSENGER: Thank you very much, sir. (Exits)
LONSKI: Jan, I leave for the country, tonight. Back in about a week. Pack my things and drive them to the station by midnight. Including my tail suit.
JAN: Very well. (The bell rings)
LONSKI: That must be the Baron. Anyone else, I'm out.
Scene Four
LONSKI, KRECKI
LONSKI: (Bursts out laughing) Poor little baron! Uncle rattled your cage.
KRECKI: I saw Bratkowski in the hallway, all desire to converse left me. Hence the messenger.
LONSKI: He did mention you'd crossed paths.
KRECKI: Anything about me?
LONSKI: No, no.
KRECKI: (Eyeing LONSKI suspiciously) Bratkowski's ta ken against me, he blackens my name. He may be your uncle but he's got bad manners.
LONSKI: Oh calm yourself, Baron. If he is gossiping, it's only because he means well.
KRECKI: I know that. Otherwise, I'd have rapped his knuckles by now. (Noticing the travelling bag) What's this?
LONSKI: I'm going to the country, with uncle.
KRECKI: When?
LONSKI: Tonight.
KRECKI: But she'll be here any minute.
LONSKI: Who?
KRECKI: What do you mean, who? You've not forgotten?
LONSKI: Oh, that pearl. There's time enough, not leaving 'til twelve.
KRECKI: All that trouble for nothing
LONSKI: I'll authorize a transfer.
KRECKI: (Enlivened) Meaning?
LONSKI: Of my rightful privileges.
KRECKI: (Bats his hand) Your uncle's wound you up.
LONSKI: Why didn't you bring the pearl with you?
KRECKI: If that old codger had seen us together, he'd tell the world that I procure women for you! Devil take him! Such jolly evening plans and now they're completely bloody ruined ... The level of control – honestly – beyond me. One minute Bratkowski appears, ta daa! You're both off to the country ...
LONSKI: I did want to go.
KRECKI: You never mentioned it.
LONSKI: Oh, that's enough. I don't like arguments. Where's that pearl? (The bell rings)
KRECKI: Aha, she's on her way. (She runs into the hall, LONSKI exits to the bedroom)
Scene Five
KRECKI, WLADKA, LONSKI
KRECKI: (Enters first) Please, come through. (WLADKA follows him in. She is dressed poorly, breathless, evidently overwhelmed) Why so glum?
WLADKA: Mmm, I was just wondering if I should leave.
KRECKI:Why's that?
WLADKA: Because you left me by myself.
KRECKI: You've nothing to fear.
LONSKI: I'm a silly girl, that's all. Nothing scares me second time around, but sometimes I ... well ... I ... (She notices LONSKI and breaks off)
KRECKI: Allow me ... Mr Munio, Miss Wladzia.
LONSKI: Miss Wladzia. What a delightful name.
KRECKI: Utterly delightful.
LONSKI: (Approaches WLADZIA, scrutinizes her) Well ...? (To KRECKI) Oh my God, she's blushing.
KRECKI: Aah, well you see, Miss Wladzia – terribly reserved.
LONSKI: Is she now?
KRECKI: To the point where she was scared, to come here alone.
LONSKI: And why is that?
WLADKA: I don't know really. Downstairs the doorman eyed me in a funny way. I thought he wouldn't let me in.
KRECKI: No!
WLADKA: But, when he stepped into the street, I shot through the hallway and flew up those stairs; I was nearly panting outside your door ...
LONSKI: You poor thing.
WLADKA: I know this house.
KRECKI: You do?
WLADKA: A doctor lived on the ground floor. And Mother always did his laundry.
KRECKI: (To LONSKI) Obviously she comes from a very hygienic family.
LONSKI: Make yourself at home, I insist. Remove your hat. (He removes her hat) And jacket. (He pulls off her jacket) My goodness me, wet through.
WLADKA: Mm, well the snow's coming down.
LONSKI: (To KRECKI) Be a good chap and hang this in the hall. (KRECKI exits)
Scene Six
LONSKI, WLADKA
LONSKI: (For a while he examines WLADKA carefully. She lowers her eyes) Now, let's sit down ... Here might be best ... on the couch. (He puts his arm around her waist and leads her to the couch) These boots are soaked.
WLADKA: Ah, no galoshes ... so much snow ...
(Continues...)
Excerpted from Invisible Country by Teresa Murjas. Copyright © 2012 Intellect Ltd. Excerpted by permission of Intellect Ltd.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Contents
Introduction,Ashanti (1906),
In a Small House (1904),
Snow (1902),
All the Same (1912),