Drama in the Classroom: Experience and Writing


this lecture is devoted to understanding drama in the classroom and we have given a subtitle experience and writing while we are talking about experience let me place before you a quotation from lil k that we had shared with you earlier where he had pointed out in his diary for the sake of a single poem you must see many cities many people and things you must understand animals must feel how birds fly and know the gesture which small flowers make when they open in the morning and it is not yet enough to have memories only when they have change into our very blood into glance and gesture and uh nameless no longer to be distinguished from ourselves only then can it happen that in some very rare our the first word of a poem arises in their midst and goes forth from them I’d like to say that reading actually also becomes a part over writers bloodstream and therefore when we place this material before you it is with this sense that you not only need to experience great writing but some of the forms also help you bring back to your own experience of life we have titled this subsection as experiencing the play and the focus is on performance of the cherry orchard by our elective students based on extensive discussion of the play close reading of the play discussion of content and form reading of the play within the writers historical context we have tried to share that historical context earlier with you but I think we will have to explain this textually in greater detail when we read Cherry Orchard the is not to suggest that Jacob should be read purely in terms of his own historical context there are many ways of reading and we would really not like to be restrictive about it however the reading of a writer in his or her own historical context is an extremely powerful way of trying to understand different locations historical periods and the way the creative impulse emerged for the writer is really not possible to claim that one understands that whole process fully but I think it gives a greater degree of concreteness to our understanding however there are multiple interpretations by great directors actors of Chekhov’s Cherry Orchard you can have a look at those after you have really developed some personal relationship with this text so this performance by the elective students actually was a marvelous activity primarily because it brought all of them together in the act of creating something together they were not only interpreting a text but they were also bonding and interpreting the text so I think at multiple levels this activity in enhance their experience of each other and of others of the given text the translation that we used for this cherry orchard you know performance and reading is by Kathleen cook and I’m really very fond of this translation because this particular Edition contains a foreword by Stanislavski the great theatre director who went on to interpret most of Chekhov’s plays and in fact of course Jacob and he disagreed vehemently about the way Cherry Orchard ought to be interpreted for performance but nonetheless I think Stan Sookie’s grand contribution to theory of acting emerged because of his deep interaction with Jacob and jacobean text so you will find forward by Stanislavski in this edition another fascinating feature of this edition is the inclusion of photographs of the moscow art theatre productions and also a number of very evocative sketches of the stage design those of you who are interested in these aspects and in fact there are lots of technical aspects that also are artistic in their orientation such as stage design lighting etc I think if you are interested in these areas you can look at the drama review back issues and really see how different kinds of great artists have interpreted these great place but this particular edition I really personally relate to very much ah this play will pose problems for many of you because initially you would have to remember the names of each character remember from you know our own earlier reference to the author six characters in search of an author characters in a play or in a literary work have their own autonomous existence so it is very important to remember the names of characters so I will try and help you out right now the characters in Cherry Orchard are Ronnie bus kaya the owner of the Cherry Orchard she has two daughters are now is her young daughter of seventeen varia is the adopted daughter and she’s also the housekeeper guide is her brother so this is the family that owns the Cherry Orchard technically and all the other characters are also Oh part of their sense of the extended family because the play is placed in a community-oriented setup where everyone knows everybody else and they feel part of each other’s lives up to guys this is the family and then you have Lopakhin a merchant who actually comes from a family of serfs then you have trofimov a student who was also a tutor in the family earlier samanta chick is a landowner but he really is in pretty bad shape the play deals with feudal times and the last phase of the feudal era in Russia the other characters are charlotta the governess who has been hired by these families obviously the runaway sky our family is rich enough or you know is sort of perceived to be rich and they also can afford to hire a governess this governess accompanies anya most of the time if Anya is traveling then you have yep pecado a clerk who’s again part of the runaway skya household he’s a man given to philosophers philosophical thought processes he’s very very idealistic romantic and yet the gap between his philosophical thought and his common ailments like the clicking boots or other you know such injuries you can see that you know it’s obviously meant to be a comic character the notion of comedy as you look at these characters I think you’ll have to try and assess the comic element in the play but I mentioned a Yosh epica dog primarily because he is out-and-out a comic character but the content of that comic element which has a tinge of sadness I think you are able to discern it as we read the play and the students perform it then you will really begin to understand the power of the jacobian world pure dooney Asha is a maid in the household fears is also an old servant of 87 none of the servants are caricatures they are all fully developed characters each one has an individuality and identity which may be anchored in their role as servants but they really are not fully defined by that Yasha is yet another young servant then there is a Wayfarer a stationmaster post office official gasps servants I think the list of guests and servants is given because in one scene all of them come together to celebrate the you know reunion of the family with the villagers the scene is set in the Rani verse kya a state where the cherry orchard is located now if we were to try and understand the plane I’m giving you this preamble so that when the students perform display you are able to connect to it hopefully you would have read the play in advance if you’ve not read the play in advance you can see the performance begin to connect to the play and the performance only deals with segments we have selected the reason they’ve been selected is because they do give you a sense of the flavor of this very rich a portrayal of life in transitional Russia remember this is a period when the october revolution is in the air the feudal system is being questioned vigorously are at different levels and yet you will notice that checker maintains a somewhat dispassionate view of all the characters at the same time i think there is a kind of plot structure that helps us and how they are connected to each other so i will give you that sense of the plot structure in terms of the greek notion of plot or the Aristotelian notion of plot but surely it’s not really adequate in a way of looking at checker because it doesn’t cover the powerful aspects of the play fully so in terms of the Greek notion exposition rising action climax falling action resolution these are five facets of the highs and lows of a plot now if we were to try and understand the Cherry Orchard based on this kind of pattern then we can say that by way of exposition or the initial moment where the play begins this consists of the reunion of the estate’s inhabitance ranevskaya has come back from Paris where she leads a very unhappy life with a person she’s not married to her husband had already died and so she’s come back with her daughter on now and everybody is there to receive her as i said the sense of community and warmth is very strong at the same time paradoxically there is deep sense of loneliness in each character the rising action consists of the cherry orchard and the need to sell the Cherry Orchard because the family cannot afford to keep it anymore it’s in debt heavy debt so there’s a lot of action around this you know in terms of the need to sell and the inability of renova skya and guy Eve to really take this very seriously finally despite all his efforts Lopakhin the merchant who’s also an admirer of random scious warmth and goodness of heart he buys this estate so from a family of serves he becomes a landowner an entrepreneur who would turn that feudal land into new enterprise so that consists of the climax that that is sort of it revolves down the climax of the play and then the falling action consists of the grief that the family feels because a very very strong emotional bond of the family has been severed because soon the Cherry Orchard would be you know I think basically it would be axed and new enterprise would develop their so the family is in grief and so that is falling action and the resolution consists of the forced new beginning for the servants for the feudal owners in some strange way even for Lopakhin because he doesn’t have the strident ambition that one would associate with an entrepreneur he is very happy that he has changed his destiny and in that sense there is an element of triumph in Lopakhin but he continues to feel plagued by a kind of emptiness that he cannot quite fathom and assess earlier while talking about the shamily on I had pointed out the check of all very often deals with what seems like a very comfortable surface level of existence where everything can be understood through you know acceptance of a way of life and at the same time it is this exactly this way of life that he critiques sometimes gently sometimes not so very gently so Lopakhin again also is false to start life anew to people who seem really very happy in this whole situation or see you know try to be happy our trophy more and anja the young daughter was very open-minded full of youthful optimism basically I would just say this before you begin to see the play that the plot structure although it gives you a sense of movement and progression but it doesn’t really fully capture the you know the angst that the characters experience so the causality of the plot is embedded in the economic order and the changes that were to occur or that occurred during the play in that economic order and also along with the economic order the consciousness of each character is affected because after all they’ve been shaped largely by their way of life and I think the most touching element of this whole portrayal for me is the portrayal of fears who actually totally believes in the old world order but gradually you begin to notice that he finally comes to a moment of self-realization and that’s the last part and I like you to see it and then think about it so I one would say that you know there are lots of questions that the play evokes is checker being dispassionate in the midst of this turbulence that had really really changed Russia in such a drastic way through discussion political action and way you know you know struggle between mighty forces of feudalism and the New World Order at that time so how do you see or was it lurking very sharply behind behind the play in order to interpret the play therefore I think you can think about these issues and also if Chekhov was being dispassionate what did he sort of what is he trying to bring out in terms of the comic nature the characters are they totally unable to deal with their own reality or why is there no sense of transformation internal transformation in the characters they remain what they are and by and large their self you doesn’t match with their view or by other people so there’s always a mismatch and at the same time they are very you know expressive they express their sense of the self each one of them expresses his or her sense of the cell and at the same time nobody listens to that nobody is there to fulfill that sense of dialogue in them they remain mono logic so all the dialogues have this air of a combination of monologue plus dialogic in the sense of you know some connection with the other characters so that makes for a lot of you know I think reflection in terms of how you relate to the jacobian text so therefore now I think it the best thing is to let you see the performance and arrive at your own decision I really strongly feel that it will not be sufficient for you to just see the performance because these are excerpts that the students have performed and also because the rest of the play one is not trying to suggest is redundant in fact all of these things build up slowly in the play it is difficult to fathom check up immediately that’s what Stanislavski also has said in the forward that takes certain amount of you know relationship with the text before it blossoms for you in terms of the characters let me just read out who’s played what r a novice kaya has been played by Neha Neha Chaudhary anna boch Andre cussing varia Byron LJ de gaia ready Lopakhin by bharat Prabhakar trofimov by our wincing wincing played the part of shallow da also we discovered this uncanny ability inner wincing to move in and out of characters yep aha dog has been played by Venkatesh dosa Dhoni Asha has been played by renal Shaddaa again she has also played two paths fears has been played by Alan Carr Jan Yasha by the rune ready wayfarer by shiva sheesh butea so now we will place this first act before you each scene description has been read by Virat Prabhakar who’s also played the part of Lopakhin now this reading is extremely important because it also enables better understanding of the jacobian style where the scene descriptions add to the mood of the plate every play right of course gives seen descriptions and Chekov has his own distinctive way of capturing the mood through different kinds of issues that he raises or the landscape that he has chosen for the play I think Marathas read it very clearly and I think that will also help you connect each segment to the scene ok so we will start with act one segment one where Lopakhin the merchant dooney Asha the maid and yet because of the clerk these three are waiting for ranevskaya you will notice two or three things and I want to mention this clearly the conversation seems disjointed that is Jacobean style so part of the conversation gives you the feeling that fine they’re sitting together and talking about something which commonly shared and suddenly the character goes on to talk about himself or herself wherever it is self-directed the other person doesn’t seem to listen so there is a disjointed quality which is Jacobian and the other thing is that when the students will perform it please take note of the fact that it’s a difficult act to read and perform we did not really reach the level of full-fledged performance we would have done that if we had time but i think this reading and remaining true to the text and then at the same time performing it by becoming the other i think they were able to combine it really well in my opinion it’s really a laudable effort so now let’s see Act one segment one a room which is still called the nursery one of the doors leads to Anna’s room dawn The Sun will soon rise it is already made the cherry trees are in blossom but this cold in the garden with the frost of early morning the windows are closed the knee Asha with a candle and Lopakhin with the book in his hand coming so the trains in high heaven what time is it it’s daylight already Oh late is the train a couple of was at least I am certainly you’re fine I’m certainly a fine one you have come on purpose to meet them at the station and then to go and doze off sitting in a chair what a shame why don’t you wake me I thought you’d gone there that must be done driving up no they got to get the luggage out and all that I wonder what man grounded sky has become like after all those five years abroad she’s a splendid woman so easy and simple in a ways I remember when I was a youngster 15 my late father hit me so hard in the nose it bled people in the yard here I forget what we come about and he had been drinking I remember it like yesterday man and a novice kiya quite a young girl then and oh so slender brought me to this very room it was a nursery then to wash my face don’t cry little music he’ll get well in time for your wedding little music my father was a music sure enough but here I am in a white base coat and brown boots a silk purse out of a sow’s ear as you might say and just rich but for all my money come to think of it I’m still a regular music and I’ve been reading the bus this book here and I didn’t understand a word I fell asleep over it the dogs didn’t sleep at all last night they fail their masters were coming what is the matter with you doona shop my my hands are shaking I’m going to faint you are too delicate Inuyasha that’s what’s wrong with you you dress up like a young lady and look at the way your hair’s done up that won’t do one must remembers one standing this is from the gardener he says it is and bring me some cause yes sir there is some frosting work in the morning three degrees below but the cherry trees are all in blossom I can’t say I think much of our climate no I can’t and our climate is not adapted to contribute and I should like to have with your permission but only two days ago I bought myself a new pair of shoes and I venture to assure you they speak harder than against time what I like to place them leave me alone fed up with you every day some misfortune happens to me but I don’t complain no I am used to and I keep smiling I must be living there you are if you say you excuse me the expression that’s enough accident by the way it is simply remarkable you know mr. no pocket yep no proposed to me oh I hardly know what to do he’s a very good man all right but sometimes when he talks you can’t make out anything it’s also nice and moving but you just can’t get at the meaning of it I fancy I’m rather fond of him he loves me to distraction he is a most unfortunate man every day something unpleasant happens to him so they nicknamed him 22 misfortunes let’s move to act 1 segment to bear Ronnie bisaya her brother guy Eve fears the old servant and Lopakhin the merchant who’s also as I said earlier very emotionally connected to ranevskaya he can see that she is a very very good hearted woman and very transparent so this particular seed you’ll notice that you know Lopakhin is really very keen on helping khrunova Skaya solved this problem of cherry orchard and the debt she has to pay by helping her cell cherry orchard she is totally unfocused she is deeply involved in her own internal thought processes emotional life torn between her lost life in the cherry orchard and the estate and her new life in Paris her brother is equally ineffective because he just has never taken any responsibility so both are I think caged within their own feudal background and at the same time you know they don’t they’re not dehumanized or they’re not Chekhov is not watching them in a very strong judgmental manner so they remain human the old servant fears is again lost in his own world of associations so now let’s see this unfold I’d like to tell you something listen and Jerry yeah I must be off there’s no time to talk anyway I put it in two or three words you know that a cherry author is going to be sold to pay the mortgage the Sega specs for the very second of august but don’t you worry my dear lady let nothing disturb your sleep you will be out of it here’s my plan please listen your estate is in 15 miles from Tom the railway runs close by it and if you agree to cut up the cherry orchard on the land along the river into building Lots and leaves them out for summer cottages you get at least 25 thousand rubles a year or a thread that’s nonsense it will excuse me I don’t quite understand what you being here would I we get at least 25 / they are wearing it from the tenancy and if we have it easy thing at once and pack whatever you like by the autumn you won’t have floor of the earth left on your hands you can always snapped up in a word I congratulate you you are saved it’s a first class site is a good deep river only of course allowed to be cleared and put in order to be exact you have to pull down all the old buildings this house your which is no longer fit for anything al you don’t have to cut down the old cherry orchard cut down the cherry orchard I’m sorry my dear but you don’t know what you’re talking about if there is one thing that’s interesting indeed remarkable in the whole province it is our cherry orchard it’s nothing remarkable all the orchard except that’s a very big one it only bears once in two years and then you don’t know what to do with the fruit nobody wants to buy it the orchard is mentioned in the encyclopedia if you don’t think of a way and one don’t decide on anything on the 92nd of August the chain torture and the whole property will be sold by up chip so please make up your mind there is no other way out I swear not at all in the old days 40 to 50 years ago they used to try the cherries I’m so camp and pick em and make jam of him and the dry change your fighters the try cherries used to be sent to taco and Moscow the money that brought in the type cherries for sweet and soft and juicy and good smelling then they knew how to do it in those days no they have forgotten nobody remembers how to do it let’s shift to act to segment one I’d really like you to once again notice the evocative quality of the scene description which Parata will read first before the roles are performed charlotta the governess really gives voice to her sense of loss so on the one hand she’s full of tricks and fun but on the other hand there is this deep sense of loss that you know she experiences all the time and she for example says but I have no idea who I am or where I come from in Jacob or in any other great playwright it is very important to notice the life or betrayal of each character please don’t develop a hierarchy of roles social ohta is very important because she adds up to the same sense of loss that different characters expressed in different ways yep yep ahold of the clerk is also at his best you know as a romantic and Yasha the manservant is a really sharp materialistic cunning servant waiting for an opportunity to exploit ranevskaya and the household so let’s see this part add to the open country an old chapel long abandoned and ramshackle near it oh well big slabs apparently old tombstones and an old bench road to the estate beyond on one side rice dark poplars beyond them begins the cherry orchard in the distance a row of a telegraph poles and far away on the horizon the dim outlines of a big town only visible fine clear whether it is near sunset charlotta Yasha Angoon Yasha sit on the bench yet because o stands by them and plays a guitar all seem to be plunged in thought Charlotte of yours and old peak gap she’s taken a rifle of a shoulder and is adjusting the buckle of the strap I have no proper password I don’t know how would I am I fancy i’m still young when I was a little girl my father and mother used to go from one country to another acting inside ships very good ones too I used to do this are tamara lee and all sorts of tricks when Papa and Mama died and who will join me lady adopted me and told me that was all right when I grew up I became the governance but I have no idea of who i am where I come from who my parents when I don’t know very likely they weren’t married at all I don’t know a thing I long to talk soon but there is no one to talk to no friends or relatives what is the noise we were to me Oh what are friends and for how sweet it is to play a modeling that’s it guitar not a mandolin 21 mad with love it’s a mandolin oh then my heart perché by the bomb in act two the second segment deals with Rana bus kiya the owner of the Cherry Orchard her brother Gabe yasha & loo baahan again Ron Davis kaya is unfocused so far as the materiality and the economic aspect of the cherry orchard is concerned she only feels an emotional connection a deeply emotional connection with the cherry orchard which almost borders on the spiritual in some ways because this also represents her old lifestyle the brother is busy playing billiards all the time whenever he is in doubt he plays imaginary billiards Yasha is his grabby acquisitive self and lipocalin again is urging ranevskaya take action to save the Cherry Orchard so let’s see this segment yasha the men sitting by the chapel pranam is chaya gai Eve and Lopakhin come in you must make up your mind once and for all time waits for no man the question is perfectly simple are you going to lease the land for the cottages or not answer in one word yes or no only one world who’s looking horrible cigar now they are Bill the rapist it’s made things very convenient there’s been over and lunch in top care of the white I would like to go in and have again there is no hurry only one word yes or no Tom give me the answer what start I had I had a lot of money here yesterday this hardly any left now for varia she tries to save money by feeding us all and milk soup and the old people in the kitchen they get nothing but they get nothing but please and yet here I am squandering money blow me I’ll pick it up yes please do Yasha let’s move to the third segment of act 2 in which now in addition to uninor the young daughter varia the adopted daughter and by the way a lot of people lot of critics have speculated about varias origin why did Randall scaia adopt her I won’t go into those speculative thoughts but waria is a complex character because although she’s the daughter she kind of knows her place as an adopted daughter she kept keeps herself preoccupied with the household affairs and I think her character is also very very interesting and deeply etched out I varia here is played by renal so wherever renal wears a shawl that’s because she’s acting as waria and otherwise without the shawl she is due nasha then there is Ron Davis chaya gai Eve Lopakhin and as I said there’s a new addition here and that is trophy more the Tudor come student played by arvind singh and we mentioned her wincing because he’s also play shallow da earlier trophy mall is a very very important character all of them are very important but I suspect some special connection between Jacob and trophy mall it’s for us to sometimes speculate and see these positions but later on in the next lecture you will see how many of my students interpreted through fimo as a distinctive character and the reason he seems closer to chico Chekhov’s own thought processes is because trophy mom is deeply connected to changing russia he speaks the language of new Russia and at the same time he’s not shown as an idealist it would be very interesting to contrast him with the epic home who’s through and through a comic character but trophy mo seems like a tragic character because he talks about the way Russia in the past has been defined by feudal tendencies which was which were based on exploitation of serves etc and at the same time when he talks about the future and the need for work you begin to see the paradoxes in trophy MOS character you begin to feel that it’s there is an element of satire that check of intended so I think this long speech of trophy mall which can also be described as a monologue because we don’t really know if except amna anybody was paying sheet to throw fimo onion listens to him avidly and she’s an ardent admirer she loves him and she also is full of this optimism and also the sense that change is always for the better here goes here’s mama come along come along my little one if only you knew how much I love come sit with me the perpetual stoneham is always with the girls mind your own business is nearly 50 and still a student stop your idiotic jokes again what are you losing your temper for why can’t you just leave me alone I should like to know what you think of me this is what i think of you here I you’re a rich man you should be a middle name justice for the conversion of Matador a beast of prey is necessary which devours everything that comes its way so you do I’m necessary better tell us something about the planets figure you know let’s pick up the dog we were having yesterday what about upon pride right we had a long talk yesterday but n it get us anywhere fried as you use the word has an element of the mystical about it you may be right from your own point of view but if you look at it simple-minded him what room is there for pride is there any sense in it when man is so poorly constructed in terms of physiology when the vast majority of us are so gross and stupid and profoundly unhappy we must give up admiring ourselves the only thing to do is to work oh we shall die all the same who knows and what is it being good I perhaps man is 100 senses and when he dies only the five senses that we know perish with him and the other ninety five remain how clever you are better extraordinary 19 matches forward perfecting itself I’ll let you find unattainable now will someday be near and clear but we must work we must do our utmost to help those who seek after the truth I present very few work in nature the vast majority of the educated people that I know see kaku nothing do nothing and as either incapable of work they call themselves the intelligence here but they speak rudely to the servants they treat the pen is like animals learn nothing read nothing serious do absolutely nothing will he talk about science and know little or nothing about her they are all serious and ours where the Charlotte faces they discuss important subjects and air the theories but meanwhile workers it abominably and sleep in filth and stuffiness without pillows there are as many as 40 of them sleeping in one room but everywhere the stench the damn the moral impurity it’s plain that other clever talk is only meant to distract our attention and other people’s show me those scratches where they’re always talking about all this reading rooms they’re only things people write about in novels they don’t really exist at all there is nothing but dirt well carotene and Asiatic ways I am afraid of serious faces I just like them I am afraid of serious conversation we had better hold our tongues you’ll notice that from act 2 we have chosen four segments the fourth segment has all the other characters and fears the old servant and as the fam all these people are sitting out and talking to each other there is a Wayfarer who comes there and he sings a song where he talks about suffering that binds him to all those who are there so this note of suffering I think that this sort of if in terms of the scene descriptions also the air of melancholy and the air of suffering is evoked persistently by Jacob and again it leaves you wondering as to what the suffering is all about what is the nature of suffering that Jacob is talking about because nowhere does he clearly define it either through dialogue or through the scene description description there’s only a suggestive quality which has been often described by critics as Jacobs negative capability so there’s much that you can again sense here all said plunged in thought perfect silence broken only by the mumblings of old fears suddenly a distant sound is heard as if from the sky the sound of a string snapping dying away melancholy what was that I don’t know proper you’re lifting dubs given away somewhere far in the mines only must be a long way off perhaps it’s some sort of a bird I had on or something on an hour there is something uncanny about it the same thing happened before the great miss bought you the house screeched and the summer one kept humming what get misfortune the liberation come let us all do it it’s getting late you tell us in your eyes what is it little one mama I’m all right there’s someone coming excuse me sir but can I get to the station this way yes take this road and one commonly obliged to you sir they having lovely weather today TV brother of my suffering brother comfort to the wall hell groans but a moistened could you be kind to spare a few kopites who this hungry fellow countrymen here’s a decent pay for every outrageous thing oh here take this I don’t have any silver never mind here’s a gold Ruben and then call me Lee applies to mother hahahaha let’s shift to act 3 and the last part of this act the cherry orchard has been sold and ran Abbas kya on now and trofimov are present on stage Trofimov is silent Anya empathizes with her mother as I said she’s been shown as a very warm-hearted loving woman and I think Neha has brought out that quality in her quite effortlessly Anya empathizes with her mother’s suffering and she’s able to give her solace because she herself is full of optimism she feels the strength to sort of carry on and build a new life a new garden as she calls it so then this is the last part of Act three actree r a novice kiya sets huddled up weeping bitterly the band plays softly Anya and talk him off come in quickly Anya goes to her mother and needs before her Trofimov stands at the entrance to the drawing room crying mama don’t worry mama I love you bless you my dear good sweet mama don’t cry the cherry orchard is sold that’s true quite true but don’t cry mama look light in the room you’re still going you’re good puresole you go away from him run a new garden you see out there than this unhappiness quite happiness will descend on metal we go from the Obama will go is everyone girl no left being there are things timed in the other must lock them all come on goodbye house goodbye old life welcome you night till the spring then go on everybody so long my sister my sister my dear my sweet lovely water my life my youth my happiness goodbye goodbye mother hello but last look at the horse and the windows I deal with a loose to walk in this room I sister my sister mother hello finally act for the last part of this act again and it shows that the old way of life has changed you will see Ronnie bus chaya gai II the Bakken uh now warrior trophy mo talking to each other about leaving and then finally fears who’s left behind personally I really have felt profoundly touched by fears because at this point in the play he sort of reaches a moment of what can be described as a self you he sees himself as an individual and not as serve or a servant but as a human being and what he has to say is really really very moving because he feels as if he had never lived his life ever the time for change has come or has it for Fears see this performance and decide for yourself in the next lecture we will pull some of these ideas together also share the student responses by way of creative or some analytical exercises enjoy the concluding part of this performance the stage is empty there is the sound of the doors being locked up and the carriages driving away it grows quite to the silence one can hear the sad and lonely third of an axe on a tree footsteps are heard fears appears in the doorway right he is dressed as always in his long coat and white waistcoat it slippers on his feet he is ill locked they are gone they have forgotten me nevermind I’ll sit here Master is sure to have put on his cloth over good instead of his / he added me to see young word the inward life is gone by as it had never lived let me lie down a bit there is no strength left in you none at all ah you good-for-nothing a distant sound is heard that seems to come from the sky like that of a string snapping dying away melancholy all is still again save the sound of the axe far away in the orchard you

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