Jocasta
Jocasta is part four of City of Wine,
commissioned by Nightswimming in 1997.
It received a production at the University of Alberta, Edmonton, in 2004.
Synopsis:
This play illuminates the story of Jocasta, one of the great figures of ancient mythology, tracing her wedding to the returning Laius, her pregnancy and the descent of Thebes, under Laius’ rule, into dictatorship and fear. It becomes a love story in Act Two, as Jocasta and Oedipus find a magnetic connection and restore peace to Thebes. The play concludes with their happy wedding.
JOCASTA
directed by Craig Hall
Studio 58, Langara College, Vancouver
www.langara.bc.ca/studio58
March 19 – April 5, 2009
Favorite Line:
“The floor? This is the floor? Too bad, I hoped to vomit on the king.” – Glass, Act 2
Favorite Visual:
“His body fell, Jocasta. His courage, love and name rise up to meet the sun.” – Tiresias, Act 2
Favorite Line:
“Sleep little warrior and dream of victories.” -Jocasta, Act I
Favorite Visual:
“But other nights, especially when winter’s frosty dawn comes late and leaves us rooling in our wakefulness, i dream of love, of passion, and of grasping both against me in my arms.” – Jocasta, Act I
How does storytelling work as a device for achieving a characters desire in this play?
In Act II the Captain returns to Thebes with the news that Laius is dead. In reality Laius has been killed by Oedipus. The Captain, who was suppose to be guarding Laius from any and all danger, got left behind on the road between Delphi and Thebes, when farther down the path he caught up to a dead Laius. The Captain, fearing the assumption of the people of Thebes- that he in fact murdered Laius- and having to deal with his personal guilt about the situation (not be present to protect the slain king), invents a story around the death. He claims that the chariot was sabotaged and that the kings’ guard was helpless amid such an assault. The captain knowingly starts this grandiose myth/story in order to save face and to preserve his image as a valiant soldier.
What are the rituals practiced in Thebes and from what and where is their meaning derived?
One of the rituals that seemed to come to life in Jocasta is the idea of storytelling or the expansion of myth. Due in part to a shortage of wine, it seemed that the characters (more so the “Unnamed) became more reliant on storytelling as a means of entertainment. I refer specifically to the tavern scenes- where in the past plays the dialogue seemed to center on wine and celebration and the novelty of wine- in Jocasta we here characters recapping the city’s past and the finer details of stories/myths. Or perhaps this is my confusing the idea of story telling with the expanding role of the “Unnamed” as major players in the life of Thebes. Or perhaps recollection of better times is something one does while living under a dark regime. I guess what I’m trying to acknowledge is the growing sense of community among the “Unnamed”. What these people did for fun before Bacchus blessed them with the grape? I very much enjoy the excessive toasting that takes place at the tavern. Each sip is coupled with a wish or remembrance. The tavern has grown from an abandoned slaughter house or barn to a local drinking hole frequented by all citizens of Thebes. This play does mark the first time it is referred to as “Tavern” as well I believe. So I guess the idea of raising a glass is becoming a ritualistic event- It’s even evident in the absurdly malleable wedding ceremonies that take place is Jocasta.
Day Five: City of Wine – Jocasta at Concordia University’s Theatre Department
Please answer two of the following questions for Tuesday, August 21st, 2007:
1)How does time and space build tension in this play?
2)How does storytelling work as a device for achieving a character’s desire in this play?
3)What are the rituals practised in Thebes? From what or where was their meaning derived?
4)How are the Unnamed changed in this play from the previous play?
***For Tuesday’s class, investigate one of the following (and be prepared how it impacts your life):
-Hubris
-Coincidence
-Superstition
Images of Thebes:
-city is red because of wine
-fountain of wine all the time (from bath references in Laius)
-down in the valley (lots of dirt, few trees, hard to get to)
-primitive twig huts; broad streets
-mud walls, dirt, thatched roof (Unnamed)
-stone, castle dwellings (the “royals”)
-mood is sepia tone, damp and circular
-openness; lots of space
-Black Donnelley from Ontario reference; the idea of people crossing oceans and spreading over the generation
-broken telephone
Favorite Image from Jocasta reading:
-dawn
-Laius’ “fiery funeral to suit a fiery king” pg 79; red fire; smoke sticking; red day
-Oedipus’ first visit into Tavern and when he opens his cloak to pull out a flask. His sword and armour show. pg 61
-Jocasta and Oedipus walking together
-Jocasta: I know you, monster-woman-thing, as deeply as a mirror pg 64
-everything in Thebes is dark until Oedipus walks in; transition to happiness
-…”it is not honor that wraps the town but only night and dawn will come
-future must wait
-when Tiresias talks about how he can see the sail; boat image
-the frosty dawn
-when Jocasta and Oedipus get stuck together and how Oedipus reaches for his sword
-how the audience knows the story of Oedipus but hopes that it’s different this time
-Zeus and Semele – how Semele is consumed by fire but Zeus reaches out for baby and puts him in his thigh
-Oedipus: Jocasta, freely from your heart, will you be my queen? (pg 95)
-grapes
-between the last drinkers and the first farmers
-the lie the Captain told about the arrow going into the horse’s eye and the truth that it was Laius who made his driver beat the horses bloody in his rage…(pg 80)
-grapes; the line of soldiers being cut down
-the shepherd – the light descending on the hill
-at end of first Act felt like time went quickly – heart racing; gets us set up for 20 year lapse
-how soldiers fought each other
1. How does time and space build tension in this play?
There is a very interesting pace or rythm to the time and space in this play. There are three physical spaces on the stage: Above (The royal appartment), Before (the steps of the palace), and the Tavern. There are some very quick changes of focus from one area of action to the next. Time is still that of mortals, meaning it moves in a linear fashion, however it speeds up and slows down periodically, producing a certain feeling of tension or excitment. In my opinion, the most beautiful and effective demonstration of this comes at the moment of Jocasta’s “Harvest” (in other words the loss of her virginity) starting at p. 38 ending at about p. 45. Time and space starts changing at a rapid pace, switching from setting to setting and following an accelerated timeline in the conception, germination, and birth of Oedipus. By making such quick changes of focus, the play becomes similar to illustrations in a storybook rather than characters moving in real time. The play becomes snippets from a newsreel, supplying the highlights of the town’s rapid decline, but no deep details.
4. How have the UnNamed changed in this play from the last play?
I wonder if it is possible that the UnNamed of Thebes have not changed (other than in age) from the play Laius to the play Jocasta? It seems possible that they might be the same group of tavern dwellers as they were before, however with some slight differences and developments. One, that may be purely technical, is that the UnNamed are not gendered in the character notes in Jocasta. In every other play so far, including Laius, each UnNamed character has been assigned a sex, however in Jocasta, there are no specifications. Another difference is that in Laius, the UnNamed were friends to Laius, playing games with him and harbouring him before his exile, helping him to escape. However over the course of Jocasta, the UnNamed turn on Laius and speak badly of his politics, his practices, and his person. One main difference between the UnNamed of Laius and those of Jocasta is that they have become much more sober (literally and figuratively). Not only is wine outlawed in Thebes during Laius’ rule but the UnNamed have lost their sense of play to a more somber and reflective mood. It is as though these characters are slowly growing up, moving from the role of comic relief to one of communal conscience. The UnNmaed in Jocasta often state the line “Careful” which indicates that they have become much more thoughtful and cautious, casting aside the carefree days of wine drinking, flirtaion and fun.
Question # 1: How does time and space build tension in this play?
I feel that in “Jocasta”, time is not just an element of the play but a character that is felt and experienced by those reading. To elaborate, this was the first out of the four plays where I really felt the pull of time as it sped up through certain passages, such as when the AIDE declares all the decrees of the king and how this signified not only the time that passed during the beginning of the king’s rule but also gave a feeling of building frenzy, confusion and restrictedness in the town of Thebes. Conversely, in other passages time seemed to stand still, such as when scenes would overlap from the tavern to the castle and back again. At these moments, I really felt how at any one time a number of things could be happening and the way we flipped back and forth made me feel like I was frozen between the two worlds. The tension of being stuck between the two was just as great as when time was being thrown at me in quick images. As for space, I had previously felt like Thebes was a very open space, where the houses were not to close, there was room for people to do their own business and room for gossip to travel, and possibly be distorted. However, in Jocasta, I began to feel like the houses were becoming closer or the town more populated and it gave a feeling that everything was moving in on itself, that it were all contained. I’m not sure why, it could possibly be from the image of the Sphinx keeping the town isolated or from the feeling of lock-down that the king’s rules pressed on the people of Thebes or maybe the quick jumps from location to location, but everything felt closer and more cramped.
Question # 4: How have the unnamed changed in this play from the previous?
I feel like the unnamed have become more vocal, in general, but more importantly in regards to their discontent about the people, or gods, in power as the plays have progressed. In “Harmonia”, the unnamed had been in service for so long and become used to it that they hardly dared to speak ill of the gods that they served. They would make quiet comments but never dared to do more than that until the opportunity to escape completely came up. In “Pentheus”, they again were in service to the gods, as seen by their tending to Athena, and rarely voiced any discontent. They were very willing to follow Bacchus and only turned on the king through the manipulation of Bacchus with his wine and frenzies. In “Laius”, we see more of an opinion being voiced by the unnamed, as Laius is made king and then forced into exile by Amphion and Zethus, and they feel like Cadmea is falling apart. This is especially seen, in my mind, with the amount of gossip and meetings they have in the tavern and so on to discuss the situation and let out their frustrations. Finally, in “Jocasta”, some of the unnamed become more and more at ease with putting down Laius and his rules, which have made life so miserable for them. A possible theory is that this transition is linked to the wine. First, as wine is introduced the unnamed experience a freedom of thought and speak, which is fueled by the wine. This way of living becomes habitual and the feeling of freedom brought on by wine makes the unnamed more apt to convene and talk and complain. Finally when the wine is taken away, they become most insolent because their one sense of joy is gone and therefore it does not matter if they state how they feel.
How does time and space build tension in this play?
This play has three locations – the royal chambers, the city square before the palace, and the tavern – visible on stage at once. This allows for quick movement between the three, as well as simultaneous juxtaposition. Time in act one moves reasonably enough at first, through the day and night of Jocasta and Laius’ wedding, but move into super speed once the marriage is consummated. Nine months passes by as an hour of Theban time might, and we see the city decline through the decrees of Laius. This increase in pace gives us a real sense of the city spiraling out of control, and mounting tension in the town. When Oedipus is born, it switches back to normal speed as Laius sends him off to his doom. This speeding up of time prepares us for the twenty-one years to pass during intermission, before returning to another conventional use of time in the second act.
How does storytelling work as a device for achieving a character’s desire in this play?
Storytelling is clearly important to the citizens of Thebes. At the opening of the play, the unnamed are sharing in the telling of the creation myths of Thebes, and more recent stories of the city. This is how information is passed down, and we can see that these stories are important to their identities. When the shepherd tells the story of what he has just seen, he imbues it with meaning, rather than simply recounting the factual events.
Oedipus uses storytelling to his advantage when he arrives in Thebes – twice he uses a humorous tale of justice to win over his audience, first at the tavern, then with Jocasta. And the Captain uses storytelling to save his reputation when explaining how Laius met his fate on the road. Afraid that his honour, and that of his men, would suffer if everyone found out that Laius was killed because he sped on ahead of his guard, the Captain makes up a story of being ambushed by a group of bandits. His knowledge of just how long a story can last surely informs his decision to shield the truth.
Have the Un-named changes in this play from the previous one, Laius?
I’m not sure if this is more from the mood of the entire play and I’m projecting or is it the lack of wine (the characters not mine), but I felt that the Un-named seemed more subdued, dare I say even Bowl… It started joyful enough, but as soon as the Shepherd enters, things seem to shift. Then when Laius returns, well it goes completely dry from there. Tasks and money are becoming more prevalent; the day to day is becoming mundane. But to add to this idea of Fate, they seem to be resigned to it. No matter the hardship, and as Glass says near the beginning “…But know, as I am Theban, that we will all pay”, is she talking about paying for a round, or is she just describing what she knows of Fate. They seems less active, more passive, waiting for something to come along and change the lot they have. Now, is this so? Writing this out I’m not sure, because what has not changed is there connection to each other, how they steal the wine off the drunk soldiers and meet all together, even ass the city of Thebes slowly falls apart, they find a way to be together and enjoy what they can…
How does time and space build tension in the play?
Time and space, as I understand it, create tension by creating a building sense of anticipation. In the first Act we know Laius is coming back, but when, how far away is he, what will happen on his return? Prophecies are foretold but without any definite timeline, adding that constant sense of wondering when the other shoe is going to drop. Then when Oedipus is cast out and we jump ahead 21 years later in Act 2, we wonder what has been happening in the meantime. The sphinx is outside of the city, how far away? Does this make our brave citizens huddle closer together for protection, for survival? The space of their world seem smaller. And knowing the story (I’m really getting a kick out of understanding this concept now) we have Oedipus and Jocasta together within the city and Laius possibly about to return? We know he won’t, but we’re still wondering if he might. Then as word comes back of Laius’ demise, the pace of events starts to pick up, setting the stage for all that comes next, the players, the back-story and the inevitable.
Story telling is the only method that the characters in “Jocasta” possess in order to convey their thoughts, histories, and news. Therefore, this method of communication is extremely important to the survival of the people of Thebes. Stories are both used for personal gain by the characters as well as for entertainment. For example, the Captain utilized story telling in order to cover up the horrible accidental death of Laius. Originally he recounted a story of an army of well trained men descending upon Laius and his men who fought valiantly but in the end were brutally slaughtered by their opposition. By telling such a compelling story the Captain, for a time, was able to give Laius a more honourable death and himself and easy-out. Also, story telling was used as a means of entertainment. In the tavern we are privy to a conversation between the unnamed where they are recounting the story of the birth of Bachus. They each add in the little parts which they remember, creating a feeling of community and common history. And finally, Oedipus uses story telling to charm his way into the hearts of all of the people of Thebes. He told a story to everyone of the trial of a man who wishes to take over the land which belongs to a woman. The punch line was, “the land is yours and welcome, but the crops are hers!” Oedipus told this story on two different occasions, effectively winning over everyone with his humour.
The unnamed have changed drastically in this play, with the exception of Bowl. In the previous plays the unnamed were true characters which had fully flushed out personalities and relationships with one another. In the previous plays there was an entirely new subplot occurring between all of the unnamed and the audience thus became very interested in the lives of these characters. However, in “Jocasta” the unnamed played more of the role of vehicles to drive the plot. Their personalities and relationships did not matter to the audience or the other characters for that matter. The characters still had personalities, but they were rather inconsequential to the play overall.
2)How does storytelling work as a device for achieving a character’s desire in this play?
Storytelling is used throughout the play by the characters as a way of acheiving their goal. In one instance, the captain, whose job it was to protect King Laius, uses storytelling to protect himself from what others might think or do to him. He invents a story about being attacked by thieves on the road, but in reality instead of guarding the king, he chose to leave them behind and hurry ahead of the group, which left King Laius vulnerable to his eventual assassin, Oedipus. Later on, another character, Oedipus (not yet king of Thebes at this point) uses story telling to win over Jocasta’s heart.
3)What are the rituals practised in Thebes? From what or where was their meaning derived?
One of the rituals mentioned in several occasions during the play is the rite of marriage and the rituals associated with it (mostly involving wine – the lifeblood of Thebes: “In Thebes, wine fills the heart of everything” (p.20)). According to Jocasta, the sacred rites go back to King Cadmus and his wife Harmonia. They are inevitably Bacchic in nature and revolve around wine “It is, good king, expressed in wine” (p.20). Some of the symbols and elements used in this ritual include the three glasses of wine, which represent the two lives of the people getting married, and the third, “the power of love” (p. 21).
The ritual above happens at the marriage of Laius and Jocasta early in the play, and at the very end of the play, the ritual repeats itself at the marriage of Oedipus and Jocasta (his own mother).
3)What are the rituals practiced in Thebes? From what or where was their meaning derived?
I think the ritual which has changed the most is to drink. At the beginning, people in Cadmea they drank in a way to praise Bacchus at any moment because he was one of them (Cloth affirm that in “Pentheus”, for example). However, when Laius becomes a king, he decided to confiscate all the wine. That mean, the wine is not going to be present in the people’s rituals. It is a significant change. Now, wine is only part of the elite’s ritual (mainly the King and the court). That simple change, shows us how come structures the social pyramid became stronger.Even if the origin of the Myth is still present in people’s minds, it looks like the Gods and religion are far away from them.
4)How are the Unnamed changed in this play from the previous play?
I think them are becoming human beings without any personality. They do not have the courage and energy of their ancestors. They are flat, in some way. They are citizen of Thebes, but not leaders. I have the feeling that they are like “depressed”, “too down” with all the circumstances they have had to face.It’s a very passive attitude. They behave more like a Chorus than individuals. If you eliminate them from the play, as public, I am not going to miss them probably.
2. How does storytelling act as a device for achieving a character’s desire in this play?
Generally speaking, as a way for the character to convey information and to sway other’s to his sympathy.
“CREON: The strange king was but half the years between king Pelops and his youngest son, and so found place within their fold. The stranger grew familiar, and took advantage of the old man’s home and of the young boy’s beauty. The boy, confused and frightened, thought to speak, Then thought nor spoke again for evermore. King Pelops grieves in anger and calls on Zeus for justice.” By telling the story to the room Creon manages to sway all in attendance to become despised with Liaus for deeds he has actually done instead of just based on his character.
“CAPTAIN: For two days in the groves of Cithaeron, in ranks and then alone, we faced each other, deadly games, until our wounds and losses matched the tale we had agreed to tell. I have, myself, killed men in my command to hide a lie to hide my failure. So much is honour now.” By unburdening his soul on ‘friend’ the captain gains not only a woman in his life, but also a sense of absolution from her praise and understanding. If he had not cushioned his lies in the form of a story – by including all pertinent information, but from his angle – the Captain may have been hailed a traitor instead of praised.
“CREON: The rites performed, I heard, without dispute or doubt, the clearest truth we are allowed to know. The fruit you hope for, father, cannot be or it will foul the crop and eat the tree.” This allows Creon to deny culpability in his interfering in the wedding. ‘The oracle said so, no I.’
“OEDIPUS: He heard all sides and listened carefully, and then, you understand, in his slow way, said to the son. “Well then, the land is yours and welcome but the crops belong to her!” (all laugh)” Oedipus uses this story (twice) to make himself appear more approachable and friendly and to show that he is a good boy, devoted to his father.
3. What are the rituals practiced in thebes, and from what or where was their meaning derived?
The interesting rights I researched from Jocasta were the marriage rituals. While stalling Jocasta mentions the “The seven sacred rites that mark the unions of the Theban crown.” Though this may seem arbitrary, I found an interesting connection. Later in his life Oedipus casts a curse upon his sons for isolating him out of shame, this curse ends up leading to the war of ‘Seven Against Thebes’.
The next thing I found is that the rite involving the three cups of wine is based off of Greek marriage ceremonies. The number three symbolizes the Holy Trinity: God the Father, the Son and the Holy Spirit. This number is reoccurring in the marriage ceremony. At one point a common cup of wine (representing the shared nature of their lives) is given to the couple and they each drink of it three times.
And lastly, Laius says “The last great ancient ritual is mine. This wine is Theban wine
and hence my own.( he throws the wine on Jocasta.) I mark you so with it that all will
know that Laius has returned to claim his queen.” It also has ties to the Greek orothodox marriage ritual. When wed, the husband clasps his wife’s wrist instead of her hand, laying claim to her as if she is property.
2) Storytelling works as a device for achieving a character’s desire in this play by opening up a common ground or dialogue that other characters can relate to on their own level and respond to accordingly, which hopefully is the way the character who told the story desires. The storyteller puts in just the right elements to bait the listeners into acting out upon the desires of the teller such as in the example of the Shepherd. The Shepherd told the story of his arrival, prior to the tavern and how he arrived so damp. “…I fled from there and now am here, but still the cold and fear attend me.” (p. 6/ 7) The Shepherd told his story and was taken in by the unnamed in the tavern to warm up and have a drink, thus being listened to, dried off, warmed up and given some wine, he achieves his desires. Jocasta tells the story of her child being taken from her after only an hour of being with him to her audience of listeners; “I held a baby once, only an hour a thousand thousand hours ago. My arms ache with the memory….Be now their queen…”(p58) Jocasta desires empathy and praise for her sacrifice to help Thebes and be their queen. Parent responds sympathetically by saying; “A child? No. May Zeus prevent I ever know such loss.” (p.59) Another example of a character using storytelling to achieve his desires is the Captain who tells the tragic story of the ambush against Laius’ chariot which results in his death. This story is a lie that the Captain tells to make everyone believe that Laius died in an hounourable way rather than the real way he died. The Captain achieves his desires when his listeners believe his altered story.
4) The unnamed have changed from the previous play in a few ways concerning maturity and relationships. However, Bowl has remained pretty consistent with desires to drink wine and listen to those around him. From Lauis to Jocast , the unnamed have gone through several changes. For instance, in the last play Cloth, was more timid and in Jocasta, Cloth is someone drinking and talking in the tavern for the entire story but whose comments are much more assertive than in the previous play. For example Cloth says in response to the unnamed’s weather comments; “Give peace and pour the wine.” (p.26) The relationships that had been established in the previous play seem to have dissolved into a friendship between all the unnamed and they communicate around the table in the tavern, as oppose to being in different locations and with different relationships to one another and different ages and levels of maturity. It seems perhaps, that the unnamed are inclined to the ways of Bowl, who has remained very much the same character as in the previous play. However, I do wonder if the fact that Chris has read for Bowl every time has made Bowl to give the impression of being the same unnamed character in every play even though he might be more different than I realize. In Jocasta, The unnamed seem to be more of a democratic bunch than in the previous play where they are controlled much more by the royals and gods.
1) Time and space work to build tension in the play in a number of ways. In terms of space, there are pivotal events that take place off stage, including Laius’ demise as well as Oedipus and his confrontation with the sphinx. We the audience are akin to the towns people, as we can never leave the confines of Thebes and must come by all this information as recounted by a third party. This helps to build tension as our imagination in depicting the death of Laius or the sphinx probably creates a more vivid, tense portrait than if these events were somehow staged. The concept of time works to create tension as there is a greater concentration of oracles and others who foresee the future in this play. These characters who see into the future drive the story forward and create a palpable sense of tension, as what they see is often violent and shocking. Even between the major plot points there is little down time, as major events are hinted at and built up through this seeing into the future.
2) When Oedipus first arrives in Thebes he uses the story of the widow and her son, and the division of their land by king Polybus, to seduce the crowds and gain their favour. The story also serves the function of establishing the speaker’s supposed royal lineage. This same story of king Polybus’ judgment works towards seducing Jocasta on a more literal level. The Captain also uses storytelling, in that he invents a very elaborate tale as to what happened in Laius’ murder to save face for himself, the royal guard, as well as the fallen king. This tale speaks of a much more honourable death than what actually transpired. The Shepherd uses a well-told tale of his passage to gain the trust and friendship of the Unnamed in the tavern.
What are the rituals practiced in Thebes and from what/where was their meaning derived?
One of the main rituals carried out in the town happens within the first minute of the play; the Thebans toast the founder of their town through recited text that is led by Bowl, one of the proudest Thebans in the town. They reference their history: the killing of the snake and scattering of its teeth as well as the growing of Sown Men who sprang from those teeth and are literally men of Thebes to name a few of the stories. Of course after talking about their collective past, the Thebans drink.
Songs are another important part of Theban culture and ritual. Of course they are drunken chants but they still are songs “with many rousing choruses” (7) that call back to the roots of Thebes, tracing its accomplishments and ancestry to the present day. The Thebans also hold great importance in the sacredness of wine and are offended when, because they have no more wine, they would have to raise a glass of water to make a toast. This attitude stems from their beliefs in the Bacchic roots unearthed by their ancestors.
Another ritual in the play is that of marriage. In the town of Thebes, there are numerous rites that have to be carried our in order to be wed. After performing the first, in which drinking from the cup is necessary, Laius continues to drink and then eventually drench his bride in the wine. At the tavern, this is much of what the unNamed are talking about. They see the king’s actions, as common as they might be in a bar, to be offensive to the gods when being carried out at the height of a religious ceremony.
Ritual or not, the Theban tradition of welcoming any stranger into their town as if she were one of their own is a result of the fact that they believe in Bacchus and his ability to arrive in any form at any time. If the Thebans were to turn away a traveller because she looks undesirable, they may be shooing away the one god who they hold above all others. This belief creates in the town a welcoming and friendly and safe atmosphere for all who pass through.
Responses to Jocasta:
Q#1) How does time and space build tension in the play?
R#1) The use of time and space in Jocasta, the fourth play in City of Wine, generates the majority of the play’s energy as most of the heroic action, such as Oedipus’ confrontation with the Sphinx, takes place off stage and is only relayed through eye witness accounts. The three separate sets on stage and the quick glimpses through time allow the plot to be swept up in their confusion and generate a dynamic feel. Instead of breaking the scenes up with obvious shifts, the action quickly jumps from tavern to palace, palace to the front steps, and front steps back to the tavern again, while marking elapsed periods of time. A perfect example of this dynamic transition with time and space is in Act 1, right after Laius and Jocasta exit the stage to consummate their marriage. Here the scene rotates quickly between the three sets and with each revolution time has seemed to make a dramatic leap forward. First the Unnamed dream of their auspicious future harvest, but lament its failure after a few rotations in the sets; Jocasta conception occurs at one moment, but after a few brief shifts the baby is born and torn away from his mother by Laius; meanwhile, at the set marked “before”, the Aide intermittently announces all the new proclamations of the King which reveal the rapidly emerging tyranny of his rule. Such an intense shift in settings and time creates not only a more dynamic progression of the plot but produces the feeling of powerlessness engulfing the town. The Unnamed and even the Royals seem to be swept away by drastic changes in Thebes while under the brutal rule of Laius, but such an effect is adeptly reinforced by the chaotic shift in the sets and time. Creon alludes to this sense of helplessness when Menaeceus asks him, “What can we do?” (38), to which he replies, “Nothing, as always, nothing. We hope and watch and wait and never, never act” (39).
Q#2) How does storytelling work as a device for achieving their desires in this play?
R#2) The act of storytelling in Jocasta serves to modify or reinforce the mood and tone of the scene while again producing the aforementioned sense of helplessness, as the stories remove the Thebans from any direct action and place them as mere pawns of their encircling fate. As an example with regards to mood and tone, the Sheppard’s tale at the beginning of the play diminishes the joviality of the drinking Thebans and sets a much darker tone. A similar effect is achieved with the storytelling in Act 2 when Friend is recounting tales of Semele and Zeus to the gathered crowd. This act of storytelling evokes the memories of a period of Thebes different from the harsh reality the Unnamed now face under Laius’ rule and serves to create a tone of nostalgia in the play; as well, the recounted tales of Thebes reflects a possible time of order for the Unnamed, as the gods represent an ideal of control and power which their lives lack. This same sentiment of one’s powerlessness is repeated with Creon’s telling of his visit to the Oracle of Dephi in Act 1, as his account sets a foreboding tone to the scene of celebration and presents the irrefutable plans of fate.
The question that occured to me durring the first read through of Jocasta is why did the Captain of the Guard chose to confide in Friend about what really happened to Laius? She had questioned the age of his wounds but after spinning such a lie why shouldn’t he lie again?
Turns out this is a budding romance with a whole story of it’s own to come when the Captain of the Guard resigns his position and becomes Bottle.
Wanted to start keeping people up to date. We had our first rehearsal today and did a good old fashioned table reading. My favorite line today: “rough as it is, this is a temple of a kind./ No roughness here”
Ned, Brian, and Naomi came in today to hear the first 20 pages of the show which were recently re-written. It was fantastic and enlightening to get to ask some questions that have been burning since the read through. Then we got up on our feet and started easing into figuring out the world of our Thebes. The Named went off to do some emblem work, while the Unnamed got to play with our set made of paper stools. They are hard to describe and I will try to find a website that shows/explains them, but we basically spent time playing with different ways to lay out furniture that is collapsible, stretchable, bendable, and are all around very versatile set pieces. I think that, when I can find the site, all will agree that they are very exciting. Then The Unnamed worked on moving as one, and then finished up the day with a bit of work on music. Nothing beats ending the day with a little jam session
My line of the day : Firewood – “Life, I think, is not yet dead.”
We had our first stumble through today. It’s exciting to begin to feel the pulse and flow of the show.
With only 3 weeks until show-time, the cast and crew of Oedipus @ Concordia are working away at getting the play up on its feet and breathing! The production is a physically stylized piece that integrates projection, live film, live music and experimental sound. The production promises to be sharp and concise, focusing on both the historical and contemporary politics that surround the story of Oedipus; the truth and where and how we find it.
Our initial process began with Rasa work, based on director, Ulla Neuerburg-Denzer’s PhD study of emotion. The exercise is founded on the Sanskrit belief that there are 9 basic emotions all human beings experience and that all other emotions grow from their roots. They are:
Shanta – Bliss, oneness
Karuna – Grief, compassion
Sringara – Love (brotherly, sexual, etc)
Raudra – Anger
Vira – Power
Adbhuta – Awe, wonder
Bibhasta – Disgust
Hasya – Laughter
Bahayanaka – Fear
Working from the ground up, the actors have found context in which their characters can experience and feel these emotions and furthermore start to discover the movements and physicality that best expresses their specific characters.
The excitement surrounding the City of Wine festival seems to be growing more and more each day as we move closer to the finish line. Looking forward to the shows! More posts soon!
Woops! That last comment was supposed to be posted under Oedipus’ page…not too sure how to edit that.
Woops! That last comment was meant to go on the Oedipus page…not too sure how to edit that.
We start tech this week and we open on Saturday. Exciting and busy times in the world of Jocasta. There will be a promo video on facebook, youtube, and studio58.ca in the coming days. It has an interview with the director and clips from rehearsals. Check it out if you are interested.
To all the “Jocasta”-ers, best wishes from all of us at SFU on your opening tonight! Hope you have a great show, and we’re looking forward to seeing it next week!