IVE - Aalto University Shop
Transcription
IVE - Aalto University Shop
,AURA'RÚNDAHL % 8 0 % 2 ) % . # % 3 ) . 4 ( % !4 2 ) # ! , 3 0!# % 3 &IVE3CENOGRAPHIESOF-ISS*ULIE % 8 0 % 2 ) % . # % 3 ) . 4 ( % !4 2 ) # ! , 3 0! # % 3 ,AURA'RÚNDAHL % 8 0 % 2 ) % . # % 3 ) . 4 ( % !4 2 ) # ! , 3 0! # % 3 &IVE3CENOGRAPHIESOF-ISS*ULIE 5.)6%23)49/&!24!.$$%3)'.(%,3).+) 1VCMJDBUJPOTFSJFTPG UIF6OJWFSTJUZPG"SUBOE%FTJHO)FMTJOLJ" <XXXVJBI¹QVCMJDBUJPOT> ¥ ,!5 2! '2¾. $!( , (SBQIJDEFTJHO4UJOB4BMJO $PWFSQIPUP5VJKB7VPMMFBOE+VIBOJ/JFNFMjJO®4USJOECFSH ¯ )BMUUVOFO4BMPTBBSJ7BTUBWBMP¬ ) 3". 0 $ & ) 3". 0!) . %4 4 5 6%23 )/ ) 33. 1SJOUFEBU(VNNFSVT,JSKBQBJOP0Z 4BBSJKjSWJ'JOMBOE #/.4%.43 )NTRODUCTION 3CENOGRAPHYASTHE3UBJECTOFMY3TUDY #OMMUNICATIONOF3PATIALAND6ISUAL%XPERIENCES 4HE3CENOGRAPHIESOF-ISS*ULIE 5NDERSTANDING3CENIC$ESIGNS 4HE#HOICEOFTHE3CENOGRAPHIESFOR#LOSER3TUDY ,ITERATUREAND3OURCES "EING A 3CENOGRAPHER -AKING THE 3PECTATOR 3EE n 6ISION AS A 0ROBLEM 6ISUALITYIN#ONTEMPORARY3CENOGRAPHY n&ROM0ICTORIALTO3PATIAL%XPERIENCES &ROM-ODERNTO0OSTMODERN3CENOGRAPHY !N!NTIVISUAL$ISCOURSE 7HAT$O7E3EE #ARTESIAN6ISION #ORPOREAL6ISION 4HE 3CENOGRAPHIC #HALLENGES OF -ISS *ULIE )LLUSIONINTHE3ERVICEOFAN)NVESTIGATING%YE *ULIE)MPRISONEDIN(ER7ORLD 5NCERTAINTYON3TAGE 3TRINDBERGIAN!UDIENCES 3TAGING -ISS *ULIE IN &INNISH 4HEATER n 7HEN $ID THE .ATURALISTIC 0LAY 3TART TO 4HRILL !PPENDIX !PPENDIX h3TRINDBERG v n 0ROCESSING 3CENOGRAPHY 4HROUGH !CTING 4HE3TAGE2EPRESENTING4HEATER !CTINGA3PACE !UTOSTUDIUM3TUDYING4HEATRICALITY 4HE!RTISTIC0ROCESS !PPENDIX -ISS *ULIE IN THE 4URKU 3WEDISH 4HEATER n "ETWEEN !RTISTIC )NTENTIONS AND (ARD 2EALITY !4OURING-ISS*ULIE 4HE0RACTICEOF#ARRYING/UT3CENOGRAPHIES 4HE)DEASTO"E3TAGED 3EEINGINTOTHE5NCONSCIOUS !PPENDIX -ISS *ULIE IN +/-TEATTERI n 4O 3EE OR .OT TO 3EE 3TAGINGTHE!UDIENCE !N%NVIRONMENTAL3TAGING 4HE2HETORICOF3TAGE3PACE 3PATIAL)DEOLOGIES !PPENDIX -ISS *ULIE AT THE .ATIONAL 4HEATRE n 4HEATER )NSIDE THE -IND !3PACEOF-IND !4RANSPARENT3CENOGRAPHY 3CENOGRAPHYAND3TRINDBERGIAN0AINTING 3CENOGRAPHYVS!CTING !PPENDIX -ISS *ULIE AT 1TEATTERI n "ACK TO 3TRINDBERG !N)MPOSSIBLE3PACE (ELLAND(EAVENON3TAGE !3PACEOF&EMALE-EMORY -ISS*ULIEIN0OSTMODERN4IMES !PPENDIX #REATING 0ERSPECTIVES n 3UMMARY AND #ONCLUSIONS 7HAT(APPENEDTOTHE.ATURALISMOF-ISS*ULIE 6ARIATIONSIN3CENOGRAPHIC4HINKING 3EEINGTHE3PACE /NTHE3URFACEOF6ISION "IBLIOGRAPHY !#+./7,%$'%-%.43 7RITINGADISSERTATIONHASBEENESPECIALLYCHALLENGINGFORMESINCE)HAVEBEEN PRIMARILYTRAINEDASASCENOGRAPHERANDNOTASCHOLAR&ORTHISREASON)HAVE NOTONLYNEEDEDLOTSOFGUIDANCEANDTUTORINGBUTALSOENCOURAGEMENTAND SUPPORT)HAVEBEENLUCKYENOUGHTOGETALLTHIS(ENCE)OWEMYGRATITUDETO SOMANYPEOPLETHAT)CANONLYMENTIONTHEMOSTIMPORTANTONESHERE -OSTOFALL)WANTTOTHANKMYSUPERVISOR0ROFESSOR0IRKKO+OSKI3HEINTRO DUCEDMETOTHESCHOLARLYAPPROACHTOTHEATERSTUDIESSTEPBYSTEPANDWHEN )WASWRITINGMYTHESISSHEALWAYSGAVEMETHEADVICETHAT)NEEDEDTOMOVE FORWARD)AMALSOVERYGRATEFULFORBEINGABLETOPARTICIPATElVETIMESINTHE ANNUAL)#!43SUMMERSCHOOLSFORADVANCEDTHEATERSTUDIESARRANGEDAND HOSTEDBY0ROFESSOR+OSKI4HELECTURESDISCUSSIONSANDTHESUPPORTIVEATMO SPHERETHERESIGNIlCANTLYHELPEDMElNISHMYPROJECTAND)WANTTOTHANK WITHALLMYHEARTALLTHE)#!43TUTORSANDSTUDENTSIN&INLANDANDABROAD )AMVERYGRATEFULTOTHEPREEXAMINERSOFMYDISSERTATION)THANKMOST WARMLY0ROFESSOR"ILL7ORTHENFORHISSTIMULATINGCOMMENTSANDFORTHEIN TERESTHEHASTAKENINMYWORKAND0ROFESSOR0ENTTI0AAVOLAINENWHOPROVID EDDETAILEDFEEDBACKTHATPOINTEDOUTMANYNECESSARYREVISIONS )ALSOTHANK$R%EVA+URKIDIRECTOROFTHE%LOMEDIARESEARCHSCHOOLWHO READMYHALFlNISHEDSCRIPTANDGAVEMEALOTOFVALUABLECOMMENTS )OWEMYGRATITUDETOTHEARTISTSINVOLVEDWITHTHE-ISS*ULIESCENOGRAPHIES FORTHEIRWILLINGNESSTORECALLTHEPRODUCTIONSANDFORGENEROUSLYPUTTINGTHE DOCUMENTARYMATERIALATMYDISPOSAL )THANK4ANIA7ILMERWHOHASPATIENTLYCORRECTEDMY%NGLISHANDHELPEDME TOFORMULATEMYIDEASINCOMPREHENSIBLELANGUAGE(OWEVER)ALONEAMRE SPONSIBLEFORALLPOSSIBLEMISTAKESANDCONFUSIONSINTHElNALTEXT +IRSI2INNEDESERVESSPECIALTHANKSFORHERUNTIRINGHELPWITHALLTHEARRANGE MENTSDURINGTHElNALPHASEOFMYWORK )ALSOWANTTOTHANK3TINA3ALINAND!NNU!HONENFORTHEBEAUTIFULLAYOUT ANDGRAPHICDESIGN )WASABLETOlNISHTHISDISSERTATIONBECAUSE)WASGRANTEDONEYEARSFELLOW SHIPBY+ORDELININ3ØØTIIN)AMDEEPLYGRATEFULFORIT)HAVEALSOBEEN lNANCIALLYSUPPORTEDBYTHE5NIVERSITYOF!RTAND$ESIGN(ELSINKI ANDBYTHECITY%SPOO )WANTTOTHANKALLMYFRIENDSANDFAMILYESPECIALLY%RKKIAND4OMMIFOR THEIRPATIENCEWITHMEDURINGTHELASTYEARSANDMYMOTHERFORBABYSITTING WHENEVERNEEDED ,ASTBUTNOTLEAST)WANTTOTHANKALLTHOSEWONDERFULPEOPLEWITHWHOM) HAVEBEENWORKINGINDIFFERENT&INNISHTHEATERSARTISTSANDTECHNICALSTAFFIN CLUDED)TISTHEYWHOHAVETAUGHTMEWHAT)KNOWABOUTSCENOGRAPHY 2! )NTRODUCTION 3#%./'2!0(9!34(%35"*%#4/&-9345$9 4HISISASTUDYOFTHEATERSCENOGRAPHYWRITTENFROMTHEVIEWPOINTOFAPRAC TICINGSCENOGRAPHER-YINTENTIONISTOUNDERSTANDHOWMODERNANDPOST MODERNSCENOGRAPHYFUNCTIONSASAPARTOFAPERFORMANCE"YUSINGlVE EXAMPLESFROMRECENT&INNISHTHEATERHISTORY)WILLEXAMINESOMEWAYSIN WHICHSCENICSPACEANDVISIONARECONSTRUCTEDANDCONVERSELYHOWTHEYARE SUPPOSEDTOCONSTRUCTTHESPECTATORSEXPERIENCEOFVIEWINGTHEPLAY 3CENOGRAPHYISPERHAPSMORECONNECTEDTOTHETANGIBLEMATERIALITYOFTHE STAGETHANANYOTHERASPECTOFATHEATERPERFORMANCE"EINGAPHYSICALCON STRUCTIONOFAPLACEITSEEMSTOBEFURTHESTAWAYFROMTHELITERALANDABSTRACT CONTENTSOFADRAMAWHICHHAVETRADITIONALLYGAINEDTHEMOSTAPPRECIATION ANDATTENTIONFROMTHEATERTHEORETICIANS4HEVISUALANDSPATIALARRANGEMENT OFAPERFORMANCECARRIEDOUTBYTHESCENOGRAPHYHASHOWEVERAGREATIM PACTONTHERECEPTIONOFAPRODUCTION!FTERALLASIGNIlCANTPERHAPSEVEN MAJORPARTOFSCENICCOMMUNICATIONISRECEIVEDTHROUGHTHEEYES4HESCE NOGRAPHERSARTISTICVALUELIESINCREATINGLIVINGANDMEANINGFULEXPERIENCES THROUGHTHEDEADMATERIALITYOFSTAGESPACEANDOBJECTS !LTHOUGHMODERNTHEATERRESEARCHHASINCREASINGLYCONCENTRATEDONTHEPER FORMANCESOFACTORSSCENOGRAPHYHASRECEIVEDLITTLEATTENTION/NEEXPLANA TIONCOULDBETHATITISVERYHARDTOBEPRECISEABOUTTHEPARTSOFAPERFORM ANCETHATREALLYBELONGTOSCENOGRAPHY3PATIALITYANDVISUALITYHAVEINFACT OFTENBEENPROFOUNDLYANALYZEDINTHECONTEXTSOFOTHERDOMAINSOFAPER FORMANCEFOREXAMPLEASTHEDRAMATICSTORYTHESTAGEACTIONTHEPROXIMITY OFTHETHEATRICALBUILDINGANDACTINGORTHERELATIONBETWEENPERFORMERSAND AUDIENCES )N TRODU CTI ON \ !SATHEATERPRACTITIONER)HAVEENTEREDINTOANEWANDSTRANGElELDOFSCHOL ARLYRESEARCH4HETHEORETICALANDARTISTICDISCOURSESHAVETRADITIONALLYBEEN SEPARATEDIN&INNISHTHEATERCULTUREASIFTHEYWERECOMPLETELYDIFFERENTDO MAINS4HISDISTINCTIONISNOTJUSTIlEDINMYOPINIONBECAUSETHEPRACTICAL WORKISALWAYSFOUNDEDONSOMEnMOSTLYUNUTTEREDnPERCEPTIONSABOUTTHE TASKSANDFUNCTIONSOFTHEATERWHICHCANBEIDENTIlEDASTHEORETICALOREVEN IDEOLOGICALANDPHILOSOPHICALSTANDPOINTS/NTHEOTHERHANDASCHOLARLY DISCIPLINESHOULDNOTIGNORETHEIMPORTANCEOFTHEPRACTICALCONDITIONSOF ARTISTICWORKS !TANEARLYSTAGE)GAVEUPONTHEIDEAOFUSINGMYOWNSCENOGRAPHIESAS PARTOFMYTHESIS)NSTEAD)DECIDEDTODISCUSSASAMPLEOFlVEDIFFERENTSCE NICDESIGNSCREATEDBYMYCOLLEAGUESFORONEPARTICULARPLAYn-ISS*ULIEBY !UGUST3TRINDBERG4HESElVEDESIGNSSPANTHELASTTHREEDECADESIN&INNISH THEATERnACONTEXT)AMFAMILIARWITHTHROUGHPERSONALEXPERIENCE -YINTENTIONINTHISSTUDYISNOTTOFOCUSONSCENOGRAPHYASANINDEPENDENT EXPRESSIONBUTRATHERONTHEWAYSINWHICHITINTERACTSWITHOTHERCHANNELS OFTHEATRICALCOMMUNICATION)NSTEADOFLOOKINGINTOTHEESSENCEOFMYPRO FESSION)WANTTOEXPLORETHEMARGINSOFSCENOGRAPHY(OWISSCENOGRAPHY RELATEDTOACTINGTOAUDIENCESTOTHEATERVENUESTOTHEPLAYTEXT(OWCAN SCENOGRAPHYDISCUSSTHEABSTRACTCONTENTSOFADRAMA#ANITBETRANSLATED INTOAVERBALIDEA#ANITBEJUSTAGESTUREOFTHEACTOR7HATARETHEPRACTI CALANDECONOMICALLIMITSOFCARRYINGOUTASCENICDESIGN 7HENLOOKINGATTHETHEATRICALCOMMUNICATIONINTHESCENICDESIGNSOF-ISS *ULIE)WILLCONSIDERTHEARTISTICREASONSORINTERNALLOGICTHATJUSTIlESTHE USESOFIMAGESONTHESTAGEANDSPATIALARRANGEMENTS(OWARESCENICDESIGNS MADEANDUSED(OWAREARTISTICATTITUDESRELATEDTOMOREGENERALTHINKING 7HATKINDOFIDEOLOGICALORPSYCHOLOGICALCONCEPTIONSABOUTTHEHUMAN MINDDOTHEYREVEAL(OWARETHESEIDEOLOGIESCARRIEDOUTTHROUGHTHEEXIST INGMETHODSOFPRODUCINGPERFORMANCES 4HETHEORETICALBACKGROUNDOFMYTHESISCONSISTSOFTHREEPARTS)N#HAPTER )SCOPETHEROLESOFSCENOGRAPHYANDSCENOGRAPHERSFROMTHEVIEWPOINT OFTHEATERPRACTICE#HAPTERISANINTRODUCTIONTOTHETHEORYOFVISIONAND VISUALITYCONNECTEDTOMODERNSCENOGRAPHYANDIN#HAPTER)DISCUSSTHE FUNCTIONSOFTHESCENOGRAPHICAPPARATUSIN-ISS*ULIEASITWASUNDERSTOODBY \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 3TRINDBERG)N#HAPTER)BRIEmYCONSIDERTHETRADITIONOFPERFORMING-ISS *ULIEIN&INLAND4HElVESCENOGRAPHIESAREEACHDEALTWITHINTHEINDIVIDUAL #HAPTERSn # / - - 5 . ) # !4 ) / . / & 3 0!4 ) ! , ! . $ 6 ) 3 5 ! , % 8 0 % 2 ) % . # % 3 )AMINTERESTEDINTHECOMMUNICATIVECAPABILITYOFSCENICDESIGNS4HISRE FERSNOTONLYTOWHATTHESCENOGRAPHERSINTENDTOSAYTHROUGHTHEIRWORKBUT ALSOTOTHEMEANSTHROUGHWHICHTHEYEXPRESSTHEMSELVES4HISMAYBECALLED THE@RHETORICOFSCENOGRAPHYMEANINGTHEUSEOFACOMMUNICATIVEAPPARATUS THATISBASEDONPRESUMPTIONSABOUTTHERECEIVINGAUDIENCES -YATTITUDECANBECALLEDPHENOMENOLOGICALALTHOUGH)WANTTOAVOIDA STRINGENTSUBSCRIPTIONTOANYPHILOSOPHICALIDEOLOGY4HEBASEOFMY@PHE NOMENOLOGYISTHATASCENOGRAPHERnLIKEANYARTISTnATTEMPTSTOTRANSMIT ANEXPERIENCETOTHESPECTATOR)TISNOTSIMPLYABOUTTHERELATIONBETWEEN THEARTISTANDTHEPERCEIVEDTHING4HEWORKOFARTISNOTJUSTAMATERIALVE HICLECARRYINGABSTRACTTHOUGHTSBUTITISANEXPERIENCEITSELFnITREQUIRESVI SUALAURALOREVENTACTILEINTERACTION7HENCOMMUNICATINGHISHERIDEAS THEARTISTMUSTGIVEITSOMEKINDOFPERCEIVABLESTRUCTUREMAKINGITUNDER STANDABLETOOTHERS 3CENOGRAPHYLIKEANYWORKOFARTISNOTACOMPLETEDOBJECTTHATCANBECAT EGORIZEDACCORDINGTOITSPROPERTIES2ATHERITISALIVINGEXPERIENCEANIN TERACTIVEPROCESSBETWEENTHEINTERNALMINDANDEXTERNALSTIMULI4OMETHE DIVERSITYOFREPRESENTATIONALMODESINMODERNARTSSHOWSTHECHANGINGAND DYNAMICCHARACTEROFTHISINTERACTIONANDITALSOREmECTSTHEPHILOSOPHICAL DILEMMATHATTHEOUTSIDEWORLDISNEVERCOMPLETELYCOMPREHENSIBLETOUS 7HENCREATINGSPATIALANDVISUALREPRESENTATIONSONSTAGETHESCENOGRA PHERALSOCONSIDERSTHEWAYSINWHICHARTISTICINTERACTIONWORKS#REATINGA WORKOFARTISLIKEPROVIDINGTHEAUDIENCEWITHONEPOSSIBLEACCESSROUTETO THEWORLDORMORESIMPLYPUTITPROVIDESONEWAYOFSEEINGTHEWORLD)N THISSENSETHESCENICDESIGNALWAYSCONTAINSAPHILOSOPHICALSTATEMENT4HE PROPOSEDACCESSROUTETOTHEWORLDRELIESONCERTAINASSUMPTIONSABOUTTHE RELATIONSHIPBETWEENTHEINTERNALANDEXTERNAL(OWEVERTHEPRACTITIONERS ARESELDOMCONSCIOUSOFTHISn)NEVERTHINKOFITTHATWAYWHEN)WORKONA ) NT RODUC T ION \ DESIGN)TCANBESUGGESTEDTHATUNAWARENESSOFTHEFOUNDATIONSOFONESOWN THINKINGISONEREASONWHYTHETHEORETICALSTUDIESANDARTISTICEXPERIENCES AREOFTENSEENASINCOMPATIBLE&ORMEITISTHEMAINREASONWHYADIALOGUE BETWEENTHETWOISNECESSARY)TISAMATTEROFUNDERSTANDINGTHEIDEOLOGICAL STATEMENTSLURKINGINTHEARTISTICANDTECHNICALAPPARATUSOFSCENOGRAPHY 3CENOGRAPHYISATHEATRICALAPPARATUSTHATMAKESTHEPLAYWORLDVISIBLE!S &REDDIE2OKEMSUGGESTSITHASBEENSENSITIVETOTHEHISTORICALCHANGESOF PERCEPTIVEMODES)NOTHERWORDSTHE@RHETORICACCORDINGTOWHICHSCENOG RAPHYCOMMUNICATESPROPOSESAHYPOTHESISABOUTOURABILITYTOCOMPRE HENDTHEOUTSIDEWORLDTHROUGHOUREYES4HEATTITUDETOWARDSVISIONHAS BEENAMBIGUOUSTHROUGHOUTTHEHISTORYOF7ESTERNTHOUGHT!CCORDINGTO -ARTIN*AYITHASBEENCONSTRUEDEITHERASTHEEMPIRICISTSIGHTOFTHECARNAL EYEORASTHEIMMEDIATEIMAGERYOFTHEINSIDEMIND)NBOTHCASESSIGHTWAS CELEBRATEDASTHENOBLESTSENSEANDASOURMAINROUTETOKNOWLEDGE *ONATHAN#RARYHASSUGGESTEDTHATINTHETHCENTURYANEWUNDERSTAND INGOFSUBJECTIVEVISIONDEVELOPEDINBOTHARTANDSCIENCE4HEPERCEIVING SUBJECTBEGANTOBESTUDIEDWHICHWASINOPPOSITIONTOTHE'ODSEYEVIEW PROMOTEDBY#ARTESIANMODESOFVISION4HISISSEENFOREXAMPLEINARTISTIC MOVEMENTSSUCHASIMPRESSIONISMOREXPRESSIONISMWHERETHESUBJECTIVEEX PERIENCEOFTHEARTISTISTHERELEVANTCONTENTOFAWORKOFART)NMODERNSCE NOGRAPHYTHEREHASBEENAPERSISTENTMOVEMENTTOWARDSSPATIALEXPERIENCES PERCEIVABLETHROUGHALLSENSESANDALSOTOWARDSANEMBODIEDINHABITANCEOF SPACE 3PLFN +BZ $SBSZ¬ "SPOTPO )SUGGESTBASEDONTHEARGUMENTSOF2OKEM*AY#RARYAND!RNOLD!RON SONTHATCONTEMPORARYSCENOGRAPHYHASDEVELOPEDFROMTHE#ARTESIANVI SIONNOTONLYTODIFFERENTFORMSOFSUBJECTIVEVISIONBUTITHASALSOFOCUSED ONTHEBOUNDARYBETWEENINTERNALANDEXTERNALWHERETHETHEATRICALMEAN INGSEMERGEANDWHICHISTHESITEOFARTISTICEXPERIENCES4HESCENOGRAPHIES ANALYZEDMORECLOSELYINTHISSTUDYEXEMPLIFYSOMEVARIATIONSOFTHISDEVEL OPMENTWHICH!RONSONCONNECTSTOPOSTMODERNISM(OWEVERTHESEDEVEL OPMENTSAREALSOAPPARENTINSOMESCENOGRAPHIESTHATAREBETTERCLASSIlEDAS MODERNIST4HETIMEPERIODOFMYSTUDYnCERTAINLYSAWAMOVE MENTFROMMODERNTOPOSTMODERNCULTUREIN&INNISHSOCIETY(OWEVER)DO NOTWANTTOlGUREOUTANYLINEARPATHLEADINGFROMONESTYLISTICINNOVATION "SPOTPO \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES TOANOTHERBUTRATHER)WANTTODISCUSSDIFFERENTARTISTICPOSSIBILITIESCOEXIST INGANDOVERLAPPINGWITHEACHOTHER 4(%3#%./'2!0()%3/&-)33*5,)% )WILLDEALMORECLOSELYWITHlVEINDIVIDUALSCENOGRAPHIESALLDONEFORTHE 3TRINDBERGSTRAGEDY-ISS*ULIE-YSTUDYISHOWEVERNOTPRIMARILYABOUT THETRADITIONSOFPERFORMINGTHEPLAYBUTABOUTTHESCENOGRAPHICTHINKING FOUNDINSOMESTAGINGSOFIT-ISS*ULIEMOSTLYSERVESASACOMMONCONTEXT THATTIESTHESEPARATESCENOGRAPHIESTOGETHERESPECIALLYTHROUGHITSNATURALIS TICIDEOLOGYWHICHMODERNTHEATERMAKERSHAVETENDEDTOWORKAGAINST 4HEREASONFORFOCUSINGONSTAGINGSOF-ISS*ULIEWASINITIALLYPURELYSTATISTI CALTHOUGHITHADITSORIGININMYOWNEXPERIENCESASASCENOGRAPHER)WAS OBSESSEDWITHTHEDOUBLECHARACTEROFSCENOGRAPHY/NTHEONEHANDITWAS AVISUALDESIGNINITSOWNRIGHTANDONTHEOTHERITWASAFUNCTIONALCON STRUCTIONASSISTINGTHEACTORSWORKnANISSUETHATSEEMSTOHAVEBOTHERED MANYOTHERSCENOGRAPHERSASWELL)HADREALIZEDTHATAVISUALLYMAGNIlCENT SETCOULDSOMETIMESGROWINTOANOBSTACLEFORTHEACTORSCREATIVITY,IKE 'ROTOWSKI)WASULTIMATELYCONVINCEDTHATALLYOUREALLYNEEDINTHETHEATER ISANACTORANDASPECTATORAND)WANTEDTOUNDERSTANDHOWSCENOGRAPHYlTS INTOTHEEQUATION7HATISTHEROLEOFTHEVISUALANDSPATIALARRANGEMENTIN THISBASICINTERACTION 4HESEQUESTIONSSEEMEDTOBELINKEDTOTHETHEATRICALSPACE)HADBEEN WORKINGFORSEVERALYEARSINAVERYTINYTHEATERHOUSEWHERETHESTAGEWASNOT SEPARATEDFROMTHEAUDITORIUMBYAPROSCENIUMOPENING#REATINGSCENOGRA PHIESFORTHISSPACEWASDIFFERENTFROMCREATINGFORCONVENTIONALVENUESWITH APROSCENIUMWHEREYOUCANTHINKOFTHESCENICDESIGNASAPICTORIALVISION /NASMALLSTAGEWITHNOCLEARBOUNDARYBETWEENAUDIENCEANDACTORSTHE SCENOGRAPHERHASTOBEMOREINVOLVEDWITHTHEDEVELOPMENTOFSTAGEACTION -OREOVERTHEAUDIENCECANNOTBEHIDDENBUTHASTOBEINCLUDEDTOTHEDE SIGNASANUNPREDICTABLEELEMENTTHATCOMPLETESTHESCENOGRAPHY )CONCLUDEDTHATTHEBASICINTERACTIONBETWEENACTORSANDAUDIENCESWAS MOREVISIBLEINTINYTHEATERROOMS#ONSEQUENTLY)DECIDEDTOTAKEALOOKAT WHATKINDOFSCENOGRAPHIESHADBEENDONEINSUCHVENUES/NEOFTHEPLAY ) NT RODUC T ION \ WRIGHTSMOSTPERFORMEDONSMALLSTAGESWAS3TRINDBERGANDESPECIALLYHIS NATURALISTICTRAGEDY-ISS*ULIE4HISSHOULDBENOSURPRISESINCE3TRINDBERG INHISPREFACETOTHEPLAYMADESUGGESTIONSABOUTSTAGINGITINANINTIMATE THEATERROOMWHICHHECONSIDEREDNECESSARYFORTHESUGGESTIVEILLUSIONHE WANTEDTOCREATE -ISS*ULIECONTAINSASPATIALDRAMATURGYINTERTWININGTHEACTORSANDSTAGE SPACEINTOEACHOTHERINAVERYCREATIVEWAY"YLETTINGTHEDRAMATAKEPLACE INASINGLESETTINGOVERONENIGHTTHEAUTHOREMPHASIZEDTHEINTENSITYOFAT MOSPHEREBUTHEALSODEVELOPEDASTAGESPACEWERETHEACTORSANDTHESCENOG RAPHYWEREINSEPARABLYCONNECTEDTOEACHOTHER4HENATURALISTICIDEOLOGY EXPRESSEDIN-ISS*ULIEANDTHEFAMOUSPREFACEWRITTENSHORTLYAFTERTHEPLAY LINKEDTHESPATIALARRANGEMENTOFTHESTAGEWORLDTOTHERELATIONSHIPBETWEEN PERFORMANCEANDITSAUDIENCE 4HEPREFACEOF-ISS*ULIEISAMANIFESTATIONOFTHEATRICALPRINCIPLESTHATHAVE VERYMUCHSHAPEDTHEDEVELOPMENTOFMODERNTHEATERPROVIDINGMODELS THATBEENBOTHREPLICATEDANDDIRECTLYCONTESTED,OOKINGAT3TRINDBERGSPRO POSALSITCANBENOTEDTHATMOSTOFTHEMHAVENOTONLYCOMETRUEINCONTEM PORARYTHEATRICALPRACTICEBUTALSOBECOMEGENERALLYACCEPTEDCONVENTIONS /NEUNITINGFEATUREFORTHEVARIOUSMOVEMENTSOFLASTCENTURYHASBEENTHE REJECTIONOFNATURALISTICREPRESENTATIONBASEDONAVERISIMILITUDEWITHTHEAP PEARANCEOFTHEOBJECTIVEWORLD(OWEVERAS5NA#HAUDHURIHASSHOWN -ISS*ULIEISAPLAYWHICHBOTHREPRESENTSTHETRADITIONOFHIGHNATURALISM ANDIMPLICITLYMAKESTHISTRADITIONVULNERABLE4HISISONEREASONWHYTHE PLAYPROVIDESANINTERESTINGCONTEXTFORSTUDYINGSCENICMODESOFREPRESENTA TION)TTIESTHEMTOPHILOSOPHICALDISCUSSIONSABOUTTHERELATIONSHIPBETWEEN MANANDTHEWORLDABOUTOURPERCEPTUALACCESSTOTHEWORLDANDABOUT HOWWECONSTRUCTVISUALILLUSIONS $IBVEIVSJ 3PLFN¬ 4HISPROBLEMATICSHASBEENLINKEDTOTHESPATIALARRANGEMENTOF-ISS*ULIEBY &REDDIE2OKEMINHISANALYSISOFTHETHEATRICALSPACEUSEDINEARLYMODERN DRAMA!CCORDINGTO3TRINDBERGSINSTRUCTIONSTHEKITCHENSHOULDBEPRE SENTEDDIAGONALLYSOTHATONLYONECORNEROFITISVISIBLEANDTHEAUDIENCEIS CONCEPTUALLYSITTINGINTHEINVISIBLEPARTOFTHEKITCHEN4HISIMAGINARYIN CLUSIONOFTHEAUDIENCETOTHEPLAYWORLDWASLINKEDTOTHEPOSSIBILITYOFGET TINGKNOWLEDGEABOUTTHEPLAYWORLD \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES %VERYTHINGTHESPECTATORSAWWASDEPENDENTONHISHERPOSITIONINSIDETHE PERFORMANCESPACE4HISCOULDBESEENASASPATIALEQUIVALENTTOTHEPHILOSO PHICALIDEAOFEXISTINGINTHEWORLDWITHOUTACCESSTOANABSOLUTEKNOWLEDGE MADEPOSSIBLEBYMEANSOFOUTSIDEOBSERVATION4HISEXPERIENCECOULDBEAP PLIEDTOTHEIDEAOFTHEUNCERTAINTYOFALLKNOWLEDGEPRESENTEDTHROUGHTHE PERFORMANCE4HEFUNCTIONOFTHESCENOGRAPHICAPPARATUSIN-ISS*ULIETHUS HASANEPISTEMOLOGICALDIMENSIONLINKEDTOTHEQUESTIONOFOUREXISTENCEIN THEWORLD4HESCENOGRAPHICEXPERIMENTSWITH-ISS*ULIEDISCUSSEDINMY STUDYENGAGEWITHTHISPROBLEMATICSINDIFFERENTWAYS 5 . $ % 2 3 4! . $ ) . ' 3 # % . ) # $ % 3 ) ' . 3 )HAVEDISCUSSEDTHESCENOGRAPHIESASDISTINCTIVECASESTUDIESALLOFWHICH HAVETHEIROWNlELDOFPROBLEMS4HEEMPHASISOFEACHINDIVIDUALSTUDYIS ONADIFFERENTASPECTOFSCENOGRAPHYILLUMINATINGTHEMANYSIDESOFITSCO OPERATIVECHARACTER4HEQUESTIONSTHATHAVECOMEOUTOFTHEMATERIALCOR RESPONDTOMYIDEASABOUTTHECENTRALISSUESTHATSCENOGRAPHICDESIGNMUST ENGAGEWITHTHEACTORSUSEOFSPACEANDTHEPRODUCTIONOFVISIONSTHEPRAC TICEOFCONSTRUCTINGTHESCENOGRAPHIESTHECARRYINGOUTOFTHEDIRECTORSIN TENTIONSTHESPATIALEXPERIMENTATIONSWITHTHEAUDIENCESPOSITIONTHEUSEOF VISUALIMAGERIESANDTHESUBJECTIVITYOFSCENOGRAPHICEXPERIENCES )WASFACEDWITHTHEGENERALDIFlCULTYOFGETTINGRELEVANTINFORMATIONFROM PASTPERFORMANCESWHICHEXISTONLYASATEMPORARYINTERACTIONBETWEENACTORS ANDAUDIENCES-ANYFACTORSHAVEINmUENCEDTHECREATIONOFTHESETDESIGNS ANDALLOFTHEMCANNOTBEANALYZEDWITHINTHISSTUDY/FTENITISIMPOSSIBLE TOBECERTAINWHETHERAPARTICULARSOLUTIONISDUEUNAVOIDABLECIRCUMSTANCES ORPERSONALPREFERENCESORWHETHERITISANINDICATIONOFCULTURALANDSOCIAL DEVELOPMENT4HEDOCUMENTARYEVIDENCEAVAILABLEFROMTHEPERFORMANCES ISVERYDIFFERENT4HEPRESERVEDDOCUMENTSANDPERSONALMEMOIRSABOUTTHE PRODUCTIONSEXISTINFRAGMENTSANDDIFFERGREATLY )AMGUILTYOFCERTAINPRAGMATISMBECAUSE)DECIDEDTHATEACHSCENICDESIGN SHOULDBESTUDIEDRELATIVETOTHEEVIDENCETHAT)HADACCESSTO)NINSTANC ESWHERE)HAVESEENTHESTAGINGLIVEORONVIDEO)HAVEFOCUSEDONGIVING APERFORMANCEANALYSISASMYACCESSROUTETOTHEDESIGNISASASPECTATOR 7HEN)HAVENOTBEENABLETOVIEWTHEPERFORMANCE)HAVECONCENTRATEDON ) NT RODUC T ION \ PROBLEMSRELATEDTOTHECREATIVEPROCESSOFSCENICDESIGN&ORTHIS)HAVEUSED REHEARSALDIARIESNOTESANDINTERVIEWSOFTHEARTISTSASMYPRIMARYSOURCES )HAVENOTSYSTEMATICALLYPOSEDTHESAMEQUESTIONSTOEACHSCENOGRAPHYAS IFTHEYWEREDIFFERENTPARADIGMATICVERSIONSOFONEBASICTASK.ORDO)COM PARETHEMTOEACHOTHERINORDERTOCATEGORIZETHEIRFEATURESANDTODISCERNA COMMONLINEARDEVELOPMENT4HISISPARTLYBECAUSEOFTHEDIFFERINGNATUREOF MYSOURCESBUTALSOBECAUSESUCHATTEMPTSDIDNOTGIVEANSWERSTHATWOULD HAVESATISlEDME 2ATHER)ASPIRETOENGAGEINlVERELATIVELYINDEPENDENTDISCUSSIONSABOUTTHE WAYSINWHICHTHEWORLDCANBESEENTHROUGHSCENOGRAPHYANDWHATKINDOF PROBLEMSTHISCREATES-YMETHODHASBEENTODEVELOPTHETHEORETICALQUES TIONINGSTARTINGFROMTHECONCRETEEVIDENCEANDNOTSOMUCHTOSYSTEMATIZE THEEVIDENCEINTOAUNIFORMPREVIOUSLYDElNEDTHEORETICALNETWORK4HIS MAYCAUSECONFUSIONBUT)HOPETHATTHROUGHTHISATTITUDE)CANBETTERRE SPECTTHEPARTICULARARTISTICCHARACTEROFEACHSCENOGRAPHY -YSTUDYUNFORTUNATELYLACKSASCOPINGOFCONNECTIONSBETWEENSCENOGRAPHY ANDTHEHISTORICALDEVELOPMENTOFCULTUREANDSOCIETY)AMDEEPLYCONVINCED THATTHISRELATIONSHIPISOFVITALIMPORTANCEBUT)HAVENOTTHESCHOLARLYQUALI lCATIONNEEDEDFORTHATKINDOFANALYSIS)AMNOTAHISTORIANNORASOCIOLO GISTBUTASCENOGRAPHER4HEFOCUSOFMYSTUDYISONARTISTICTHINKINGNOTIN THEECONOMICALANDPOLITICALSTRUCTURESIRREVOCABLYCONDITIONINGIT 4(%#(/)#%/&4(%3#%./'2!0()%3&/2#,/3%2345$9 4HE&INNISH4HEATRE)NFORMATION#ENTREHASLISTEDALMOSTPROFESSIONAL STAGINGSOF-ISS*ULIEIN&INLAND#HAPTERGIVESASHORTOVERVIEWOFTHE-ISS *ULIESCENOGRAPHIESAFTERCONCENTRATINGONPERIODSWHENTHEPLAYSEEMS TOHAVEAWOKENPARTICULARINTERESTTHEYEARSIMMEDIATELYAFTERTHEWARSAND THEENDOFTHESANDS!LLPROFESSIONALSTAGINGSOFTHEPLAYIN&IN LANDARELISTEDINTHE!PPENDIXANDTHEMOSTRELEVANTINFORMATIONOFTHE PERFORMANCESSINCE3ECOND7ORLD7ARISINTRODUCEDIN!PPENDIX )HAVECHOSENTOCLOSELYEXAMINElVESCENOGRAPHIESWHICHOFFERTHEMOSTOP PORTUNITYTODISCUSSTHESUBJECTOFMYINTEREST&IRSTLYTHEYDIFFEREDFROMTHE \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES CONVENTIONALKITCHENANDSOMEHOWCHALLENGEDORNEGOTIATEDTHENATURALISTIC IDEOLOGYOFTHEPLAY4HESEKINDSOFSTAGINGSWEREMOSTLYFOUNDAMONGTHE EXPERIMENTALPERFORMANCESSTARTINGINTHES4HEFOLLOWINGDECADESHAVE BEENATIMEOFRAPIDDEVELOPMENTFOR&INNISHTHEATERANDSOCIETYANDSCENOG RAPHICTHINKINGHASGONETHROUGHFUNDAMENTALCHANGESDURINGTHISPERIOD 3ECONDLYTHECHOSENSCENOGRAPHIESREPRESENTINMYEYESSOMEOFTHEMOST DISTINCTSTYLESOFRECENT&INNISHSCENOGRAPHYALTHOUGHTHEYCANNOTBESEEN ASACOMPREHENSIVEOVERVIEW-YMAJORCONCERNHASBEENTHERELEVANCEOF SCENOGRAPHICSTATEMENTSANDPROBLEMSFROMTHEPERSPECTIVEOFCOMMONTHEA TERPRACTICEAS)KNOWITFROMMYOWNEXPERIENCE)HAVENOTLOOKEDFOR ARTISTICALLYORHISTORICALLYREMARKABLEPERFORMANCESINTRODUCINGNEWINNOVA TIONSBUTFOREXAMPLESOFSCENOGRAPHICTHINKINGTHATHAVECOMETOBEREPRE SENTATIVEOFCONTEMPORARY&INNISHTHEATER!LTHOUGH)HAVENOTPARTICIPATED INTHEMAKINGOFANYSCENOGRAPHIESDISCUSSED)HAVEASSISTEDWITHOTHERPRO DUCTIONSTHATHAVESIMILARMETHODSAIMSANDDIFlCULTIES )lRSTEXAMINED&INNISH-ISS*ULIEPERFORMANCESBYMEANSOFNEWSPAPERRE VIEWSWHERE)COULDGETSOMEROUGHIDEAABOUTEACHSCENOGRAPHY4HROUGH THIS RESOURCE MY ATTENTION WAS DRAWN TO ABOUT TEN PERFORMANCES THAT SEEMEDTOEXEMPLIFYTHEISSUESOFMYINTEREST)DECIDEDTOFOCUSONLYON HALFOFTHEMINORDERTOKEEPTHEMATERIALWITHINAREASONABLESIZEANDALSO TOAVOIDOVERLAPPINGDISCUSSIONSOFTHESAMEISSUES!NOTHERCRITERIONFORTHE SELECTIONWASTHEAVAILABILITYANDRICHNESSOFDOCUMENTARYMATERIALABOUTTHE PERFORMANCES )HAVEALSOTRIEDTOPAYATTENTIONTOTHEDIVERSITYOFTHETHEATRICALCONTEXT OFTHEPERFORMANCES)TRANGESBETWEENANEXPERIMENTALPROJECTAT4AMPERE 5NIVERSITYTOASTAGINGINTHE&INNISH.ATIONAL4HEATRE4HEPERFORMANCE SPACESVARYFROMMODERNSTUDIOSTAGESTOTEMPORARYTOURINGVENUES4HE SCENICARTISTSHAVEDIFFERENTBACKGROUNDSFOREXAMPLEONEOFTHEMWASA0OL ISHACTORDIRECTORANDTHEPROFESSIONAL&INNISHSCENOGRAPHERSAREALSOFROM DISSIMILARBACKGROUNDS )MPAINFULLYAWARETHAT)HAVEPUTASIDEMANYSTAGINGSWHICHAREEQUALLY WORTHSTUDYING4HISKINDOFACHOICEISALWAYSMOREORLESSARBITRARYFOLLOW INGMYOWNPREFERENCESANDINTERESTS!NDBYLIMITINGMYSELFTO-ISS*ULIE )HAVEMISSEDTHEOPPORTUNITYTODEALMANYIMPORTANTSCENOGRAPHICPHE ) NT RODUC T ION \ NOMENONSNOTREPRESENTEDAMONGTHEPERFORMANCESOFTHISPLAY-YTHESIS SHOULDNOTBEREADASACOMPLETESURVEYEITHERON&INNISHSCENOGRAPHYORON -ISS*ULIEBUTASANATTEMPTTOSHEDSOMELIGHTONTHISSTILLVERYUNEXPLORED DOMAINOFTHEATER h3TRINDBERGvDISCUSSEDIN#HAPTERISANEXAMPLEOFASCENOGRAPHY THATISDEVISEDDURINGSTAGEREHEARSALSANDTHEREFOREBENElTSSPONTANEOUSIM PULSES4HESETANDPROPSHADNOREALISTICFUNCTIONBUTTHEACTORSUSEDTHEM METAPHORICALLY4HEACTORSGESTURESALSOCREATEDVISUALIMAGESANDREPRESEN TATIONSOFSPACEANDPLACE4HESCENOGRAPHYANDTHEACTORSMADEUPANIN TERACTIVESYSTEMANDTHEREWASNEEDEDNOSPECIALSCENICDESIGNERh3TRINDBERG vFOCUSEDMYATTENTIONTOTHECONSTRUCTIONOFTHEATRICALSIGNSTHROUGH EMBODIEDACTIONINSTEADOFSTABLEIMAGESANDTOTHEMEANINGSCREATEDBY LIVEDEXPERIENCESOFSPACE #HAPTERDISCUSSESTHEPRODUCTIONOF-ISS*ULIEINTHE4URKU3WEDISH4HEA TER)TDRAWSATTENTIONTOTHETECHNICALPROCEDUREOFCREATINGTHESET)TCON SIDERSTHECHALLENGESOFMAKINGSCENICDESIGNSFORTOURINGPERFORMANCES RELEVANTTOTHEIRVARIOUSLOCALENVIRONMENTS&INALLYITINVESTIGATESTHECOM MUNICATIVEROLEOFMODERNSCENOGRAPHYASASPATIOVISUALMETAPHORFORTHE DIRECTORSUNDERLYINGMESSAGE4HISCHAPTERISCERTAINLYTHEMOSTPRACTICALLY ORIENTEDPOINTINGOUTSOMECONDITIONSANDPREMISESOFASCENOGRAPHERS DAILYWORK(OWEVERAMORETHEORETICALSTATEMENTCANBEMADEABOUTTHIS 4HEMACHINERYOFDESIGNINGCONSTRUCTINGANDSETTINGUPSCENOGRAPHIESEX ISTSWITHINTHECONTEXTOFAHISTORICALLYANDMATERIALLYCONDITIONEDAPPARATUS WHICHNOTONLYDRAWSTHELIMITSOFARTISTICEXPRESSIONBUTALSOCREATESMEAN INGSOFITSOWN4HEINTENDEDARTISTICCOMMUNICATIONONLYTAKESPLACEWITHIN THISAPPARATUS 4HESETWOCHAPTERSFOCUSONTHESCENOGRAPHICPROCESSFROMTHREEDIFFERENT PERSPECTIVESACTINGSTAGEPRACTICEANDTHEDIRECTORSANALYSIS-YVIEWPOINT ISTHATOFTHEARTISTSWORKINGONASTAGE #HAPTER-ISS*ULIEAT+/-TEATTERIDEALSWITHSPATIALARRANGEMENTSAND DElNESTHELIMITSANDPOSSIBILITIESOFHOWAPERFORMANCECANBERECEIVEDBY ANAUDIENCE4HEPERSPECTIVEOFTHEAUDIENCEWASOBSERVEDBYSITUATINGTHE PLAYINACAFETERIA*ULIESTRAGEDYTOOKPLACEHEREAMONGTHESPECTATORS4HIS DRAWSTHEATTENTIONTOTHEBOUNDARYBETWEENPUBLICANDPRIVATEANDALSOTO \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES THEFRAGMENTARYVIEWOFEACHSPECTATORSITTINGINTHEMIDDLEOFTHEEVENTS )NSTEADOFCONSTRUCTINGASETONSTAGETHESCENOGRAPHEROPERATEDONTHEEN TIREPERCEPTIONALAPPARATUSOFTHETHEATRICALEVENT #HAPTERINTRODUCES-ISS*ULIEATTHESTUDIOSTAGE7ILLENSAUNAINTHE&INN ISH.ATIONAL4HEATREHERETHEVISUALAPPEARANCEOFTHESTAGESUPERCEDEDTHE PERFORMANCE)MAGESWEREUSEDTOMANIPULATETHESPECTATORSEMOTIONALEX PERIENCESTHUSDETERMININGTHEWAYTHEPLAYWASTOBERECEIVED4HEPRIMACY GIVENTOVISUALPERCEPTIONEMPHASIZEDTHESIGNIlCANCEOFSENSESINTHECON STITUTIONOFTHOUGHT4HESPECTATORSRECEPTIVEMODEWASDElNEDBYTHEOVER WHELMINGVISUALAPPARATUSnINSPITEOFTHEIROUTERDIFFERENCESTHISSCENOG RAPHYSHAREDACOMMONATTITUDEWITHTHE+/-STAGING4HEYBOTHOPENLY MANIPULATEDTHELIMITSANDPOSSIBILITIESOFSEEINGANDTHUSMADEUSAWAREOF THESUBJECTIVITYOFVISION 4HESETWOCHAPTERSCONCENTRATEONTHEWAYSINWHICHSCENOGRAPHYFUNCTIONS ASANAPPARATUSTHATCANDETERMINETHEPLAYSRECEPTION)NTHECHAPTERS) HAVEPLACEDMYSELFINTHEAUDIENCEANDCONSIDEREDTHEIMPACTOFSCENICDE SIGNSFROMTHISPOSITION )N#HAPTERTHESCENICDESIGNFOR-ISS*ULIEPERFORMEDIN1TEATTERIISDIS CUSSEDINTERMSOFITSFACILITATIONADIALOGUEBETWEENSUBJECTIVEINPUTSAND REACTIONSTOTHEPLAY4HESCENERYCREATESABOUNDARYBETWEENINSIDEEXPERI ENCESANDOUTSIDEWORLDS)BENElTEDFROMSEEINGTHEPERFORMANCELIVEAND SPEAKINGINDEPTHWITHTHESCENOGRAPHERABOUTHERCREATIVEPROCESS4HISEN ABLEDMETOCONSIDERTHISSTAGINGASADIALOGUEBETWEENDIFFERENTSUBJECTIVE PERSPECTIVESIETHATOFTHESCENOGRAPHERANDTHATOFTHEAUDIENCEWHICHIN MYOPINIONISTHEBASISOFARTISTICCOMMUNICATION )NTHECONCLUDINGCHAPTER#HAPTER)SUGGESTTHATTHESCENOGRAPHICTHINK INGINALLTHESEPERFORMANCESUNDERMINESTHENATURALISTCOMPREHENSIONOF VISIONASADIRECTROUTETOTHEWORLD@ASITIS4HEPRODUCTIONSENGAGEWITH QUESTIONSABOUTTHEWAYSINWHICHOURPERCEPTIONISCONSTRUCTED(OWDO WEGETINFORMATIONFROMTHEOUTSIDEWORLDTHROUGHOUREYESWHYDOWEEX PERIENCEIMAGESASMEANINGFULCANWESHAREOURVISIONWITHOTHERPEOPLE 4HESCENOGRAPHIESOF-ISS*ULIEPROBLEMATIZETHEACTOFSEEINGTHEWORLD THUSCONTINUINGTHEDISCUSSIONSTARTEDBY3TRINDBERG ) NT RODUC T ION \ 4HElVESCENICDESIGNSWILLALLBEDEALTINTHEIROWNCHAPTERS4HEDOCUMEN TARYMATERIALOFTHEPERFORMANCESWILLBEINTRODUCEDMOREPROFOUNDLYIN SEPARATEAPPENDICESCONTAININGPHOTOGRAPHSINTERVIEWSNOTESFROMREHEARS ALSREVIEWSBACKGROUNDINFORMATIONETC)NTHESESECTIONS)HADTOBESTRA TEGICWITHMYSELECTIONINORDERTOKEEPTHEAPPENDICESATAREASONABLESIZE 4HEYMAINLYINCLUDEDPHOTOSSTILLSFROMTHEVIDEOSCONTEXTUALMATERIALIN TERVIEWSANDNOTESTHATSHEDLIGHTONTHEISSUESDISCUSSEDINTHESTUDY , ) 4 % 2 !4 5 2 % ! . $ 3 / 5 2 # % 3 /NEOFMYBIGGESTPROBLEMSHASBEENTHELIMITEDAMOUNTOFTHEORETICALWRIT INGSONSCENOGRAPHY!LTHOUGHTHEREAREANUMBEROFPRACTICALGUIDEBOOKS ONLYFEWWRITERSHAVETAKENANINTERESTINSCENOGRAPHYASASCHOLARLYSUBJECT 4HEMOSTIMPORTANTOFTHEMISARGUABLY!RNOLD!RONSON(ISBOOK(ISTORY AND4HEORYOF%NVIRONMENTAL3CENOGRAPHYANDARTICLEh0OSTMODERN$ESIGNv HAVEBEENGREATLYBENElCIALTOMYSTUDY 4HEFEWWRITTENDISCUSSIONSBYSCENOGRAPHERSTHATEXISTAREOFTENACCESSIBLE ONLYTOPROFESSIONALSINTHElELD0AMELA(OWARDHASMADEAREMARKABLE STEPWITHHERBOOK7HAT)S3CENOGRAPHY)TCOMBINESPRACTICALKNOWLEDGE PERSONALEXPERIENCEANDARTISTICOPINIONSTOTHEORETICALQUESTIONSANDMAKES THEMCOMPREHENSIBLEFORAWIDERAUDIENCE "SPOTPO "SPOTPO 4HEOPPORTUNITYFORDOCTORALSTUDENTSATTHEARTUNIVERSITIESHASCREATEDA NEWSCHOLARLYlELDOFPRACTICINGARTISTSIN&INLAND4HEDIRECTOR!NNETTE!R LANDERGRADUATEDASTHElRSTDOCTOROFARTATTHE4HEATRE!CADEMYWITHHER THESIS%SITYSTILANA4HE0ERFORMANCEAS3PACEIN)NTHISSHEDISCUSSES HEROWNPRODUCTIONSINDIFFERENTSPACESGIVINGATEXTBASEDANALYSISASWELL ASADIRECTORANDACTORSPERSPECTIVE4HELICENTIATEDTHESIS-ISTØKUVAT TULEVAT7HERE$O)MAGES#OME&ROMBY,IISA)KONENDEALSWITHTHEPRO CESSOFFOUREXPERIMENTALPERFORMANCESFROMTHESUBJECTIVEPERSPECTIVESOF THESCENOGRAPHICARTIST2AUNI/LLIKAINENHASGIVENANOVERVIEWOFTHEDE VELOPMENTOF&INNISHSCENOGRAPHYINHERLICENTIATEDTHESIS-UUTTUVALAVASTUS #HANGING3CENOGRAPHY )PXBSE "SMBOEFS *LPOFO 0MMJLBJOFO !LTHOUGHTHESEWORKSARECLOSETOTHECONTEXTOFMYSTUDYMYTHEORETICAL SUPPORTISRATHERDERIVEDFROMUSINGSCENOGRAPHYIDEASTHATHAVEBEENDEVEL \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES OPEDFORMOREGENERALPURPOSESINTHEATERSTUDIES4HETHEORIES)HAVESELECT EDFORMYSTUDYARETHOSETHATSEEMTOENRICHMYQUESTIONS &IRSTOFALL)HAVELINKEDTHEDEVELOPMENTOFMODERNSCENOGRAPHYTOTHEUSE OFVISIONSPACEANDPLATIALITYINTHEDRAMATICWORKSOF!UGUST3TRINDBERG PARTICULARLYIN-ISS*ULIE7HILE)HAVEBEENSHORTOFSCHOLARLYAPPROACHES TOSCENOGRAPHYTHEREISANOVERWHELMINGAMOUNTOFWORKONTHISNATURAL ISTICPLAYANDITSAUTHOR)HAVEHADTOFOCUSONTEXTSTHATDIRECTLYDEALWITH THESPATIALTHEMATICORWITHTHEAPPARATUSTHATMAKESTHEPLAYWORLDVISIBLE TOAUDIENCES )HAVERESTEDPRIMARILYON&REDDIE2OKEMSSPATIALANALYSISOF-ISS*ULIEIN TRODUCEDINSEVERALBOOKSANDARTICLES4HEATRICAL3PACEIN)BSEN#HECHOVAND 3TRINDBERG0UBLIC&ORMSOF0RIVACYh4HE#AMERAANDTHE!ESTHETICSOF2EP ETITION3TRINDBERGS5SEOF3PACEAND3CENOGRAPHYIN-ISS*ULIE!$REAM 0LAYAND4HE'HOST3ONATAvANDh&ROM/NE0OINT0ERSPECTIVETO#IRCULAR 6ISION3OME3PATIAL4HEMESAND3TRUCTURESINTHE-ODERN4HEATREv4HE CONCEPTOFGEOPATHOLOGYDEVELOPEDBY5NA#HAUDHURIANDHERREADINGOF -ISS*ULIEASANIMPASSEOFNATURALISMINTHEBOOK3TAGING0LACE4HE'EOGRA PHYOF-ODERN$RAMAHAVEBOTHPROVEDVERYUSEFUL )GAINEDANOVERVIEWOFMODERNWRITINGABOUT-ISS*ULIEFROMTHEBOOKS-ISS *ULIEA0LAYAND)TS4RANSPOSITIONSBY"ARRY*ACONSAND%GIL4RNQVISTAND 0ERSPEKTIVP»&RKEN*ULIEEDITEDBY5LLA"RITTA,AGERROTHAND'RAN,IND STRM3TRINDBERGIANTHINKINGRELATEDTOMYSTUDYHASBEENEXPLOREDMORE GENERALLYINTHEFOLLOWINGARTICLES%GIL4RNQVISTh3TRINDBERGAND3UBJECTIVE $RAMAv(ARRY'#ARLSONh3TRINDBERGAND6ISUAL)MAGINATIONv%SZTER 3ZALCZERh.ATURES$REAM0LAY-ODESOF6ISIONAND!UGUST3TRINDBERGS 2E$ElNITIONOFTHE4HEATREv *IBWFCFFOVTJOH 5IFFOHMJTIFEJUJPO 5SBOTMBUFECZ &EXJO#KzSLNBO %PWFSQVCMJDBUJPOT 3PLFN 3PLFN 4HESESTUDIESDEALPRIMARILYWITHTHELITERARYTEXTINSTEADOFPERFORMANCESON STAGEBUTTHEYOFFERAVIEWINTOTHEWAYSINWHICHTHEVISUALANDSPATIALAP PARATUSISSUPPOSEDTOWORKASONEPRIMARYELEMENTOFTHEDRAMA4HEREBY THEYENABLEDISCUSSIONSABOUTTHEROLEOFSCENOGRAPHYASATOOLFORMAKING THESPECTATORSEE)HAVEBORROWEDTHEIDEAABOUTA@RHETORICOFSCENOGRAPHY FROM7ILLIAM"7ORTHENWHOINHISBOOK-ODERN$RAMAANDTHE2HETORIC OF4HEATREHASANALYZEDTHEWAYSINWHICHDIFFERENTPERFORMANCEGENRESSPEAK TOTHEIRAUDIENCES ) NT RODUC T ION \ 3PLFN $IBVEIVSJ 5zSORWJTU+BDPCT -BHFSSPUI -JOETUSzN 5zSORWJTU $BSMTPO 4[BMD[FS 8PSUIFO 3INCESCENOGRAPHYISPRIMARILYAVISUALARTFORMAGREATPARTOFMYTHEORETICAL FRAMEWORKMUSTCOMEFROMTHATlELD(OWEVERARTHISTORYHASTRADITIONALLY ALMOSTTOTALLYIGNOREDSCENOGRAPHYPROBABLYBECAUSEOFITSUNCOMFORTABLE POSITIONBETWEENTHElELDSOFTHEATERANDART-YSOLUTIONHASBEENTORAISE VISUALITYITSELFINTOONECENTRALPROBLEM4HESCENICDESIGNREPRESENTSTHEVI SUALDIMENSIONOFAPERFORMANCERECEIVEDTHROUGHALLCOMMUNICATIVECHAN NELS&ORTHIS)HAVEBEENUSINGTHEHISTORICALSURVEYOFTHEPHILOSOPHYOFVI SIONBY-ARTIN*AY$OWNCAST%YES4HE$ENIGRATIONOF6ISIONINTHE4WENTIETH #ENTURY&RENCH4HOUGHT!NOTHERUSEFULBOOKHASBEEN4HE4ECHNIQUESOF THE/BSERVERBY*ONATHAN#RARYINTRODUCINGTHECONCEPTSOF#ARTESIANAND SUBJECTIVEVISIONS)HAVEALSOBENElTEDFROMTHEPHENOMENOLOGICALIDEASOF -AURICE-ERLEAU0ONTYANDTHEIMPRESSIVEWORKABOUTSPATIALIMAGERIES BY'ASTON"ACHELARD +BZ $SBSZ /NEOFTHEMOSTRECENTBOOKSRELATEDTOSCENOGRAPHYIS3PACEIN0ERFORMANCE BY'AY-C!ULEYWHOEMPHASIZESTHEINSEPARABILITYOFPHYSICALSPACEAND THEEXPERIENCEOFALIVEPERFORMANCEANDTHUSJUSTIlESMYPHENOMENOLOGI CALAPPROACH4HEREAREALSOMANYGREATBOOKSLIKE0LACESOF0ERFORMANCESBY -ARVIN#ARLSON!RCHITECTURE!CTOR!UDIENCEBY)AIN-ACINTOSH%NVI RONMENTAL4HEATERAND"ETWEEN4HEATER!NTHROPOLOGY BY2ICHARD3CHECH NER'REAT2ECKONINGSIN,ITTLE2OOMSBY"ERT/3TATESWHICHAREABIT FURTHERFROMMYEXACTSUBJECTBUTHAVEHELPEDMETOLINKSTAGEDESIGNTO LARGERCONTEXTSANDSTRUCTURESANDINmUENCEDMYTHINKINGCONCERNINGTHE REPRESENTATIVECAPABILITYOFSTAGE$ENMODERNATEATERNSGENOMBROTTn BY'STA-"ERGMANGIVESAGOODINTRODUCTIONTOTHEHISTORYOFEARLY MODERNSCENOGRAPHYSHOWINGHOWTHEATERMAKERSANDTHEORETICIANSWORKING AHUNDREDYEARSAGOWEREINVOLVEDWITHTHESAMEKINDSOFQUESTIONSASTHEY ARETODAY .FSMFBV1POUZ #BDIFMBSE .D"VMFZ $BSMTPO .BDJOUPTI 4DIFDIOFS 4DIFDIOFS 4UBUFT 4HEHISTORYOF&INNISHSCENOGRAPHYHASBEENSTUDIEDVERYLITTLE7HENTHE 5NIVERSITYOF)NDUSTRIAL!RTSANDTHE4HEATRE-USEUMARRANGEDASEMINAR ABOUTRESEARCHANDDOCUMENTATIONOFSCENOGRAPHYINPROFESSOR4IMO 4IUSANENNOTEDTHATITWASAVERYUNACCOMPLISHEDPROJECTCONTAININGMORE GAPSTHANASKELETON4WENTYYEARSONTHESITUATIONHASNOTIMPROVED MUCHALTHOUGHANUMBEROFIMPORTANTINDIVIDUALSTUDIESHAVECOMEOUTOF THE5NIVERSITY #FSHNBO 5JVTBOFO \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES !SIDEFROMTHESURVEYBY2AUNI/LLIKAINENTHEREISTHEWORKOF(ETA2EI TALAWHOHASSTUDIED&INNISHSCENOGRAPHYINTHEEARLYTHCENTURYPAR TICULARLYTHEWORKSOF-ATTI7AR£NWHOISPERHAPSOURMOSTWELLKNOWN SCENOGRAPHER0ENTTI0AAVOLAINENHASANALYZEDTHESCENOGRAPHICIDEASOF THEDIRECTOR*OUKO4URKKAASPARTOFHISTHEATRICALDEVELOPMENTINTHELATE S4HELINKBETWEENINDUSTRIALARTANDSCENOGRAPHYHASBEENDISCUSSED BY*OHANNA3AVOLAINENINHERSTUDYABOUTTHETHEATRICALWORKSBY4IMO3AR PANEVAAND/IVA4OIKKA ,ASTLY)WOULDLIKETOMENTIONTHEMOSTUNRELIABLEUNCERTAINBUTNOTUNIM PORTANTSOURCEOFMYSTUDYTHEUNWRITTENKNOWLEDGEACQUIREDTHROUGHMY OWNEXPERIENCESINTHEATERPRACTICE)TCANNOTBERELEVANTLYGENERALIZEDOR PROVEDBECAUSEOFITSSUBJECTIVITYPARTICULARITYINACCURACYANDTRANSITIONAL NATURE2EGARDLESS)THINKTHATTHISKNOWLEDGESHOULDNOTBEIGNOREDBE CAUSESCENOGRAPHICCOMMUNICATIONTAKESPLACETHROUGHTHEPROCEDURESYOU EXPERIENCEASAPRACTITIONERANDSPECTATOR 4HISEXPERIENCEISINVALUABLEFOROVERCOMINGTHEPROBLEMATICOFTHETEMPO RALPERFORMANCETHATNOPERSONALEXPERIENCENORANYDETAILEDDOCUMENTATION CANEVERBRINGBACK&ORTHELASTTWENTYYEARSMYJOBHASBEENTOlGUREOUT HOWAPLANNEDSCENOGRAPHYWOULDWORKINTHEMISEENSCÞNE4HEEXPERIENCE OFANTICIPATINGTHESCENICVISIONSANDSTAGEEVENTSMOREORLESSSUCCESSFULLY HASPROBABLYGIVENMESOMEIDEAABOUTTHERELATIONBETWEENIMAGINEDAND REALIZEDSCENES4HEDOCUMENTARYMATERIALOFAPASTPERFORMANCECANBEAP PROACHEDASIFITWEREADESIGN(OWWOULDITLOOKWHENSTAGEDACCORDING TOMYEXPERIENCES7HATKINDOFPRACTICALPROBLEMSARISEWITHCERTAINKINDS OFDESIGN -YOPINIONSAREOFCOURSEINmUENCEDBYMYOWNARTISTICANDPRACTICALTHINK ING)TISFORTHISREASONTHAT)WOULDRATHERDESCRIBEMYWRITINGASDISCUS SIONSABOUTANDINTERPRETATIONSOFTHESCENOGRAPHIESRATHERTHANASVERIlABLE STATEMENTSABOUTTHEIR@REALBEINGS4HISISPARTICULARLYTRUEOFTHENEWEST SCENOGRAPHYWHICH)HAVESEENASALIVEPERFORMANCE)THINKTHATMYREAD INGOFITISEVENMOREUNRELIABLETHANTHATOFTHEOLDERPRODUCTIONSWHICH) KNOWONLYFROMTHERECORDEDPERSPECTIVESOFOTHERINDIVIDUALSPHOTOSRE HEARSALNOTESDIARIESVIDEOTAPESREVIEWSANDINTERVIEWS 0MMJLBJOFO 3FJUBMB 1BBWPMBJOFO 4BWPMBJOFO ) NT RODUC T ION \ 3! "EINGA3CENOGRAPHER 4HEPURPOSEOFTHISCHAPTERISTODISCUSSSCENOGRAPHYFROMTHEVIEWPOINTOF ATHEATERPRACTITIONER)NSTEADOFSUGGESTINGANEXHAUSTIVEDElNITIONFORTHE WORDSCENOGRAPHY)UNDERSTANDITASAMULTILEVELEDlELDOFPROBLEMSDEAL INGWITHSPATIOVISUALPERCEPTIONANDITSUSEASAMEANSOFARTISTICCOMMUNI CATIONINTHEATER 4HEWORDSCENOGRAPHYORIGINALLYDERIVESFROMTHE'REEKSCENOGRAlKAWHICH MEANSWRITINGONSTAGE&ORCONTEMPORARYPURPOSESITCOULDBETRANSLATEDAS USINGTHESTAGEASAWAYOFCREATINGMEANINGS )NTHEATERPRACTICESCENOGRAPHYMEANSTHEDESIGNANDCONSTRUCTIONOFSTAGE SPACEWHICHTRADITIONALLYREPRESENTSTHElCTIVEMILIEUOFTHEPLAY(OWEV ERINMODERNTHEATERITREFERSTOAHOLISTICARRANGEMENTOFTHEPERFORMANCE SPACEWHICHDOESNOTHAVETOSTANDFORANYPARTICULARENVIRONMENT)N&INN ISHTHEWORDSKENOGRAlAALSOINCLUDESTHECOSTUMESLIGHTSPROPSHAIRDRESSES ANDMAKEUPSTHEREFOREINCORPORATINGALLTHEVISUALSIGNSOFAPERFORMANCE EXCEPTTHEACTORSMIMESANDGESTURES 7EHAVEANOTHER&INNISHWORDFORSCENOGRAPHYLAVASTUSWHICH)LIKEVERY MUCHBECAUSEITLITERALLYMEANSTOPUTSOMETHINGONSTAGEORTOEQUIPSOME THINGWITHASTAGE)TCOMESCLOSETOTHEWORDMISEENSCÞNEWHICHHASAHO LISTICMEANINGRATHERTHANREFERRINGSIMPLYTOBACKGROUNDSCENERIES3CENOG RAPHYISINEXTRICABLYLINKEDTOTHEDIRECTIONPROCESSOFAPLAYnITISPROBABLY NOCOINCIDENCETHATIN%STONIANTHEWORDLAVASTAJAMEANSDIRECTOR 3FJUBMB 3CENOGRAPHYCANNOTBETHOUGHTOFASDISTINCTFROMTHETRANSIENTTHEATRICAL PERFORMANCEWHICHnASOFTENREPEATEDnISCOMPLETEDONLYINTHEINTERAC TIONBETWEENTHESPECTATORSANDTHEACTORS!LTHOUGHTHESETANDCOSTUMES \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES CANBESEENASARTIFACTSDOCUMENTINGTHEPASTEVENTANDSOMETIMESASARTI FACTSONTHEIROWNTERMSTHEYCANNOTBEPROPERLYREFERREDTOASSCENOGRAPHY OUTSIDETHELIVEPERFORMANCE(ENCEYOUCANNOTTALKOFSCENOGRAPHYASAN INDEPENDENTARTISTICENTERPRISE)TSEEMSMOREUSEFULTOTHINKOFITASASPE CIlCVIEWPOINTONAPERFORMANCE )TCANBESAIDTHATTHEREISASCENOGRAPHICASPECTEMBEDDEDINEVERYPERFORM ANCEBECAUSEALLTHEATRICALACTIONTAKESPLACEINSOMEPHYSICALLOCATION/N THEOTHERHANDTHEFICTIVETIMEANDPLACECANBEREPRESENTEDBYALMOST ANYCOMMUNICATIVECHANNEL!VISIBLEILLUSIONCANBECOMPLETELYREPLACED BYSPOKENTEXTSTHATJUSTGIVEINFORMATIONABOUTTHETIMEANDPLACEOFA SCENE4HEPLACECANBEREPRESENTEDBYMERESOUNDSFOREXAMPLETHECRIESOF SEAGULLSBRINGTHEPERFORMANCETOTHESEASHOREORTHEWHISTLEOFALOCOMO TIVEMAKESUSTHINKOFARAILWAY%VENARADIOPLAYCREATESANEXPERIENCEOF SPACEANDPLACEANDSODOESADRAMAONLYSILENTLYREADFORONESELF #ONSEQUENTLYTHESETMAYWORKAURALLYWHENFOREXAMPLETHEMATERIALOF THESTAGEmOORMAKESAPARTICULARSOUNDWHENSTEPPEDONBYTHEACTORS)T CANALSOBESMELTORTHEAUDIENCEMAYHAVEPHYSICALCONTACTWITHTHESET FOREXAMPLEBYMEANSOFUNUSUALLYPLACEDSEATS&INALLYALLSCENICMEANINGS AREONLYCREATEDANDDECODEDINTHECONTEXTOFALIVINGPERFORMANCE4HAT ISWHYSCENOGRAPHYRESEMBLESOFTHEEVERYDAYEXPERIENCEOFANENVIRONMENT WHEREALLCOMMUNICATIVECHANNELSMERGEINTOEACHOTHER 3CHOLARLYDEFINITIONSOFSCENOGRAPHYAREOFTENBASEDONSEMIOTICUNDER STANDINGSOFPERFORMANCEASANETWORKOFSIGNSYSTEMSTHATCANBEGROUPED ACCORDINGTOTHEIRPROPERTIESFOREXAMPLEVISUALORAURALSIGNSFIXEDOR MOVEABLESIGNSSIGNSEXISTINGINTIMEORSPACESIGNSCLOSELYCONNECTEDTO ACTORSBODYORTHOSEOUTSIDEOFIT3CENOGRAPHYCOULDTHUSBEDElNEDASA SYSTEMOFVISUALANDSPATIALRELATIVELYlXEDTHEATRICALSIGNSEXISTINGOUTSIDE THEACTORSBODY (OWEVERTHESEMIOTICCLASSIlCATIONSAREUSUALLYACCOMPANIEDBYTHEUNDER STANDINGTHATONESYSTEMMAYTAKEOVERTHETASKOFANOTHERANDTHEMEAN INGSAREmUCTUATINGANDEXISTONLYINCOOPERATIONWITHALLTHESYSTEMS%RIKA &ISCHER,ICHTEGIVESAUSEFULDElNITIONSUGGESTINGTHATTHEATRICALSIGNSARE ALWAYSDERIVEDFROMCULTURALSIGNS4HEYMAYORMAYNOTHAVETHESAMEMA TERIALCONSTITUTIONASTHEPRIMARYSIGNSTHATTHEYSIGNIFY!CHAIRCANBEREP " EIN G A 3 C EN OGRAP HER \ 4BMPTBBSJ &MBN¬ 'JTDIFS-JDIUF RESENTEDBYACHAIRBUTITALSOPOSSIBLETHATTHEACTORONLYIMITATESTHEACTOF SITTINGDOWN4HATGESTUREDSIGNISUNDERSTOODBYOURCULTURALHABITOFSIT TINGONACHAIR4HESKILLOFCREATINGSCENICILLUSIONSISNOTTHATOFCONSTRUCT INGVISUALEQUIVALENCESBUTTOMAKETHESPECTATORRECALLANEXPERIENCEFROM HISHERMEMORY4HISMAYHAPPENBYANYMEANS )TISMOSTLYFORPRACTICALREASONSTHATSCENOGRAPHYHASBEENSEPARATEDINTOA DOMAINANDPROFESSIONOFITSOWN7HETHERASPECIALIZEDSPATIOVISUALDE SIGNERISNEEDEDATALLINEVERYPRODUCTIONHASINFACTBEENAMUCHDEBATED QUESTIONAMONG&INNISHDIRECTORSANDSCENOGRAPHERSDURINGTHEPASTDE CADES4HEPROFESSIONALIDENTITIESASWELLASTHEPRACTICALJOBDESCRIPTIONS CONTINUALLYCHANGEDEPENDINGONLOCALANDHISTORICALCIRCUMSTANCESPRODUC TIONSYSTEMSINSTITUTIONALSTRUCTURESTRADITIONSANDCONVENTIONSREHEARSING METHODSTECHNICALFACILITIESINDIVIDUALSKILLSANDPERSONALPREFERENCES )NHERRECENTLYPUBLISHEDBOOK7HAT)S3CENOGRAPHY 0AMELA(OWARDHAS LISTEDADElNITIONFORTHEWORDSCENOGRAPHYFORMULATEDBYPROFESSIONAL SCENOGRAPHERSFROMDIFFERENTCOUNTRIES4HEIRANSWERSMAKEOUTADIVERGENT SELECTIONOFPOSSIBLECONCEPTIONSOFSCENOGRAPHY(OWARDSEEMSTOPROPOSE THENOTIONTHATBEINGASCENOGRAPHERMEANSADOPTINGAMOREHOLISTICATTI TUDETOWARDSTHEATERMAKINGASCOMPAREDTOTHATOFATRADITIONALSETDESIGN ERRESPONSIBLEONLYFORTHEBACKGROUNDSCENERIES )PXBSE ¬ 3CENOGRAPHYDESCRIBESAHOLISTICAPPROACHTOMAKINGTHEATREFROMTHE VISUALPERSPECTIVE x 4OBECALLEDASCENOGRAPHERMEANSMORETHANDECORATINGABACK GROUNDFORACTORSTOPERFORMINFRONTOF)TDEMANDSPARITYBETWEEN CREATORSWHOEACHHAVEINDIVIDUALROLESRESPONSIBILITIESANDTALENTS 4HEPREREQUISITEFORGOINGFORWARDINTHISNEWCENTURYOFTHEATRE MAKINGSTARTSWITHALLTHEDIFFERENTDISCIPLINESINVOLVEDINCREATING APRODUCTIONHAVINGABETTERUNDERSTANDINGOFEACHOTHERSWORK PROCESSESANDACHIEVEMENTS x 7HENDESIGNERSREDElNETHEMSELVESASSCENOGRAPHERSTHEYSIGNIFYTHAT THEYAREWILLINGTOGOFURTHERTHANJUSTDESIGNINGSETSANDCOSTUMESTO CREATEANATTRACTIVESTAGEPICTURE)TMEANSTHEYAREPREPAREDTOWATCH ANDSTUDYTHEACTORSINREHEARSALUNDERSTANDHOWAPERFORMANCE \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES GROWSANDHOWTHESTAGEENVIRONMENTANDTHECOSTUMESCANWORK TOGETHERTOENHANCETHEACTORSPERFORMANCE 4HISCOINCIDESWITHTHEDESCRIPTIONOFTHEJOBGIVENBYTHE$EPARTMENTOF 3CENOGRAPHYATTHE5NIVERSITYOF!RTAND$ESIGN(ELSINKIIN !SCENOGRAPHERISADESIGNERWHOISRESPONSIBLEFORTHETOTALITYOFSPACE ANDACTIONINAPERFORMANCEORAUDIOVISUALPRODUCTIONTOGETHER WITHTHEDIRECTORANDOTHERARTISTICSTAFF 4HEEMPHASISOFSPACEANDACTIONISREMARKABLEBECAUSETRADITIONALLYSCENOG RAPHYHASBEENCLOSELYCONNECTEDTOTHEVISUALARTS%VERSINCETHE2ENAIS SANCESCENOGRAPHYHASMEANTTHESKILLOFPAINTINGSCENERIESANDCONSTRUCTING ILLUSIONSOFPERSPECTIVE7HILETHESAMEBACKDROPSCOULDBEUSEDINDIFFERENT PLAYSPERFORMEDINCONVENTIONALSURROUNDSTHESCENOGRAPHERWASMOREIN VOLVEDWITHTHETRADITIONSOFPAINTINGTHANSTAGEACTION)NSPITEOFTHEARTIS TICSKILLREQUIREDTHEPROFESSIONALIDENTITYOFASCENOGRAPHERHASBEENSEENAS THATOFACRAFTSMANRATHERTHANOFANARTIST 4HETYPICALPAINTEDSCENERIESOFTHE&INNISH.ATIONAL4HEATREWEREMOSTLY IMPORTEDFROMABROADUNTILTHEEARLYYEARSOFTHETHCENTURY)NTHES ANDSTHElRSTGENERATIONOFSCENOGRAPHICARTISTSEMERGEDBRINGINGNEW INTERNATIONALSTYLESOFSYMBOLISMANDEXPRESSIONISMTO&INLAND!MONG THEMWEREFOREXAMPLE9RJ/LLILA-ATTI7AR£NAND+ARL&AGER3TILLIN THELESSER&INNISHTHEATERSESPECIALLYINTHEPROVINCIALTOWNSMOSTSETSWERE MADEBYACTORSANDAMATEURSWHOHAPPENEDTOBESKILLEDINPAINTINGAND CARPENTRY4HISWASTHECASEUNTILTHESANDS !LONGSIDETHEDEVELOPMENTOFMODERNTHEATERINTHETHCENTURYTHESCE NOGRAPHERHASGAINEDARTISTICIMPORTANCEASONEOFTHELEADINGMEMBERSIN THEENSEMBLE4HEFOUNDATIONOFAFEDERATIONFORSCENOGRAPHERSINWAS ASIGNIlCANTINDICATOROFANEWARTISTICAWARENESSAMONGSCENOGRAPHERS4HE GROWINGNUMBEROFPROFESSIONALSCENOGRAPHERSANDTHEDEMANDFORTHEMIN THEATERSALLOVERTHECOUNTRYAREILLUSTRATEDINTHEFOLLOWINGlGURES4HElRST CONSTITUTIVEMEETINGOFTHEFEDERATIONWASATTENDEDBYNINEARTISTSEIGHTOF WHOMCAMEFROM(ELSINKI)NTHEREWEREMEMBERSINTHE5NION OF3CENOGRAPHERSANDATHIRDOFTHEMLIVEDOUTSIDETHECAPITALREGION )PXBSE 5IFTUVEZHVJEFPG UIF6OJWFSTJUZPG"SU BOE%FTJHO)FMTJOLJ 3FJUBMB 5IF6OJPOPG 4DFOPHSBQIFSTMJTU PGNFNCFST " EIN G A 3 C EN OGRAP HER \ 4HEEDUCATIONALLEVELOFSCENOGRAPHERSHASBECOMEMOREPRESTIGIOUS4RAIN INGFORSCENOGRAPHERSWASAVAILABLEINTHETEACHINGPROGRAMATTHE4HEATER 3CHOOLINBUTITWASMOVEDTOTHE'RAPHIC$ESIGN$EPARTMENTIN 3CHOOLOF)NDUSTRIAL!RTSINWHICHWASATTHATTIMEAVOCATIONALSCHOOL 3CENOGRAPHYWASESTABLISHEDASASEPARATEFACULTYINWHENTHE3CHOOLOF )NDUSTRIAL!RTSBECAMEACCREDITEDASANINDEPENDENTUNIVERSITY 4HE46ANDlLMINDUSTRYHASOFCOURSEPLAYEDANIMPORTANTROLEFORSCE NOGRAPHERSBYOFFERINGANINCREASINGNUMBEROFJOBSANDALSOBYGLORIFYING WORKDONEINTHENEWMEDIASECTOR)NTHETHEATERTHENEWARTISTICPOSITION OFSCENOGRAPHERSHASBEENMADEPOSSIBLEBECAUSEOFTHERAPIDGROWTHOFPRO FESSIONALTHEATERSSUBSIDIZEDBYSTATESANDCOMMUNES !LONGWITHTHEBUILDINGOFNEWTHEATERHOUSESWITHADVANCEDSTAGETECHNOL OGYDOZENSOFVACANCIESFORSCENOGRAPHERSEMERGEDTHROUGHOUTTHECOUNTRY DURINGTHESANDS-ODERNSTAGESDIDNOTONLYOFFERPOSSIBILITIES BUTALSOCREATEDANEEDFORVISUALATTRACTIVENESSTHATREQUIREDASPECIALARTISTIC KNOWHOW)NTHESAMEWAYTHATSCENOGRAPHYHASCOSTUMELIGHTINGSOUND HAIRMASKSANDMAKEUPHAVEALLBECOMEDISTINCTANDSEPARATElELDSOFARTIS TICDESIGNEMPLOYINGTRAINEDANDSPECIALIZEDPROFESSIONALS 4HESCENOGRAPHERHASALSOBECOMEMOREDEPENDENTONTHECOLLECTIVEWORK INGPROCESS)NTHESITWASSTILLCUSTOMARYIN&INNISHTHEATERTHATASCE NOGRAPHERAFTERCOMPLETINGHISHERMAQUETTEATTHESTARTOFREHEARSALSWOULD ONLYREAPPEARTOWATCHTHEPREMIERE$URINGTHESANDSITBECAME MOREANDMOREUSUALFORTHESCENOGRAPHERTOREGULARLYATTENDREHEARSALSVISIT THEWORKSHOPSANDBEREADYTOCHANGEHISHERDESIGNIFNECESSARY4HESCE NOGRAPHERBECAMEMORECLOSELYINTEGRATEDTOTHETEAM 4HEATERHISTORYHASTAUGHTUSTHATTHEGREATSCENOGRAPHICADVANCEOFTHE THCENTURYWASTHEMOVEFROMmATREPRESENTATIONSTOTHREEDIMENSIONAL ARCHITECTURALSPACESBESTKNOWNTHROUGHTHEWORKSBY!DOLPHE!PPIA4HE NEWWAYOFSPATIALLYCONCEIVINGTHESTAGECREATEDCLOSERLINKSBETWEENTHEAC TORSANDTHESTAGESPACETHUSINEXTRICABLYCONNECTINGSETDESIGNTOTHEDI RECTIONOFTHEPLAY4HETRADITIONALPAINTINGOFBACKGROUNDDECORATIONSOB VIOUSLYREQUIREDGREATARTISTICSKILLSBUTFROMTHEVIEWPOINTOFTHEACTORSTHE SPATIALORDEROFSTAGEWASALWAYSTHESAME4HEMOVEMENTSANDACTIONSON \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES THESTAGECOULDBEREHEARSEDINDEPENDENTLYOFTHESCENOGRAPHERSJOBWHICH WASSIMPLYTOlLLINTHEBACKGROUNDOFTHEPERFORMANCE -ODERNTHEATERGENERATEDCONSTANTEXPERIMENTATIONWITHTHESTAGESPACE 3PATIALSCENICSOLUTIONSWERENOTBORROWEDFROMCONVENTIONALPRACTICEBUT RATHERCREATEDBYTHEWORKINGTEAMANDDEVISEDSPECIlCALLYFOREACHPRO DUCTION4HEREFOREMUCHMORECOLLABORATIONANDNEGOTIATIONBETWEENTHE TEAMMEMBERSWASNEEDED4HERELATIONSHIPBETWEENACTORSANDTHESETBE CAMEMORECOMPLEX)TWASDEVISEDFOREACHPRODUCTIONDURINGTHEREHEARS ALSWHICHMEANTTHATTHESCENOGRAPHERHADTOBEPRESENTINORDERTODEVELOP HISHERPLANS )NCONTEMPORARYTHEATERWHERESEVERALDIFFERENTWORKINGMETHODSANDAR TISTICVALUESAREACCEPTEDASCENOGRAPHERHASTOBEALITTLELIKEACHAMELEON )NSTEADOFALWAYSEMPLOYINGTHEIRPERSONALSTYLEMOSTSCENOGRAPHERS±WITH AFEWEXCEPTIONS±HAVETOADJUSTTOTHEVARIABLECONDITIONSOFDIFFERENT PRODUCTIONSIFTHEYWANTTOMAKEALIVING4HISKINDOFANADAPTATIONMAY SOUNDLIKEITUNDERMINESTHEARTISTICORIGINALITYOFASCENOGRAPHERHOWEVER INMYOPINIONITALLOWSTHEARTISTICIDENTITYTOBECOLLECTIVELYSHAREDWITHTHE THEATERENSEMBLE7HATCOUNTSTHEREISNOTTHESCENOGRAPHYASANINDEPEN DENTWORKBUTTHEPERFORMANCE )TISOFTENSAIDTHATAFTERTHEPREMIERENOBODYCANREMEMBERWHOORIGINALLY INVENTEDTHESCENICIDEAS5SUALLYTHEYARENOTDISCOVEREDALLATONCEBUT RATHERTHEYAREDEVELOPEDTHROUGHDIALOGUESBETWEENALLMEMBERSOFTHE WORKINGTEAM)FTHATPROCESSCANBETRACEDBACKASERIESOFLOOSEASSOCIATIONS ANDINTUITIONSISOFTENREVEALEDWHOSEDEVELOPMENTSEEMSQUITEIRRATIONAL ANDSPORADIC4HATISWHYANYSTRICTDIVISIONOFLABORORSCHEMATICMODELOF PRODUCTIONSELDOMWORKS 7EALSOKNOWHOWDIFlCULTITISAFTERWARDSTODISCERNBETWEENARTISTICINTEN TIONSANDPRACTICALLYOREVENCOINCIDENTALLYDETERMINEDDECISIONS4HEONLY REASONFORTHECOLOROFAWALLMAYBEDUETOTHEABUNDANCEOFCHEAPLEFTOVER PAINT.EVERTHELESSTHEREISANELEMENTOFARTISTICCHOICEINVOLVEDNAMELYA LACKOFCONCERNABOUTTHECOLOR)FTHESCENOGRAPHERHASBEENSATISlEDWITH THEAVAILABLEPAINTINSTEADOFSTRIVINGFORAPARTICULARSHADEITISOBVIOUSTHAT THEEXACTTONEOFTHECOLORDIDNOTMATTERATTHATTIMEFORSOMEREASON&OR EXAMPLETHECOLORPERCEIVEDBYAUDIENCEMAYBECREATEDBYTHELIGHTNING " EIN G A 3 C EN OGRAP HER \ ANDTHEHUEOFTHEWALLWOULDTHEREFORENOTBEVISIBLE!NDOFCOURSETHE SCENOGRAPHERMAYBELAZYTHElNANCIALMANAGERMAYBESTINGYTHEREMAYBE ALACKOFMONEYORTIMERESTRAINTS 4HESCENOGRAPHERSELDOMMAKESTHElNALDECISIONSABOUTSCENESSINGULARLY 2ATHERTHEYAREMADEINNEGOTIATIONWITHOTHERDOMAINSOFTHEPERFORMANCE ANDPRODUCTIONSYSTEM4HISDOESNOTNECESSARILYTAKEPLACETHROUGHANORAL CONVERSATIONITMAYONLYHAPPENINTHEMINDOFTHESCENOGRAPHERRESPOND INGTOTHECOURSETAKENBYTHEPROCESS"EINGAPROFESSIONALALSOMEANSTHE INTERNALIZATIONOFCERTAINVALUESANDPREFERENCESACCEPTEDBYTHECULTURALREF ERENCEGROUPOFTHEARTISTAKINDOFARTISTICPARADIGM 4HEREISNOTHINGNEWINTHEFACTTHATANYACTOFCOMMUNICATIONNEEDSAT LEASTTWOPARTICIPANTSTHESPEAKERANDTHELISTENER4HEROLEOFTHELISTENERIS ACTIVEINMANYWAYSNOTONLYASTHEINTERPRETEROFTHEMESSAGE%VENIFTHERE ISNODIRECTCONTACTWITHTHEAUDIENCETHESPEAKERHASCERTAINEXPECTATIONS ABOUTTHEIRCAPABILITIESTOUNDERSTANDANDMODIlESTHEMESSAGEACCORDING TOTHEM4HEPRESUMEDRECEIVERSARETHUSINCLUDEDINTHERHETORICOFCOM MUNICATION )FWETHINKOFSCENOGRAPHYASCOMMUNICATINGAMESSAGETHISBASICMODEL CANBEAPPLIEDTOIT4HEDESIGNERANTICIPATESWHATKINDOFVISUALANDSPATIAL EXPERIENCETHESPECTATORISGOINGTOHAVE3HEALSOHASARELATIVEKNOWLEDGE ABOUTHOWVISUALANDSPATIALPERCEPTIONISCONSTRUCTEDANDUNDERSTOODBY THEHUMANMIND4OPUTITSIMPLYTHESCENOGRAPHERMOREORLESSCONSCIOUS LYTHINKSOFQUESTIONSSUCHAS(OWDOESOURACTOFSEEINGANDSENSINGSPACE ACTUALLYTAKEPLACE(OWCAN)USETHISKNOWLEDGEINORDERTOGENERATEANIL LUSION(OWCAN)FOOLTHEMINDSPERCEPTIVEFACULTIES7HATKINDOFSIGNIF ICANCEDOWESEEINANIMAGEORINSPACE7HEREDOTHEYCOMEFROM(OW CANTHEAUDIENCEBEMADETOGRASPTHEINTENDEDSIGNIlCANTMESSAGE 4HEANSWERSTOTHESEQUESTIONSREQUIREANARTISTICANDRHETORICALATTITUDE 4HESCENICDESIGNISATOOLTHATALLOWSUSTOREPRESENTTHEWORLD)TCONSTRUCTS AVISUALANDSPATIALEXPERIENCEFORTHEAUDIENCEBYMAKINGTHESPECTATORSEE THEENVIRONMENTOFTHEDRAMAINTHEWAYTHEAUTHORSWISH)TDOESNOTREP RESENTONLYAPLACEANDITSINHABITANTSBUTALSOAWAYOFPERCEIVINGANDCON CEIVINGTHESURROUNDINGWORLD4HEREFOREITALWAYSRESTSONSOMEASSUMP TIONSABOUTHOWWESEEANDHOWWEMAKESENSEOFOURVISION±ANAPPROACH \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES THATCONNECTSSCENOGRAPHYTOTHEPHENOMENOLOGICALQUESTIONS)NOTHER WORDSASCENOGRAPHERNOTONLYSTAGESTHEPLAYWORLDBUTALSOSTAGESTHESUP POSEDAUDIENCEASEXPERIENCINGSUBJECTS 7HENWETALKABOUTLANGUAGEWEUSUALLYCANEASILYDISCERNBETWEENDIFFERENT SPEECHSTYLESTHATAREDIRECTEDTOCERTAINKINDSOFAUDIENCES(OWEVERWHEN ITCOMESTOSCENOGRAPHYWEAREMOSTLYDEALINGWITHAPHENOMENONTHATIS NOTPRIMARILYTHOUGHTOFASCOMMUNICATIONWITHAPARTICULARADDRESSEE -OSTOFTHEVISUALCOMMUNICATIONISTAKENFORGRANTED)FWEFOREXAMPLE SEEACHAIRONSTAGEWEPROBABLYDONOTTHINKOFITASASOURCEOFKNOWLEDGE (OWEVERWEIMMEDIATELYREGISTERITSSTYLEAGECONDITIONSIZEANDUSETHUS GAININGALOTOFINFORMATIONWITHOUTPAYINGMUCHATTENTIONTOIT4HATIS WHATOFTENHAPPENSINEVERYDAYLIFE7ERARELYTHINKOFSPACEANDVISIONASA VEHICLEOFMETAPHORICALCOMMUNICATIONBUTRATHERASACOMMONPLACEPHE NOMENONALWAYSSURROUNDINGUS (OWEVERWHENLOOKINGATTHEWORLDWEDONOTJUSTPASSIVELYRECEIVEIN FORMATIONBUTWEACTIVELYEVENIFMOSTLYUNCONSCIOUSLYTRYTOMAKESENSE ABOUTEVERYTHINGWESEE)NOTHERWORDSTHEREISNOPUREPERCEPTIONBUTWE TENDTOCONCEPTUALIZETHEWORLDAROUNDUS7HENMAKINGASCENICDESIGNOR ANYKINDOFVISUALARTWETRYTOREPRODUCETHEVISUALANDSPATIALEXPERIENCES THATELICITOURINTENDEDSIGNIlCATIONSANDASSOCIATIONS 4HEATRICALCOMMUNICATIONTAKESPLACEBETWEENLIVINGSUBJECTSANDISLIM ITEDBYTHEIRCONSTITUTION!STAGINGISANINVITATIONTOHAVEADIALOGUEWITH THEARTISTSTHOUGHTS4HELANGUAGENECESSARYFORTHISINTERACTIONMAYHAVEITS FOUNDATIONSINVERYDIFFERENTKINDSOFHUMANEXPERIENCES " EIN G A 3 C EN OGRAP HER \ 4! -AKINGTHE3PECTATOR3EE 6I S I O N A S A 0 RO B L E M /NEOFTHEMOSTAPPOSITEDElNITIONSOFSCENOGRAPHYHASBEENGIVENBY&RED DIE2OKEMACCORDINGTOWHOMTHEVISUALAPPARATUShCANSIMPLYPUTPRES ENTWHATWEARESUPPOSEDTOSEEv(EGOESONTOSAYTHAT &ORTHISREASONTHEDIALECTICALINTERACTIONBETWEENTHESUBJECTIVEFORMS OFVISIONANDTHEOBJECTIVEEXTERIORWORLDTHECHANGESOFWHICH#RARY ASWELLMANYOTHERCRITICSANDHISTORIANSHAVEEXAMINEDHASBEEN ONEOFTHEMOSTCENTRALISSUESFORTHEMODERNTHEATRE 4HEROLEGIVENTOSCENOGRAPHYINTHECONTEXTOFAPERFORMANCEHASTODOWITH UNDERSTANDINGVISUALPERCEPTIONASOURCHANNELTOTHEOUTSIDEWORLD7HAT KINDOFKNOWLEDGECANBEACHIEVEDTHROUGHOUREYES4HESIMPLESTANSWER SEEMSTOBEFOUNDINTHECLASSICALDISTINCTIONBETWEENEMPIRICISMANDRATIO NALISM &OREXAMPLEIFWEBELIEVEINOURABILITYTOGAININFORMATIONBYLOOKINGEM PIRICALLYATTHEWORLDWEMIGHTBEINCLINEDTOWARDSNATURALISTICMODESOF REPRESENTATIONWHERECAREFULOBSERVATIONPROVIDESENOUGHTOOLSFOREXPLAIN INGHOWTHINGSREALLYARE$ISREGARDINGSCENOGRAPHYASAMEANINGFULMODE OFEXPRESSIONCOULDBECONNECTEDTODISTRUSTINSENSUALPERCEPTIONASASOURCE OFKNOWLEDGE!PERFORMANCEEMPHASIZINGTHESPOKENWORDSMIGHTRESTONA PHILOSOPHYTHATGIVESPRIMACYTOLITERALLANGUAGEANDREASONASFUNDAMENTAL WAYSOFUNDERSTANDINGTHEWORLD!VISUALILLUSIONMAYALSOBEUNDERSTOOD ASAVIEWINTOAMETAPHYSICALWORLDTHE@TRUTHOFWHICHCANBEACHIEVEDBY ANINNEREYE 3PLFN (OWEVERWHENITCOMESTOOURPRESENTDAYINTERPRETATIONOFTHEDISTINCTION BETWEENMINDANDMATTERTHERELATIONSHIPBETWEENTHEOBSERVERANDTHE \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES WORLDOBSERVEDHASBECOMEMORECOMPLICATED!S2OKEMPOINTSOUTITIS THEINTERACTIVEPROCESSOFPERCEPTIONITSELFWHICHHASBECOMEONEOFTHEMA JORCONCERNSOFMODERNARTANDTHEATER!CCORDINGTO!RNOLD!RONSON 0OSTMODERNISMSHIFTSTHEBASISOFTHEWORKOFARTFROMTHEOBJECT TOTHETRANSACTIONBETWEENTHESPECTATORANDTHEOBJECTANDFURTHER DECONSTRUCTSTHISBYNEGATINGTHEPRESENCEOFAREPRESENTATIVEOBJECTIVE VIEWER )NTHISCHAPTER)INTENDTOSCOPETHEWAYSINWHICHSCENOGRAPHYHASNEGO TIATEDTHEPROCESSOFPERCEPTIONFORTHEPASTTHREEDECADES)NTHElRSTPART )INTRODUCETHEHEGEMONICSCENOGRAPHICTENDENCIESTOGOFROMPICTO RIALTOSPATIALANDEMBODYMODESOFREPRESENTATIONTHATWEREMANIFESTINTHE WORKOF&INNISHTHEATERPRACTITIONERSDURINGTHELATES4HESECONDPART ISMORETHEORETICALCONCENTRATINGONTHEDEVELOPMENTFROMNATURALIS TICOBSERVATIONTOMODERNEXPRESSIONOFIDEASANDINTERNALEXPERIENCESAND FROMTHERETOTHEPOSTMODERNFOCUSONEXTERNALSURFACES!LTHOUGH3TRIND BERGIANNATURALISMCERTAINLYBELONGSTOTHEMODERNERA)HAVEUSEDTHETERM MODERNTOREFERTOTHEVARIOUSMOVEMENTSREJECTINGNATURALISMANDTHEREP RESENTATIONOFTHEWORLD@ASITIS 4HEREAFTER)ATTEMPTTOlGUREOUTTHEMOREGENERALANDEVENPHILOSOPHICAL THINKINGIMPLICATEDBYTHESESCENOGRAPHICPHENOMENONS)INTRODUCESOME THEORETICALREADINGSABOUTOURCULTURALUNDERSTANDINGOFVISIONANDVISUALITY )NSPIREDBY-ARTIN*AYSSUGGESTIONABOUTTHEDENIGRATIONOFVISIONINMOD ERN7ESTERNTHOUGHT)ASKTHEFUNDAMENTALQUESTIONWHATEXACTLYISVISION n4HETWOLASTPARTSOFTHECHAPTERnAREINmUENCEDBYTHE WORKSOF-ARTIN*AYAND*ONATHAN#RARY)PRESENTATHEORYABOUTSUBJECTIVE ANDCORPOREALCONCEPTIONOFVISIONTHATEXISTSINOPPOSITIONTOTHE#ARTESIAN @ANGELICEYE 6)35!,)49).#/.4%-0/2!293#%./'2!0(9 n & 2 / - 0 ) # 4 / 2 ) ! , 4 / 3 0!4 ) ! , % 8 0 % 2 ) % . # % 3 !CENTRALTENDENCYOFCONTEMPORARYSCENOGRAPHYISANEMPHASISONTHEHO LISTICCORPOREALEXPERIENCINGOFSPACEANDPLACEWHICHDIFFERSFROMTHETRADI TIONALPICTORIALUNDERSTANDINGOFTHESTAGE)TISMOSTCLEARLYSEENWHENSPACE -AKI NGT HE 3 PECT ATO R 3 EE\ "SPOTPO ISPRIVILEGEDASTHEGENERALSTARTINGPOINTFORSCENICDESIGNENDORSEDFOREX AMPLEBY0AMELA(OWARDATTHEVERYBEGINNINGOFHERBOOKONSCENOGRAPHY h4HEWORLDVIEWOFSCENOGRAPHYREVEALSTHATSPACEISTHElRSTANDMOSTIM PORTANTCHALLENGEFORASCENOGRAPHERv 7ILLIAM&ARICY#ONDEEALSOSTARTSHISGUIDEBOOKFORDIRECTORSANDDESIGN ERSBYCLAIMINGh0ERHAPSTHEMOSTIMPORTANTSTEPINTHEPRODUCTIONPROCESS nANDONEALLTOOEASILYRUSHEDTHROUGHnISTHElRSTENCOUNTERWITHTHETHEA TRESPACEv !NEMPHASISONTHEDYNAMICSOFSPACEIN&INNISHSCENOGRAPHICTHINKING WASEXPRESSEDINTHEANNUALBOOK4HEATREIN3PACEPUBLISHEDBYTHE&INNISH 4HEATRE-USEUMIN)TPRESENTEDVIEWPOINTSFROMSEVERALLEADINGTHEA TERARTISTS4HEINTERESTINSPACEWASTHENSOOMNIPRESENTTHATTHEDIRECTOR *OUKO4URKKAnONEOFTHEMAJORSCENOGRAPHICINNOVATORSWHOUSEDTHEATER SPACEWITHGREATCREATIVITYnEXPRESSEDFRUSTRATIONINHISARTICLEh&ORTENYEARS ORSOTHEREHASBEENTALKOFNOTHINGELSEBUT@WHATKINDOFSPACEISITv 4HEIMPORTANTDISTINCTIONBETWEENSPATIALANDPICTORIALSCENOGRAPHICTHINK INGISTHATASPACEISEXPERIENCEDBYENTERINGITWHILEAMERELYVISUALPERCEP TIONISMOREDETACHED9OUDONOTPERCEIVEASURROUNDINGENVIRONMENTONLY WITHYOUREYESBUTWITHALLYOURSENSES4HEREISTHETACTILITYOFMATERIALSTHE WARMTHHUMIDITYANDSMELLOFTHEAIRTHESOUNDSECHOINGFROMTHEWALLS TOMENTIONAFEWEXAMPLES)NORDERTOPERCEIVETHEMYOUCANNOTOBSERVE FROMTHEOUTSIDEBUTYOUMUSTINHABITTHEWORLDTHROUGHYOURBODY4HIS CORPOREALHOLISTICEXPERIENCEOFSPACECREATESMEANINGSBYAPPEALINGTOOUR ABILITYFORSENSUALRECALL7E@READSPACEBYRECOGNIZINGTHESMELLSSOUNDS ANDTACTILESENSESWHICHWEKNOWFROMVARIOUSCONTEXTS )PXBSE 3PATIALITYALSOMEANSTHEPOSSIBILITYFORMOVEMENTINSIDETHESPACE!L THOUGHTHESPECTATORSCANSELDOMPHYSICALLYENTERTHESTAGETHEMSELVESTHEIR IMAGINATIONCANBEMADETOANTICIPATETHEPOSSIBLEMOVEMENTSTHATCANEXIST THERE!SPATIALLYORIENTEDVISUALPERCEPTIONSHOULDACTIVATETHESENSOMOTORIC IMAGINATIONANDMEMORYANDNOTBERESTRICTEDTOSIMPLEPICTURES4HISFEEL INGCANHAPPENFOREXAMPLEWHENWEBYLOOKINGATAPAINTINGFEELLIKEWE AREREALLYTHERESENSINGTHETOUCHOFAIRTHESMELLSANDSOUNDS $POEFF 5VSLLB \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 4IINA-AKKONENCURRENTPROFESSOROFSCENOGRAPHYAT5NIVERSITYOF!RTAND $ESIGN(ELSINKIANDONEOF&INLANDSMOSTPROMINENTSCENOGRAPHERSHASEX PRESSEDTHISVERYLUCIDLYINWORDS )HAVENOTBEENABLETOlNDASOLUTIONTOTHEETERNALPROBLEMOFSTAGE DECORATINGTHATWHICHISASSOCIATEDMOSTCONCRETELYWITHTHERELATION SHIPBETWEENSTAGEANDAUDITORIUM4HATWORLDINSIDEWHICH)HAVE BEENINEVITABLYCAUSESDISAPPOINTMENTWHENITISTRANSFERREDTOTHE STAGE)TISNOLONGERTHEWORLDTHATSURROUNDEDME4HEPICTUREmAT TENSOUTJUSTLIKEINTHECINEMAORONTELEVISION$EPENDINGONTHE SIZEOFTHESTAGEONElNDSONESELFSTARINGATCINEMASCOPEORAVIDEO SCREEN,OOKEDATSTRAIGHTONTHEPERSPECTIVEOFDEPTHDISAPPEARSAND THEFURTHERONEISFROMTHESTAGETHEWORSETHESTAGINGLOOKS4HEANGLE OFVIEWmATTENSTHESTAGINGMAKINGITNOLONGERPOSSIBLETOGETINSIDE THEATMOSPHERECREATED4HESTAGINGENDSUPLACKINGJUSTTHATATMO SPHEREWHICHISPRODUCEDWHENTHESPACEBREATHESAROUNDYOU 3HEGOESONTOSAY /NEHASTOGETINSIDETHEPERFORMANCESPACEFORTHESIMPLEREASONTHAT WELIVEINSPACES7ECANLOOKATTHELANDSCAPEBUTWECANALWAYSGET INTOITTOO(UMANNATUREDOESNOTTAKEEASILYASITUATIONWHEREONE CANONLYLOOKATSOMETHINGFROMOUTSIDE)TSABITLIKEBEINGTOLDNOT TOGOINTOFORESTORTALKINGTOSOMEONEBUTNOTGETTINGCLOSETOTHEMBY THEIRSIDE%VERYONEHASEXPERIENCEDTHEDIFFERENTATMOSPHERESOFDIF FERENTSPACESACHURCHHASITSOWNATMOSPHEREPEOPLESHOMESALWAYS FEELDIFFERENT%ACHSPACEBREATHESITSOWNWORLD4HISWORLDSHOULD ALSOBETHEWORLDOFTHETHEATRE0EOPLEHAVEGOTMORESENSESATTHEIR DISPOSALTHANTRADITIONALTHEATERALLOWSFOR3UBCONSCIOUSFEELINGSTHAT GOSTRAIGHTFORTHESPINETHESMELLORCOLDOFOLDBUILDINGSFOREXAMPLE CANEASILYBEMISSEDOUTONINTHETHEATRE 4HEWHOLEGENREOFENVIRONMENTALANDSITESPECIlCSTAGINGCELEBRATESTHIS KINDOFHOLISTICANDEMBODIEDWAYOFEXPERIENCING!SITESPECIlCPERFORM ANCEALSOEVOKESTHEMEMORIESANDHISTORYCONNECTEDTOTHEPLACEWHICH GIVESTHEENVIRONMENTATEMPORALANDNARRATIVEDIMENSION4HESPACEIS CONCEIVEDASSOMETHINGTOBELIVEDTHROUGHNOTASANABSTRACTATEMPORAL ARCHITECTURALUNITBUTASACONTAINEROFEXPERIENCES)TISNOTTHEGEOMETRY -AKI NGT HE 3 PECT ATO R 3 EE\ .BLLPOFO .BLLPOFO OFSPACEBUTTHELOCALITYANDHISTORYOFAPLACETHATTHRILLSSCENOGRAPHERS!S 0AMELA(OWARDPUTSITh!SPACEISALIVINGPERSONALITYWITHAPASTPRESENT ANDFUTUREv 4HEDISGUSTATTHEABSTRACTUNPARTICULARITYANDNEUTRALITYOFSOCALLEDBLACK BOXESWASUTTEREDOUTBY-»NS(EDSTRMANOTHERINmUENTIAL&INNISHSCE NOGRAPHER )FBYEMPTYSPACEHOWEVERWEMEANTHEBLACKSTATICTHEATRESTAGEWE ENDUPWITHAWAYOFTHINKINGABOUTSPACEWHICHDOESNOTINTERESTME ASAPRACTICALTHEATREPERSONANDSETDESIGNER)TISTRUETHATONABLACK STAGEITISINTERESTINGTOUSELIGHTSTOGOODEFFECTANDITSPOSSIBLETOUSE SCENERYSPARINGLY4HISKINDOFTHEATRENEARLYALWAYSREMAINSUNREAL STATIC)TISNOTlRMLYlXEDINREALITY7EHAVEATHEATREPERFORMANCE LOCATEDINSPACELESSTIME)BELIEVETHEAUDIENCEALSOSENSESTHIS7E SITINASPACEWHERETHEREARENOWALLSTOBESEENOROTHERFAMILIAR THINGSTOPROVIDESECURITY7ESITINABLACKTHEATREMACHINEWITHOUT KNOWINGWHEREWEREmYING7ESITINANINTERNATIONALMACHINEWITH ONLYTHENAMEOFTHEAIRLINETODISTINGUISHOURMACHINEFROMANOTHER EXACTLYTHESAME /NTHEOTHERHANDITISNOTTHEWALLSOFTHETHEATERSPACEBUTTHESOCIALHAP PENINGINSIDETHEMTHATCOUNTS!CCORDINGTOTHEDIRECTOR0EKKA-ILONOFF 0UTTINGONATHEATREPERFORMANCEDOESNOTDEPENDONTHESTAGEORTHE BUILDING)TISPOSSIBLETOCREATEACOMPREHENSIVEAUDIENCEENGAGING ATMOSPHEREJUSTABOUTANYWHERE2ESTRICTIONSANDLIMITEDEXTERNAL RESOURCESHAVEMOBILIZEDTHEIMAGINATION/NECANSTARTFROMTHE THEATRESMAGICVISUALITYANDWORLDOFOBJECTS!NOBJECTCANTURNINA mASHFROMAVACUUMCLEANERINTOANANIMALFROMAHANDKERCHIEFINTO ONESBELOVEDANDTHESEEMOTIONSCANBEHEIGHTENEDBYUSINGMUSIC )PXBSE )FETUSzN .JMPOPGG 4HISALSOSHOWSTHEIDEAOFTHEATRICALILLUSIONSPRODUCEDTHROUGHPLAYFULAS SOCIATIONSINSTEADOFVISUALILLUSIONS)FONECANNOTHAVEA@REALTHINGON STAGEITCANBEREPRESENTEDBYANEXPLICITSIGNWHICHDOESNOTRESTONANEX ACTICONICSIMILARITY4HEILLUSIONISGENERATEDBYACTIVATINGMENTALIMAGESBY MEANSOFWORDSACTINGSOUNDSOROTHERSTIMULIASSOCIATINGWITHTHEREPRE SENTEDOBJECT \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES &2/--/$%2.4/0/34-/$%2.3#%./'2!0(9 !RNOLD!RONSONHASVERYACCURATELYSCOPEDTHECHANGEFROMMODERNTO POSTMODERNSCENOGRAPHYINHISARTICLEh0OSTMODERN$ESIGNvWHEREHE POINTSTOTHEMOSTRECOGNIZABLEFEATURESOFINTERNATIONALSCENICDESIGNINTHE RECENTPASTnDOCUMENTINGITRIGHTUPTOTHETIMEOFPUBLISHINGTHEARTICLE IN(OWEVER)HAVEFOUNDITDIFlCULTTOMAKEACLEARDISTINCTIONBE TWEENMODERNANDPOSTMODERNTENDENCIESIN&INNISHSCENOGRAPHY)RATHER AGREEWITH!RONSONWHENHEWRITESTHATTHEREISNOCLEARCUTMOVEMENTTHAT CANBETERMEDMODERNDESIGNLETALONEANUNAMBIGUOUSUNDERSTANDINGOF POSTMODERNDESIGN4HEYSEEMTOMERGEANDNEGOTIATEWITHEACHOTHERAND THEPOSTMODERNISMDOESNOTONLYCHALLENGEMODERNISTPREMISESBUTALSODE VELOPSOUTOFTHEM 4HETERMSMODERNANDPOSTMODERNAREEXTREMELYPROBLEMATICANDITISNOT WITHINTHERANGEOFTHISSTUDYTOEXAMINETHEMEXHAUSTIVELY(OWEVERTHE PERIODFROMTOWEREATIMEOFLARGEECONOMICALPOLITICALANDCUL TURALCHANGEIN&INLANDANDONEASPECTOFTHISDEVELOPMENTWASCERTAINLYA MOVEFROMMODERNTOPOSTMODERNSOCIETY4HESCENOGRAPHIESDONEDURING THATPERIODREmECTTHISSHIFTANDITSEEMSJUSTIlEDTOANALYZETHEMUSING!R ONSONSREMARKSABOUTTHEMODERNANDPOSTMODERNFEATURESOFSCENICDESIGN 7HAT!RONSONSEESASRELEVANTFORMODERNDESIGNIShTHEPRESENCEOFASTRONG METAPHORICALORPRESENTATIONALIMAGEORRELATEDSERIESOFIMAGESvCONNECTED BYASINGULARQUALITYORUNITYIDENTIlABLEWITHTHESTYLEOFTHEDESIGNERAND EMBODYINGTHEFUNDAMENTALCONCEPTORMETAPHOROFTHEPRODUCTION-ORE OVERTHEMODERNSTAGEWASNOTTOBETHEPLACEFORILLUSIONSBUTIDENTIlEDAS THESPACEFORACTING)FTHEREWASANYNEEDFORREPRESENTINGALOCATIONIThWAS TOBEESTABLISHEDTHROUGHDIALOGUEACTIONREFERENCEORTHROUGHSUGGESTIVE RATHERTHANEXPLICITSCENERYv4HEAUDIENCEWASPRESUMEDTOBEHOMOGE NEOUSSHARINGPERCEPTUALMECHANISMSCOMMONTOALLVIEWERSWITHINSOCIETY !CCORDINGTO!RONSONPOSTMODERNDESIGNDISTANCESITSELFFROMMODERNTE NETSBYCONSTANTLYMAKINGTHESPECTATORAWAREOFTHEEXPERIENCEOFVIEWING ANDhOFTHEWHOLEHISTORYCONTEXTANDREVERBERATIONSOFANIMAGEINTHECON TEMPORARYWORLDv4HEREISADIALECTICALEXAMINATIONOFTHEPROBLEMATICS OFSEEINGWHICHMANIFESTINAKINDOFPANHISTORICOMNISTYLISTICVIEWhTHE "SPOTPO "SPOTPO "SPOTPO "SPOTPO -AKI NGT HE 3 PECT ATO R 3 EE\ WORLDISSEENASAMULTIPLICITYOFCOMPETINGOFTENINCONGRUOUSANDCONmICT INGELEMENTSANDIMAGESv /NEDElNITIONOFPOSTMODERNDESIGNTHENISTHEJUXTAPOSITIONOF SEEMINGLYINCONGRUOUSELEMENTSWITHINTHEUNIFYINGSTRUCTUREOFTHE STAGEFRAMETHEPURPOSEOFWHICHISTOCREATEAREFERENTIALNETWORK WITHINTHEMINDOFTHEVIEWERTHATEXTENDSBEYONDTHEIMMEDIATE APPARENTWORLDOFTHEPLAY !CCORDINGTOTHEARTICLEBY!RONSONAROUGHLYOUTLINEDPICTUREOFTHEDEVEL OPMENTOFTHCENTURYSCENOGRAPHYCANBEMADEh7HILEANATURALISTICSET WASAPHYSICALREPRESENTATIONOFPSYCHOLOGICALORSOCIOLOGICALTHEORYvAND hTHENEWMODERND£CORCONVEYEDTHESPIRITUALESSENCEOFANOBJECTnSCENERY AS0LATONICSHADOWSvPOSTMODERNDESIGNhPASTESTOGETHERACOLLAGEOFSTYL ISTICIMITATIONSTHATFUNCTIONNOTASSTYLEBUTASSEMIOTICCODEv4HUSTHERE ISADEVELOPMENTFROMTHECONSTRUCTIONOFEMPIRICALOBSERVATIONTOTHATOF INNERIMAGESANDlNALLYTHECONCEPTIONOFSCENOGRAPHYASAVISUALSCENIC LANGUAGE -ARTIN*AYHASDRAWNALINEBETWEENNATURALISMANDREALISMINTHEVISUALARTS CONCERNINGTHEDEPTHOFTHEGAZEh.ATURALISTSRELIEDONAVISIONTHATPRIVI LEGEDTHERAWDESCRIPTIONOFSURFACEAPPEARANCESOVERTHEMOREPENETRATING GAZEREVEALINGTHEDEEPSTRUCTURESPREFERREDBY2EALISTSv 4HECONCEPTSOFNATURALISMANDREALISMAREFREQUENTLYUSEDINTERCHANGEABLY WITHINCOMMONARTISTICPRACTICEBUTMOSTPEOPLEMAKETHEDISTINCTIONTHATA NATURALISTARTISTMECHANICALLYCOPIESTHEOUTSIDEWORLDWHEREASAREALISTARTIST DISTILSMEANINGFULCONTENTFROMSUPERlCIALAPPEARANCE4HEWORDNATURALIST HASBECOMEATERMOFABUSETODESCRIBEAFAILEDREALISTONEWHOHASNOTHING INTERESTINGTOSAYANDONLYLISTSINSIGNIlCANTDETAILS *CJE "SPOTPO "SPOTPO "SPOTPO +BZ -ODERNARTISTSOFTENCALLEDTHEMSELVESREALISTSWHENTHEFOUNDATIONOFTHEIR WORKHASBEENBASEDINTHEEXISTINGWORLDBUTTHEYSTILLREJECTEDTHECLAIM THATTHEYAREASPIRINGTOVERISIMILITUDINALITY)NSTEADTHEIRPRIORITYISWITH COMMUNICATINGTHEINHERENTLOGICOFTHEWORLDFOUNDBEHINDTHEIRRELEVANT mOWOFLOOSEDETAILS4HEMODERNISTIDEAOFSCENOGRAPHYISAREPRESENTATION OFDEEPSTRUCTURESINSTEADOFMEREAPPEARANCES4HEIRDENIALOFNATURALISM ISULTIMATELYTHEDENIALOFITSTRANSPARENCY&OREXAMPLETHEDIRECTOR2ALF \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES ,»NGBACKAWHOHADGREATINmUENCEON&INNISHTHEATERINTHESSTARTED HISDElNITIONOFREALISTICTHEATERINTHEFOLLOWINGWAY 4HEREALISTICTHEATERISNOTATHEATERWHEREYOUBYMEANSOFSCENOG RAPHYANDACTORSTRYTOCREATEANILLUSIONOFREALITYANDMAKEBELIEVE THATWHATHAPPENSONSTAGEREALLYHAPPENSSOMEWHEREELSEANDTHAT THEACTORSARENOTACTORSBUTRATHERTHEPEOPLETHATTHEYREPRESENT 4HEREALISTICSTAGEASDESCRIBEDBY,»NGBACKAWASOPENLYUSEDASARHETORI CALAPPARATUS4HEPROPOSEDSTRUCTUREOFTHEPLAYWORLDWASPRESENTEDASA STATEMENTMADEBYTHEARTISTSWHOWEREAWAREOFTHEIRSTANDPOINTANDPOSI TION4HISRATHER"RECHTIANATTITUDEHASVERYMUCHSHAPED&INNISHSCENOGRA PHYDURINGTHEPASTTHREEDECADES 7HATSURPRISINGLYCONNECTSPOSTMODERNISMTONATURALISMISITSINTERESTIN THESURFACELEVEL4HEDIFFERENCEISTHATWHEREASTHESURFACEAPPEARANCEIN NATURALISMSERVEDASASOURCEOFRELIABLEKNOWLEDGEnANATTITUDEOFTENSEEN ASTHEARTISTICEQUIVALENTTOPOSITIVISMANDEMPIRICISMnPOSTMODERNISMDE NIESTHEPOSSIBILITYOFHAVINGACCESSTOANY@TRUTHANDSTICKSTOTHEUNCER TAINTYOFUNRELIABLEAPPEARANCES 4HEPOSTMODERNREPRESENTATIONOFREALITYDOESNOTOFFERRELEVANTKNOWL EDGEBUTRATHERHIGHLIGHTSTHEIMPOSSIBILITYOFEVERPROVIDINGTHAT3EEING THEWORLDMEANSPRECISELYTHEINABILITYTOUNDERSTAND0ERHAPSTHISISWHY RECENTSCENOGRAPHYHASUNASHAMEDLYRETURNEDTOTHEILLUSTRATIVEPICTORIALIL LUSIONSTRADITIONALLYASSOCIATEDWITHPOSITIVISMANDEMPIRICISM4HENATURAL ISTICRHETORICOFSHOWINGTHEWORLD@ASITISSUDDENLYMEANSTHEOPPOSITETO ITSORIGINALFUNCTIONTHEIMPOSSIBILITYOFMAKINGSENSEOFTHEWORLDTHROUGH OBSERVATION 7HATALSODISTINGUISHESPOSTMODERNISMFROMNATURALISMISABREAKBETWEEN VISUALSIGNSANDTHEOBJECTIVE@REALWORLDTHEYREPRESENT4HEILLUSIONHAS LOSTITSTRANSPARENCYITSCAPABILITYTOSERVEASAWINDOWINTOANOTHERWORLD 4HEVISUALSIGNISNOTONLYRELATEDTOITSOBJECTBUTTOTHEVERYACTOFREP RESENTINGIT$ISCONNECTEDFROMTHEIRORIGINSPOSTMODERNIMAGESSERVEAS SIGNSFORMEANINGSWHICHAREDECODEDACCORDINGTOVARIABLECONTEXTS)N SOMESENSETHEYCOMEMORECLOSETOTHEARBITRARINESSOFLANGUAGEWHICH MAKESITPOSSIBLETOUSETHEMMOREFREELYTHANEVER -AKI NGT HE 3 PECT ATO R 3 EE\ -lOHCBDLB )PMNCFSH !.!.4)6)35!,$)3#/523% )NHISBOOK$OWNCAST%YESTHE$ENIGRATIONOF6ISIONIN4WENTIETHCENTURY &RENCH4HOUGHT-ARTIN*AYSTUDIESTHEPROCESSOFCONCEIVINGVISUALITYIN 7ESTERNTHINKINGTHROUGHTHCENTURY&RENCHPHILOSOPHY(ECLAIMSTHAT ANANTIOCULARCENTRICDISCOURSEHASEVOLVEDINCONTEMPORARYPHILOSOPHYWHICH HASOPPOSEDTHEPRIMACYTRADITIONALLYGIVENTOVISIONANDCANBEFOUNDIN THEMOVEMENTSOFMODERNART #OMMONSENSEDEMANDSTHATWEQUESTIONTHISPROPOSEDANTIVISUALDIS COURSEANDHOWITlTSWITHTHEEXPANSIVEGROWTHOFVISUALITYINCONTEMPO RARYCULTURE$OWENOTEXPLICITLYLIVEINASOCIETYWHEREVISUALMEDIARULES WHERETEACHERSARECONCERNEDABOUTTHENEWILLITERACYAMONGAYOUTHTHATIS ACCUSTOMEDONLYTOACONSTANTmOWOFIMAGESWHEREANABILITYTOREADPIC TURESISREPEATEDLYDEMANDED /RARETHESEOFTENREPEATEDCLICH£SINFACTANINDICATIONOFTHEHIGHCULTURAL INIMICALITYTOTHEVISUAL4HEYMOSTLYHIGHLIGHTTHENEGATIVEASPECTSOFVISU ALITYCONNECTINGITTOPOPULARCULTUREANDENTERTAINMENT)STHELOWVALUEAT TRIBUTEDTOVISUALSTIMULATIONDUETOITSABUNDANTBUTSUCCESSFULUSEINMOV IESVIDEOSCOMPUTERGAMESETC)STHEVISUALSEENASINCAPABLEOFSERVING THENEEDSOFHIGHCULTURE0ROOFOFTHISKINDOFATTITUDECANBEFOUNDINTHE LACKOFPICTURESINANYSCHOLARLYBOOK&OREXAMPLETHEREARENONEINTHE PAGESBY*AYTHATDISCUSSTHEISSUESOFVISIONANDVISUALITY /RISITEXACTLYTHEOVERDOSEOFVISUALSTIMULITHATHASJADEDUS)PROBABLY SEEMOREPICTURESINONEDAYTHANANYBODYLIVINGINTHEEARLIERCENTURIESOF HISTORYSAWINHISHERWHOLELIFE(OWCAN)CALLTHESIGHTMYNOBLESTSENSE WHEN)KNOWTHAT)IGNOREMOSTIMAGES)SEEINORDERTOPREVENTMYBRAINS FROMGETTINGOVERLOADED(ASTHEANTIVISUALDISCOURSEDEVELOPEDASADEFENSE AGAINSTTHEGROWINGlELDOFVISUALITYWHICHOTHERWISETURNSOURTHINKING INTOASTREAMOFSUPERlCIALIMAGES +BZ /RISTHISPARADOXJUSTPROOFOFTHERUPTUREBETWEENPHILOSOPHICALTHEORIES ANDEVERYDAYLIFE!REPHILOSOPHERSSOENGAGEDWITHTHEIRBOOKSTHATTHEYDO NOTSEEWHATHAPPENSAROUNDTHEM(ASTHEPRACTICALWORLDALREADYCHANGED DIRECTIONTOREVALUEVISIONANDDOESTHEFUTUREHOLDANEWVISUALLYORIENTED PHILOSOPHY \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 4HECONCEPTOFVISIONOFCOURSEHASADIFFERENTEMPHASISINPHILOSOPHYTHAN INEVERYDAYLIFE7HATMIGHTUNITEPHILOSOPHYTOTHECOMMONACTOFSEE INGISVISIONCONCEIVEDASADEEPROOTEDMETAPHORFORKNOWING)TMANIFESTS FOREXAMPLEINTHECOMMON%NGLISHPHRASEh)SEEvMEANINGh)UNDERSTANDv 4HECONTEMPORARYDISTRUSTOFTHEEYESCANBETHOUGHTOFASANALOGOUSTOA MOREGENERALUNCERTAINTYOFALLKNOWLEDGE4HEPHILOSOPHICALDENIALOFA FUNDAMENTALABSOLUTE@TRUTHISPARALLELWITHTHEDENIGRATIONOFTHESENSEBY WHICHWEMOSTCONSCIOUSLYRECEIVEKNOWLEDGEABOUTTHEOUTERWORLD4HE VARIOUSEXPERIMENTSOFMODERNARTSTUDYINGANDREDElNINGVISIONCANBE SEENASEXPRESSIONSOFTHEINSIGHTTHATTHEREISNOACCESSTO@TRUTH4HECON NECTIONBETWEENSEEINGANDKNOWINGHASNOTVANISHEDBUTITHASBECOMEAS RELATIVEANDCOMPLICATEDASTHECONCEPTOFKNOWLEDGEITSELF 4HEMORECLOSELY)HAVELOOKEDATTHECONCEPTSOFVISIONANDVISUALITYTHE MOREAMBIGUOUSANDCONFUSINGTHEYAPPEAR%VERYTIME)MANAGETOFOR MULATESOMESORTOFCONCLUSIONTHENEXTDAY)REALIZETHATACONTRADICTORY CLAIMMIGHTBEASJUSTIlED4HEREASONFORTHISISPROBABLYTHATVISIONITSELFIS SOMETHINGNOTREDUCIBLETOONECLEARDElNITION4HEREFOREITISNECESSARYTO ASKSUCHASIMPLEQUESTIONWHATACTUALLYISVISION 4ECHNICALLYSPEAKINGTHEVISIONISAPROCESSTHROUGHWHICHLIGHTWAVESREACH INGTHERETINAARETURNEDINTOAMEANINGFULREPRESENTATIONINHUMANMIND !SFARAS)KNOWTHEDETAILEDCOURSEOFTHISPROCESSHASNOTYETBEENCOM PLETELYEXPLAINEDBYSCIENCE4HEREISACOMPLICATEDINTERACTIONBETWEENTHE MATERIALOUTSIDEWORLDTHELIGHTASAPHYSICALPHENOMENONTHEPHYSIOLOGI CALNERVOUSSYSTEMANDTHECONCEPTUALIZINGAPPARATUSOFTHEHUMANMIND 7 ( !4 $ / 7 % 3 % % 4HEPROCESSOFSEEINGEXEMPLIlESTHECOMPLICACYOFHUMANINTERACTIONWITH THEOUTERWORLDANDITISMETAPHORICALLYCONNECTEDTOOURCONCEPTIONSOF KNOWLEDGE4HISWASPOINTEDOUTBY'EORGE,AKOFFAND-ARC*OHNSONIN THEINTRODUCTIONTOTHEIRTHEORYABOUTEMBODIEDUNDERSTANDINGOFCONCEP TUALIZATIONANDABSTRACTTHOUGHT4HEYTAKETHECONCEPTOFCOLORASANEX AMPLEWHICHISPRIMARYFOROURVISUALEXPERIENCESBUTCONSIDEREDASASEC ONDARYPROPERTYOFOBJECTSBYMANYPHILOSOPHERSINCLUDING*OHN,OCKE -BLPGG¬+PIOTPO ¬ -AKI NGT HE 3 PECT ATO R 3 EE\ 7EKNOWTHATDIFFERENTWAVELENGTHSOFLIGHTARERECEIVEDASCOLORSINTHEHU MANBRAIN!LLMATERIALSURFACESABSORBCERTAINWAVELENGTHSANDEMITOTHERS 4HELIGHTRAYSREmECTEDFROMASURFACECONTAINASAMPLEOFWAVELENGTHSCHAR ACTERISTICTOIT4HATISHOWWEDETERMINETHECOLOROFTHATSURFACE3TILLWE ALLKNOWTHATDEPENDINGONTHELIGHTNINGCONDITIONSTHESAMESURFACEMAY HAVEVERYDIFFERENTSHADES!LTHOUGHDAYLIGHTISUSUALLYCONSIDEREDASNEU TRALTHEEXACTTONEOFITDEPENDSONMANYFACTORS)TISDIFFERENTFOREXAMPLE ONAWINTERMORNINGCOMPAREDTOANAFTERNOONIN*ULY4HEREFOREYOUCAN NOTACTUALLYCALLCOLORAPERMANENTPROPERTYOFAMATERIALBUTRATHERACON SEQUENCEOFITSINTERACTINGWITHTHEVARIABLELIGHTNING 4HEREARETHREEKINDSOFCOLORCONESINTHERETINAOFTHEEYETHATARESPECIAL IZEDINDISTINGUISHINGDIFFERENTWAVELENGTHSOFLIGHT4HEIRSTIMULATIONMAKES USSEECOLORS"UTTHECONESARERECEPTIVETOONLYASMALLFRAGMENTOFELECTRO MAGNETICRAYSWHICHWECALLVISIBLELIGHT3OMEINSECTSCANSEETHEULTRAVIOLET LIGHTINVISIBLETOUSWHEREASMOSTMAMMALSSEEFEWERCOLORSTHANHUMANS .OEYESHAVERECEPTORSFOR8RAYSANDTHUSWEDONOTSEETHROUGHWALLS4HE CONCEPTOFCOLORMAKESSENSEONLYTOSOMEBODYSHARINGTHESAMEKINDOFA PERCEPTUALAPPARATUS&OROTHERSITWOULDBEASINCOMPREHENSIBLEANDINVIS IBLEAS8RAYSWEREFOROURANCESTORSWHOLACKEDALLKNOWLEDGEOFTHEM 4HATALSOBRINGSUSTOTHEOLDPHILOSOPHICALQUESTIONHOWDOWEKNOWHOW OTHERPEOPLESEETHECOLORS)HAVENOTOOLSTOPROVEDASSURANCETHATTHEBLUE COLOREXPERIENCEDBYYOUISLIKETHATOFMINEANDNOTFOREXAMPLELIKEMY EXPERIENCEOFRED4HEPERCEPTIONOFCOLORISANINTERNALEXPERIENCENEVERTO BESEPARATEDFROMTHEPERCEIVINGSUBJECT !NYBODYWHOHASSTUDIEDlNEARTSHASPROBABLYCOMEACROSS*OSEF!LBERS COLORTHEORY)NTERACTIONOF#OLORS(ESUGGESTSTHATWHENACOLORISPUTBE SIDEANOTHERCOLORITSRECEPTIONISCHANGED&OREXAMPLEAGRAYPIECEOFPAPER NEXTTOAGREENONELOOKSREDDISHBUTWHENTHESAMEGRAYPAPERISCONFRONT EDWITHAREDONEITTURNSGREEN4HEPHENOMENONISDUETOTHETENDENCYOF OUREYESTOCOMPENSATEMISSINGSTIMULI4HEPERCEPTIONOFAGREENTONEAC TIVATESTHENEIGHBORINGNERVESSENSITIVETOITSCOMPLEMENTARYCOLORWHICHIS REDANDVICEVERSA "MCFST (ENCEEVENIFWECOULDREGISTERTHEACCURATEWAVELENGTHOFLIGHTBEAMOUR NERVOUSSYSTEMWOULDMODIFYTHEACTUALPERCEPTIONOFITSCOLOR)TISIMPOSSI \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES BLETOESTABLISHCOLORASSOMESTABILEPHYSICALPHENOMENONSINCETHECONCEPT OFCOLORITSELFEXISTSONLYINTHEHUMANSENSUALAPPARATUS4HEREISNOPOINT INTALKINGABOUTANABSOLUTEOROBJECTIVESHADEOFCOLORSINCETHEONLYWAY OFMEASURINGTHISSHADEISLOOKINGATITTHROUGHAHUMANEYE!NDTHATWE KNOWISAVERYUNRELIABLEINSTRUMENT 3INCETHESIMPLEPHYSICALSENSEPERCEPTIONOFCOLORHASPROVEDTOBESO COMPLICATED)DONOTINTENDTODISCUSSTHEHUGEQUESTIONTHATSURROUNDSTHE SYMBOLICVALUESANDINTERPRETATIONSOFCOLORS)TISATOPICFORACOMPLETELY NEWDISSERTATION#OLORISONLYONEASPECTOFOURVISIONHOWEVERWECOULD EQUALLYHAVESIMILARLYCOMPLICATEDDISCUSSIONSABOUTISSUESSUCHASOUTLINES SHAPESANDTHREEDIMENSIONALITYOFSPACE )TISEXTREMELYIMPORTANTTOACKNOWLEDGETHATTHEACTOFSEEINGISNOTONLY APASSIVERECEPTIONOFNERVOUSIMPULSESBUTAPROCESSGUIDEDBYVISUALCUL TUREANDHABITS4HEREISASTORYABOUTAN)NUITARTISTWHOWASVERYSKILLEDAT SCULPTINGANIMALSBUTCOULDNOTDRAWAMATCHBOX2ECTANGULARSHAPESWERE UNFAMILIARTOHIMASARESULTOFTHEIRABSENCEINHISENVIRONMENT.ONEOFUS AREABLETOOBSERVETHESURROUNDINGWORLDWITHUNIVERSALOBJECTIVEORNEUTRAL EYES7EALLHAVELEARNEDTOSEEANDWECANNOTOBSERVETHINGSIMPARTIALLY !LTHOUGHWEKNOWHOWEASILYTHEEYECANBEFOOLEDTHROUGHOUTHISTORY SIGHTHASBEENCONSIDEREDAPOWERFULPROVIDEROFTRUTHh)WONTBELIEVEUN TIL)SEEv!CCORDINGTO-ARTIN*AYVISIONHASUNTILMODERNTIMESTYPICALLY BEENCONSIDEREDTHEMOSTIMPORTANTHUMANSENSEANDTHEREFOREASTHEPRI MARYSOURCEOFEMPIRICALKNOWLEDGEABOUTTHEEXTERNALWORLD4HISCOIN CIDESWITHOUREVERYDAYEXPERIENCESSINCEWEGAINAGREATDEALOFINFORMA TIONTHROUGHSIGHT/NTHEOTHERHANDTHEVASTDEVELOPMENTSINSCIENCEAND TECHNOLOGYHAVEMADEUSMOREANDMOREAWAREOFPHYSICALPHENOMENON INACCESSIBLETOOUREMBODIEDSENSESANDRESPECTIVELYOURCULTUREHASPRO DUCEDAHUGEAMOUNTOFVISUALEXPERIENCESWITHNOEQUIVALENCEINEXISTING REALITY4OQUOTE,AKOFFAND*OHNSONTHEREISANINCREASINGGAPBETWEENTHE hPHENOMENOLOGICALANDSCIENTIlCLEVELSOFTRUTHCLAIMSv4HISMIGHTHAVE SOMETHINGTODOWITH*AYSPROPOSEDhDENIGRATIONOFVISIONINTHCENTURY PHILOSOPHYv 7HATTHISHASTODOWITHSCENOGRAPHY3CENOGRAPHYCANBEUNDERSTOODAS PRECISELYTHISUSEOFEMBODIEDEXPERIENCESSIGHTANDSENSEOFSPACEASSOURC -AKI NGT HE 3 PECT ATO R 3 EE\ +BZ -BLPGG¬+PIOTTPO ESFORKNOWLEDGEUNDERSTANDINGABSTRACTIDEASANDMEANINGSnRELEVANTAS WELLFORNATURALISTICMODERNANDPOSTMODERNORIENTATIONS4HENEGOTIATIONS ANDEXPERIMENTSWITHDIFFERENTMODESOFVISIONCANBESEENASMETAPHORICAL NEGOTIATIONSWITHTHEINCONSISTENCYBETWEENPHENOMENOLOGICALEXPERIENCES ANDCONCEPTUALIZEDUNDERSTANDING -OREOVERTHEREAREVISUALEXPERIENCESTHATSEEMTOWORKFROMOURINSIDE MINDSRATHERTHANFROMTHESTIMULIOFOUTSIDEREALITY/URVISUALITYISNOT ONLYAmOWOFINSTANTANEOUSANDIMMEDIATEPERCEPTIONSBUTITISALSOAPART OFTHEPROCESSOFMEMORIZINGTHINGSORGANIZINGEXPERIENCESANDEVENCREAT INGNEWIMAGESTHATREmECTOURMENTALPROCESSES7ECONCEPTUALIZETHINGSBY GIVINGTHEMAVISUALSHAPEINOURMINDSANDTHISISECHOEDFORINSTANCEIN THECOUNTLESSVISUALMETAPHORSFOUNDINLANGUAGE )HAVENEVERBEENABLETOREADlCTIONWITHOUTHAVINGSOMEMOSTLYVERY VAGUEUNDETERMINEDANDEVENIRRATIONALIMAGESCIRCLINGINMYHEAD4HE LITERALWORDSAREABLETOACTIVATEOURVISUALAPPARATUSWITHOUTPROVIDINGANY PHYSICALENTITYTOPERCEIVE4HERECEPTIONOFlNEARTPROBABLYINVOLVESASIM ILARKINDOFNEGOTIATIONBETWEENTHEPERCEPTIONOFEYESANDINNERIMAGESAND VISUALMEMORIESSTOREDINTHEMIND #!24%3)!.6)3)/. !CCORDINGTO-ARTIN*AYTHECONTINUOUSPRIVILEGINGOFSIGHTDURINGMOST HISTORICALPERIODSISDUETOTHEAMBIGUOUSNATUREOFVISIONITSELF6ISIONMAY APPEARASAPROJECTIONOFOUTERREALITYORASANINSIDEIMAGEWHICHFORITS PARTCANBESEENASAPRODUCTIONOFTHEHUMANORDIVINEMIND &ORIFVISIONCOULDBECONSTRUEDASEITHERTHEALLEGEDLYPURESIGHTOF PERFECTANDIMMOBILEFORMSWITH@THEEYEOFTHEMINDORASTHEIM PUREBUTIMMEDIATELYEXPERIENCEDSIGHTOFACTUALTWOEYESWHENONE OFTHESEALTERNATIVESWASUNDERATTACKTHEOTHERCOULDBERAISEDINITS PLACE)NEITHERCASESOMETHINGCALLEDVISIONCOULDSTILLBEACCOUNTED THENOBLESTOFTHESENSES +BZ /CULARCENTRISMREACHEDITSPEAKINTHETHEORYTERMED#ARTESIANVISIONWHICH SEPARATESTHECORPOREALOBSERVERFROMTHEOBJECTOFHISHEROBSERVATION4HE \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES ACTOFSEEINGISCHANGEDINTOANhETERNALCONTAINEROFOBJECTIVEPROCESSESv 6ISIONISCONCEIVEDASANATEMPORALGAZEACHIEVABLEFOREVERYONE%VENMORE IMPORTANTISTHEINDEPENDENCEOFVISIONOFANYSEEINGSUBJECTTHEVALORIZA TIONOFTHEDISEMBODIED@ANGELICEYE4HEACTOFSEEINGISREDUCEDTOANAB STRACTUNEMBODIEDCONSTRUCTIONTOBESTUDIEDANDREPRODUCEDBYMEANSOF PUREREASONOUTSIDETHERESTRICTIONSOFCORPOREALITY /NECENTRALIDEAOF#ARTESIANPHILOSOPHYTHEDISTINCTIONBETWEENTHEMATE RIALBODYANDTHERATIONALMINDCANBESEENASMETAPHORICALLYREPRESENTED INTHELAWSOFOPTICSSTUDIEDBY$ESCARTESHIMSELF4HELINEARPERSPECTIVE WHICHHASBEENFUNDAMENTALIN7ESTERNPAINTINGSINCETHE2ENAISSANCECAR RIESOUTAMATHEMATICALLYnANDTHUSISINDEPENDENTFROMTHECARNALEYEn CONSTRUCTEDPROJECTIONOFSPACE6ISIONISTHEREFOREUNDERSTOODASANABSTRACT MODELACCORDINGTOWHICHLIGHTWAVESARESUPPOSEDTOACTREGARDLESSOFTHE WHIMSOFTHECORPOREALEYES !CCORDINGTO*AYTHESEPARATIONOFVISIONFROMTHEINCARNATEOBSERVERMADE #ARTESIANPERSPECTIVALISMSUCCESSFULSINCEITENCOURAGEDBOTHSPECULATIVE ANDEMPIRICALCONCEPTSOFVISION#ARTESIAN6ISIONCANEASILYBEINTERPRETED ASTHEVIEWOFANALMIGHTY'ODWHOSEESTHETRUEESSENCEOFTHEWORLD(OW EVERTHENEWEMPIRICALSCIENCECOULDSHARETHISNOTIONOFANABSOLUTEREPRE SENTATIONOFTHEEXISTINGWORLDTHATISACHIEVABLEBYMEANSOFANADVANCED TECHNIQUEOFOBSERVATION $ESCARTESASSUMEDTHATTHECLEARANDDISTINCTIDEASAVAILABLETO ANYONESMENTALGAZEWOULDBEEXACTLYTHESAMEBECAUSEOFTHEDI VINELYINSUREDCONGRUENCEBETWEENSUCHIDEASANDWORLDOFEXTENDED MATTER)NDIVIDUALPERSPECTIVESDIDNOTTHEREFOREMATTERASTHEDE ICTICSPECIlCITYOFTHESUBJECTCOULDBEBRACKETEDOUTINANYCOGNITIVE ENDEAVOR 6ISIONCOULDBEELEVATEDABOVETHETEMPORALITYANDUNCERTAINTYOFOTHER SENSES/BSERVATIONCOULDTHUSBEATOOLOFARATIONALMINDCAPABLEOFACHIEV INGPERMANENTKNOWLEDGEOFTHEWORLD 4HEIDEAOFVISIONASANOBJECTIVEPROCESSOFREPRESENTINGTHEWORLDMAKESIT ALSOTHEORETICALLYPOSSIBLEFOREVERYONETOHAVEASIMILARACCESSTOITSINCEIT ISNOTDEPENDENTONTHEOBSERVER4HISRATIONALIZINGOFVISIONCONTRIBUTEDTO -AKI NGT HE 3 PECT ATO R 3 EE\ +BZ +BZ +BZ +BZ THEPRESUMPTIONOFA@DEMOCRATICVIEWOFENLIGHTENMENTSIMILARLYPERCEIVED BYEVERYONE/NAPRACTICALLEVELITWASCARRIEDOUTBYMODERNOBSERVATIONAL INNOVATIONSANDBYCOPYINGANDDISTRIBUTINGPICTURES)NTERESTINGLYTHEAD VANCEOFOPTICALSCIENCEANDNEWINSTRUMENTSCONTRIBUTEDTOTHEDENIGRATION OF#ARTESIANPERSPECTIVALISMINTHETHCENTURY 0ERHAPSTHEPOSSIBILITYOFREPRODUCINGVISUALREPRESENTATIONSBYTECHNICAL MEANSPROVOKEDQUESTIONSABOUTTHESPECIlCNATUREOFHUMANSEEING/NCE THEAPPEARANCEOFTHEOUTSIDEWORLDCOULDBEREPLICATEDBYPHOTOGRAPHYART ISTSSTARTEDTOFOCUSONTHEPHENOMENONOFPERCEPTIONWHICHWASNOTREDUC IBLETOTHEOPTICSOFACAMERA$ESPITETHESTRONGBELIEFINTHEAUTHENTICITY OFAPHOTOGRAPHWEMOREORLESSCONSCIOUSLYSENSETHEPROFOUNDRUPTUREBE TWEENTHEVIEWOFACAMERAANDOURLIVEDEXPERIENCE/NTHEOTHERHANDTHE CAMERAANDOTHEROPTICALINSTRUMENTSCANREVEALVIEWSNOTOTHERWISEVISIBLE TOOUREYESANDTHUSPOINTTOTHELIMITSOFOUREVERYDAYVISION 4HEARTHISTORIAN*ONATHAN#RARYWHOHASSTUDIEDTHEADVANCEOFTECHNOL OGICALINSTRUMENTSOFOBSERVATIONANDTOOLSTHATREPRODUCEVISUALIMAGES CLAIMSTHATANEWUNDERSTANDINGOFSUBJECTIVEVISIONEMERGEDINBOTHOP TICALSCIENCEANDlNEARTSBEFORETHEMIDDLEOFTHCENTURY(EPROPOSES THAThBYTHEPROCESSOFPERCEPTIONITSELFHADBECOMEINVARIOUSWAYS APRIMARYOBJECTOFVISIONv)TWASTHENUNDERSTOODTHATTHEPERCEPTION OFTHEOUTSIDEWORLDWASCREATEDINCONJUNCTIONWITHTHEPSYCHOPHYSIOLO GICALAPPARATUSOFTHEPERCEIVER4HENOTIONOFTHISSUBJECTIVEVISIONHASLED TOKNOWLEDGEABOUTTHELIMITSANDPOSSIBILITIESOFOURSENSESBUTITHASALSO ENABLEDTHEHUGEMANIPULATIONOFPERCEPTIONTHATISOMNIPRESENTINMOD ERNMASSCULTURE)NARTITMEANSTHEREPRESENTATIONOFTHEWORLDASITSEEN THROUGHTHEEYESOFTHEARTIST4HESUBJECTOFTHEWORKISNOTTHEOBJECTEXIST INGINTHEOUTSIDEWORLDBUTTHEARTISTSINTERNALEXPERIENCE #RARYSEESTHEDEVELOPMENTOFSUBJECTIVEVISIONASANOPPOSITIONTOTHEFOR MER#AMERA/BSCURAMODELTHATREPRESENTEDTHE#ARTESIANPERSPECTIVE)N THE#AMERA/BSCURATHEOBSERVERSATINADARKCHAMBER/NTHEWALLOFTHE ROOMAVISIONOFOUTSIDEWORLDREmECTEDTHROUGHAHOLEONTHEOPPOSITE WALLAPPEAREDASANIMMATERIALSHADOW4HEPOSITIONOFTHEOBSERVERWAS PARALLELTOTHE#ARTESIANNOTIONOFTHESEPARATIONOFMINDANDBODY $SBSZ¬ $SBSZ \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 4HECAMERAOBSCURAAPRIORIPREVENTSTHEOBSERVERFROMSEEINGHISOR HERPOSITIONASPARTOFTHEREPRESENTATION4HEBODYTHENISAPROBLEM THECAMERACOULDNEVERSOLVEEXCEPTBYMARGINALIZINGITINTOAPHAN TOMINORDERTOESTABLISHASPACEOFREASON )TISTEMPTINGTOSEETHETHEATRICALILLUSIONONAPROSCENIUMSTAGEASREPRESENT INGTHE#AMERA/BSCURAMODEL4HEAUDIENCEISSITTINGINTHEDARKWATCHING THEILLUMINATEDSCENEBEYONDTHEPROSCENIUMOPENINGWHICHSEPARATESTHE OBSERVERFROMTHEWORLDOBSERVED4HATCOMPARESTOTHESEPARATIONOFTHE REASONINGCONSCIOUSMINDANDTHEIMMEDIATELYEXPERIENCEDOUTERWORLD )TISPROBABLYNOCOINCIDENCETHATTHEATERHASOFTENBEENUSEDASAMETAPHOR FORTHERELATIONSHIPBETWEENHUMANCONSCIOUSNESSANDTHEOUTERWORLD&OR EXAMPLEWETALKOF#ARTESIANTHEATEROROFTHESTAGEOFINNERMIND4HEREBY THEACTOFWATCHINGTHEPERFORMANCECOMPARESTOTHECONSTITUTIONOFHUMAN THOUGHTANDTHETHEATRICALSPACECANBESEENASANAPPARATUSTHATMAKESTHE FORMATIONOFMEANINGSVISIBLE &OREXAMPLETHEDIFFERENTEXPERIMENTSOFBRINGINGTHEAUDIENCECONCRETELY ORMENTALLYINSIDETHESTAGESPACESEEMTOCORRESPONDTOATTEMPTSOFBREAK INGTHE#ARTESIANVISIONANDMAKINGTHECORPOREALANDSUBJECTIVECONSTITU TIONOFTHESPECTATORANINHERENTPARTOFTHEPERCEPTION 4HEFUNDAMENTALINABILITYTOGRASPTHECONSTITUTIONOFOURTHOUGHTAPART FROMMETAPHYSICALPRESUMPTIONSCANBESEENASAPARTOFTHEARTISTICSTRUC TURESOFMODERNTHEATER%SA+IRKKOPELTOHASDISCUSSEDTHESTAGEASAPLACE FOREXPLORINGTHISDIFFERENCEBETWEENINSIDEANDOUTSIDE4HEPERFORMANCE FUNCTIONSPRECISELYINTHISTRAGICIMPOSSIBILITYOFACHIEVINGCORRESPONDENCE BETWEENSIGNANDITSMEANING4HEREISALWAYSATRANSMITTINGACTA@WRITING ATHEATRICALREPRESENTATIONOFINBETWEENANDTHEMEANINGSTHATCANNEVER BEIMMEDIATELYPRESENT4HETHEATRICALPERFORMANCEISANOUTSIDECONSTRUC TIONOFINSIDEMEANINGS 4HEVISIONISNOTASIMPLEAPPEARANCEBUTAPROCESSOFMAKINGMEANING)N SPITEOFPROVIDINGAFUNDAMENTALCONNECTIONWITHTHEWORLDVISUALEXPERI ENCEISALSOAHISTORICALLYANDCULTURALLYDETERMINEDAPPARATUSWHICHNEVER OFFERSIMMEDIATEACCESSTOANOBJECTIVEWORLDNORTOINSIDEMEANINGS $SBSZ ,JSLLPQFMUP -AKI NGT HE 3 PECT ATO R 3 EE\ #/20/2%!,6)3)/. 4HEANTIOCULARCENTRICDISCOURSEEXAMINEDBY*AYWASPRIMARILYAPHILOSOPHI CALPHENOMENONTHATHEBELIEVESPROVIDEDTHREEMAJORCHANGESTOTRADITIONAL THINKINGTHEDETRANSCENDENTALIZATIONOFPERSPECTIVETHERECORPOREALIZATION OFTHECOGNITIVESUBJECTANDTHEREVALORIZATIONOFTIMEOVERSPACE4HEY ALLCONTRIBUTEDTOTHEDISPLACINGOFVISIONASTHEPRIMARYSENSEINFAVOROF NOTIONSABOUTAHOLISTICBEINGTHATEXISTSINTHEWORLDTHEINSEPARABILITYOF SENSESANDTHELINGUISTICCONSTRUCTIVITYOFREALITY 4HEDEATHOF'ODMEANTTHEENDOFA'ODSEYEVIEW4HEVERYDIS TINCTIONBETWEENANILLUSORYAPPEARANCEPRESENTTOTHEFALLIBLESENSES OFTHEOBSERVINGSUBJECTANDTHEDEEPERESSENTIALTRUTHAVAILABLETOTHE INTELLECTORREASONTHERETOBE@SEENBYTHE@MINDSEYECOLLAPSED /URUNDERSTANDINGOFSIGHTSEEMSTOBESOSTRONGLYCONNECTEDTOTHE#ARTE SIANMODEOFVISIONTHATTHEWHOLEVISUALDOMAINSEEMSTOBEUNDERSUSPI CIONWHENDIRECTACCESSTOTRUTHWASDENIED4HEONLYTHCENTURYPHILOSO PHERWHOACCORDINGTO*AYSSURVEYHASSUCCESSFULLYTRIEDTOESTABLISHANEW VALUEOFVISIONIS-AURICE-ERLEAU0ONTYWHOSECORPOREALPHENOMENOLOGY GIVESPRIMACYTOOUREMBODIEDPERCEPTIONALEXPERIENCESASTHEFOUNDATIONOF OURCONSCIOUSTHINKING(EREVISIONPLAYSARELEVANTBUTNOTINDEPENDENTOR PRIVILEGEDROLEAMONGTHEOTHERSENSES !CCORDINGTOTHEPHILOSOPHYOF-ERLEAU0ONTYTHEEXPERIENCEOFOUROWN PHYSICALBODIESWHICHDIFFERSFROMALLOTHEROBJECTSISTHEPRIMARYWAYIN WHICHWEINHABITTHEWORLD#ONSCIOUSNESSANDTHOUGHTDEVELOPOUTOFTHIS PRIMARYLEVELOFEMBODIEDEXPERIENCEWHICHISDIFFERENTFROMANYEXTERNAL RELATIONSHIPTOOBJECTS6ISIONISPARTOFTHEEMBODIEDCONSTITUTIONOFOUR CONSCIOUSNESSWHICHESCAPESBOTHSPECULATIVEANDEMPIRICISTTHINKING +BZ +BZ .FSMFBV1POUZ 4HEPHILOSOPHYOF-ERLEAU0ONTYOFFERSARTASPECIALPOSITIONASANATTEMPT TOREACHTHISFUNDAMENTALEXPERIENCEOFCOMINGINTOCONTACTWITHTHEWORLD BEFORETHEFORMATIONOFRATIONALTHOUGHT)TISTHISPRIMARYEXPERIENCETHAT GIVESBIRTHTOMORECOMPLICATEDLEVELSOFTHINKING-ERLEAU0ONTYCLAIMS THATTHEPRIMARYPERCEPTIONISMEANINGFULINITSELFANDOURABSTRACTTHOUGHT ANDCONSCIOUSNESSISACTUALLYDEVELOPEDOUTOFTHISEMBODIEDEXPERIENCE (EREHECOMPARESTHEHUMANBODYTOAWORKOFART \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES !NOVELPOEMPICTUREORMUSICALWORKAREINDIVIDUALSTHATIS BEINGSINWHICHTHEEXPRESSIONISINDISTINGUISHABLEFROMTHETHING EXPRESSEDTHEIRMEANINGACCESSIBLEONLYTHROUGHDIRECTCONTACTBEING RADIATEDWITHNOCHANGEOFTHEIRTEMPORALANDSPATIALSITUATION)T ISINTHISSENSETHATOURBODYISCOMPARABLETOAWORKOFART)TISA NEXUSOFLIVINGMEANINGSx )TISPROBABLYNOCOINCIDENCETHAT-ERLEAU0ONTYHASBEENFREQUENTLYREAD BYVISUALARTISTSANDARTSCHOLARS(EHASGIVENAPHILOSOPHICALLEGITIMIZATION TOSENSUALPERCEPTIONANDEVENTOVISUALPLEASURE&OREXAMPLETHEEXPERI ENCEOFANIMPRESSIVECOLORHASOFTENBEENCONSIDEREDASASECONDARYPROPER TYOFMATTERBECAUSEITCANNEITHERBECOMPLETELYRECONCILEDWITHTHECHARAC TERISTICSOFOBJECTIVEMATTERNORTOMERESUBJECTIVEILLUSIONS(OWEVERIFWE THINKOFCOLORASALIVINGINTERACTIONBETWEENOURBODYANDTHEWORLDITCAN BESEENASEXEMPLIFYINGOURFUNDAMENTALWAYOFINHABITINGTHEWORLD 7HENWEFOREXAMPLESEEACOLORWECOMEINTOCONTACTWITHTHEWORLD!C CORDINGTO-ERLEAU0ONTYOURMENTALBEINGISCONSTITUTEDBYTHATINTERAC TIONBUTONTHEOTHERHANDOURPERCEPTIONOFTHECOLORISDETERMINEDBY OURBEING)NSTEADOFSTABLEASSOCIATIONSTHEREISADYNAMICPROCESSINWHICH WELEARNTOUNDERSTANDBOTHOURSELVESANDTHECOLORWESEE4HEARTISTICEX PERIENCECANBETHOUGHTASARENEWALOFTHISFUNDAMENTALWAYOFINHABITING THEWORLD)NTHISSENSETHEARTISTICEXPERIENCEISALWAYSSOMEHOWFRESH)T GIVESUSTHEFEELINGOFSEEINGSOMETHINGFORTHElRSTTIMEANDONLYLOOKING FORITSMEANING )AMAWARETHATITISAVERYPRECARIOUSENTERPRISETOLINKTHETHINKINGOFAN ARTISTTOANYPHILOSOPHICALTHEORY!TLEASTACCORDINGTOMYSCENOGRAPHICEX PERIENCESITISHARDTOTHINKVERYTHEORETICALLYWHENDOINGAPRACTICALJOB)T BECOMESALMOSTIMPOSSIBLETOCOMPLETETHEWORKWHENGRAPPLINGWITHTOO MUCHPHILOSOPHY (OWEVERINORDERTOCREATEANYVISUALSIGNIlCANCEWEMUSTTRUSTTHATSOME ISSUESAREMOREMEANINGFULTHANOTHERS7EALSOHAVEANUNDERSTANDING ABOUTTHECONCEPTUALANDPERCEPTIONALVISUALAPPARATUSOFTHEAUDIENCE nANDHENCEOFTHEWORKINGOFTHEHUMANMIND%VENIFTHEARTISTHIMSELF HERSELFDOESNOTTAKETHELEASTBITOFINTERESTINPHILOSOPHYHISHERCHOICE .FSMFBV1POUZ -AKI NGT HE 3 PECT ATO R 3 EE\ OFPRACTICALMETHODSMAYIMPLYAKINDAPOPULARVERSIONOFPHILOSOPHICAL THINKING4HISPROPOSALISSUPPORTEDBY-ERLEAU0ONTYHIMSELFWHOWRITES x4HEOPINIONOFTHERESPONSIBLEPHILOSOPHERMUSTBETHATPHE NOMENOLOGYCANBEPRACTICEDANDIDENTIlEDASAMANNERORSTYLEOF THINKINGTHATITEXISTEDASAMOVEMENTBEFOREARRIVINGATCOMPLETE AWARENESSOFITSELFASAPHILOSOPHY 4HEPROBLEMHEREISTHATONECANMAKENOCLAIMSABOUTTHEPRIVATETHOUGHTS OFANARTISTWITHOUTTHEDANGEROFBEINGARROGANTBESSERWISSERWHOALWAYS KNOWSBETTERTHANOTHERSHOWTHINGSREALLYARE(OWEVERONECANPROPOSE APOSSIBLEREADINGOFTHETHINKINGPRESENTINWORKSOFART4HISREADINGCAN ANDMUSTBEALSOQUESTIONED .FSMFBV1POUZ WJJJ \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 5! 4HE3CENOGRAPHIC#HALLENGES OF-ISS*ULIE )NTHEPREFACEOF-ISS*ULIE3TRINDBERGPOINTEDOUTITSCORRESPONDENCETOTHE THINKINGOFMODERNTIMES )NTHEFOLLOWINGDRAMA)HAVENOTTRIEDTODOANYTHINGNEWnFORTHAT CANNOTBEDONEnBUT)HAVETRIEDTOMODERNIZETHEFORMINACCOR DANCEWITHTHEDEMANDSWHICH)THOUGHTTHENEWMENOFANEWTIME MIGHTBELIKELYTOMAKEONTHISART &ORACONTEMPORARYTHEATERMAKERTHE3TRINDBERGIANINNOVATIONSINTRODUCED IN-ISS*ULIEALONGSIDEMANYSIMILARSUGGESTIONSBYOTHERARTISTSINTHELATE THCENTURYAPPEARASHALLMARKSOFAHEGEMONICSTYLEINMAINSTREAMTHEA TER-OSTOFHISVISIONSHAVENOTONLYCOMETRUEBUTTHEYHAVEBECOMESIGNS OFCONVENTIONALTHEATERMAKINGFOREXAMPLETHEAUDIENCESEESTHEPLAY THROUGHTHE@MISSINGFOURTHWALLASIFITWEREHAPPENINGINREALLIFE )FINADDITIONWEMIGHTESCAPETHEVISIBLEORCHESTRAWITHITSDISTURB INGLAMPSANDITSFACESTURNEDTOWARDTHEPUBLICIFWECOULDHAVETHE SEATSONTHEMAINmOORRAISEDSOTHATTHEEYESOFTHESPECTATORSWOULD BEABOVETHEKNEESOFTHEACTORSIFWECOULDGETRIDOFTHEBOXESWITH THEIRTITTERINGPARTIESOFDINERSIFWECOULDALSOHAVETHEAUDITORIUM COMPLETELYDARKENEDDURINGTHEPERFORMANCEANDIFlRSTANDLAST WECOULDHAVEASMALLSTAGEANDASMALLHOUSEx )NTHISCHAPTER)WILLDISCUSS3TRINDBERGSIDEASABOUTSCENOGRAPHYASTHEY APPEARIN-ISS*ULIE)TISANILLUMINATINGEXAMPLEOFSCENOGRAPHICTHINKING VERYMUCHLABELINGTHEMOREGENERALDEVELOPMENTOFMODERNTHEATER%VEN IFTHEAUTHORHIMSELFCALLEDTHEPLAYANATURALISTICTRAGEDY)THINKITPROVES TOBEANYTHINGBUTSIMPLENATURALISMBASEDONANEMPIRICISTUNPROBLEMATIC 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ 4USJOECFSH Y 4USJOECFSH YY TRUSTINOBJECTIVEKNOWLEDGETRANSMITTEDBYPERCEPTION4HEPROTAGONISTSIN VOLVEMENTWITHHERENVIRONMENTTHECONSTRUCTIONOFILLUSIONANDTHEPOSI TIONOFANOBSERVINGSPECTATORINTERTWINEWITHEACHOTHERINAVERYCREATIVE WAY -ISS*ULIETAKESPLACEON-IDSUMMERS%VEINTHEKITCHENOFTHE#OUNTS COUNTRYHOUSE4HETIMEANDPLACEMAKEOUTANIMPORTANTCONTEXTFORTHE EVENTS!LTHOUGHTHEKITCHENISTHEONLYROOMVISIBLEINTHE#OUNTSHOUSE THEREISARINGINGBELLANDASPEAKINGTUBELEADINGTOTHEUPPERmOORSTHAT ALLUDESTOTHESOCIALORDERRULINGOVERTHELIFEOFTHESERVANTSINHABITINGTHE KITCHEN4HETIMEOF-IDSUMMERISTRADITIONALLYCONNECTEDWITHHEIGHTENED SEXUALITYANDREPRESENTSUNCONTROLLABLENATURALINSTINCTSANDIMPULSES 4HETRAGEDYDEVELOPSWHEN*ULIEREFUSESTOOBEYTHERULESOFSOCIETYANDGEN DERANDWANTSTOSPEND-IDSUMMERS%VEWITHTHEVALET(ERETHESTRUCTURE OFTHESTAGESPACECOMPARABLETOTHATOFTHESURROUNDINGSOCIETYCREATESA TRAPFROMWHICHSHECANNEVERESCAPE/NCE*ULIEHASMADEAFATALMISTAKE THEREISNOHONORABLEEXITFORHER 4HEDRAMATICIMPORTANCEOFTHEVISUALENVIRONMENTISFOUNDINTHEDETAILED SCENOGRAPHICINSTRUCTIONSWRITTENBY3TRINDBERG4HESETYPESOFINSTRUCTIONS WERECOMMONPLACEINTHEWORKOFOTHEREARLYMODERNPLAYWRIGHTSSUCHAS )BSENAND#HECHOV(OWEVERTHEYWOULDWORKSEPARATELYFROMTHETEAM THATCARRIEDOUTTHEIRINSTRUCTIONS(ENCEWEKNOWTHATTHEINSTRUCTIVETEXT FOR-ISS*ULIEWASWRITTENBYTHEAUTHORBEFORETHEPLAYWASEVERSTAGED4HE SCENOGRAPHICINSTRUCTIONSDONOTRESTSOMUCHONTHEEXISTINGTHEATRICALCON VENTIONSANDSTAGETECHNOLOGYBUTRATHERONHOWTHEPLAYWRIGHTIMAGINED THESCENES &ROMTHEVIEWPOINTOFASCENOGRAPHERTHENATURALISTICPARENTHESESARELIKE DESCRIPTIONSOFHOWTHEMILIEUWOULDAPPEARINEVERYDAYREALITYANDDONOT INSTRUCTHOWTOREPRESENTTHISONSTAGE&OREXAMPLETHESHIFTINGSUNBEAMS ATTHEENDOF-ISS*ULIEAREEASYTOIMAGINEINAREALKITCHENBUTTHEYWOULD BEVERYHARDTOCARRYOUTEVENWITHMODERNTECHNOLOGYLETALONEWITHTHE LAMPSAVAILABLEIN 4USJOECFSH 4HESUNHASRISENANDISSHININGONTHETREETOPSINTHEPARK4HELIGHT CHANGESGRADUALLYUNTILITCOMESSLANTINGLYINTHROUGHTHEWINDOWS \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES )NTHISSENSE3TRINDBERGWASWAITINGFORPOSSIBILITIESTHATCOULDONLYBEOF FEREDBYCINEMA)NMODERNTHEATERTHESCENICINSTRUCTIONSOFTHEAUTHOR HAVEOFTENBEENIGNOREDOREVENDELIBERATELYOPPOSED4HETASKOFTHESCE NOGRAPHERISTOCREATEAVISUALCORRESPONDENCETHATCOMMUNICATESTHEESSEN TIALDRAMATURGICALIDEARATHERTHANTOCOPYTHEINSTRUCTIONS 4HESPATIALSTRUCTUREOF-ISS*ULIEHOWEVERISPROFOUNDLYINTERTWINEDWITH THETHEMATICSANDDRAMATURGYOFTHEPLAY4HATISWHYTHEPRACTICALSCENOG RAPHIESAREBASEDON3TRINDBERGSSPATIOVISUALTHINKINGEVENININSTANCES WHENTHEPERFORMANCEISSITUATEDINANENVIRONMENTCOMPLETELYDIFFERENT FROMTHEORIGINALSPECIlEDLOCATION)TISNECESSARYTOBEAWAREOFTHESPATIAL ANDVISUALIDEASEMBEDDEDINTHEPLAYINORDERTOUNDERSTANDLATERSCENOG RAPHICEXPERIMENTATIONS (OWDID3TRINDBERGWORKOUTHISIDEALSABOUTTHEATER(EBEGANHISFAMOUS PREFACETO-ISS*ULIEWITHTHEFOLLOWINGASSERTIONS ,IKEALMOSTALLOTHERARTTHATOFTHESTAGEHASLONGSEEMEDTOMEA SORTOF"IBLIA0AUPERUMORA"IBLEINPICTURESFORTHOSEWHOCANNOT READWHATISWRITTENORPRINTED!NDATTHESAMETIMETHEPLAYWRIGHT APPEARSTOBEALAYPREACHERSPREADINGTHETHOUGHTSOFHISTIMEIN AFORMSOPOPULARTHATTHEMIDDLECLASSESFROMWHICHTHEATRICAL AUDIENCESAREMAINLYDRAWNCANKNOWWHATISBEINGTALKEDABOUT WITHOUTTROUBLINGTHEIRBRAINSTOOMUCH&ORTHISREASONTHETHEATRE HASALWAYSSERVEDASAGRAMMARSCHOOLFORYOUNGPEOPLEWOMENAND THOSEWHOHAVEACQUIREDALITTLEKNOWLEDGEALLOFWHOMRETAINTHE CAPACITYFORDECEIVINGTHEMSELVESANDBEINGDECEIVEDnWHICHMEANS AGAINTHATTHEYARESUSCEPTIBLETOILLUSIONSPRODUCEDBYTHESUGGESTIONS OFTHEAUTHOR!NDFORTHESAMEREASON)HAVEHADAFEELINGTHATIN OURTIMEWHENTHERUDIMENTARYINCOMPLETETHOUGHTPROCESSESOPERAT INGTHROUGHOURFANCYSEEMTOBEDEVELOPINGINTOREmECTIONRESEARCH ANDANALYSISTHETHEATREMIGHTSTANDONTHEVERGEOFBEINGABANDONED ASADECAYINGFORMFORTHEENJOYMENTOFWHICHWELACKTHEREQUISITE CONDITIONS #OMPARINGTHEATERTOPICTORIALILLUSTRATIONSOFTHE"IBLE3TRINDBERGSEESIT ASASORTOFEASYREADINGFORNONINTELLECTUALAUDIENCESWHOWERETHEONLY PEOPLECAPABLEOFENJOYINGTHEBETRAYALOFTHEIREYES(ISDISLIKEOFTHECON 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ 4USJOECFSH JY TEMPORARYTHEATERSEEMSTOBECONNECTEDTOITSCLUMSYVISUALICONICITYBUT HEALSOSHOWSAMOREGENERALHOSTILITYTOWARDSILLUSIONSASAMEDIUMOFCRE ATINGSIMPLEENTERTAINMENTORIRRATIONALAFFECTIONS6ISUALPERCEPTIONWHICH ISEASYTOMANIPULATEANDHENCEUNRELIABLEWASPRESENTEDASANOPPOSITION TOTHEINTELLIGIBILITYOFWRITTENLANGUAGECAPABLEOFTRANSMITTINGHUMAN THOUGHT 3TRINDBERGISNOTALONEINHISOPINIONS(EAGREESWITH!RISTOTLEACCORD INGTOWHOMTHEVISIBLEMISEENSCÞNEWASTHELEASTIMPORTANTASPECTOFTRA GEDY!GOODDRAMASHOULDPRODUCEACATHARSISWITHOUTSTAGEMACHINERYBUT MERELYBYMEANSOFTHETRAGICEVENTSTHEMSELVES4HERELATIONBETWEENTHE ESSENTIALCONTENTSOFAPLAYANDTHEVISIBLESTAGEnTHElELDOFASCENOGRAPHER nHASBEENAPROBLEMFORTHEATERTHEORETICIANSWHOTRADITIONALLYPRIVILEGETHE LITERALDRAMATEXT 4HEREISALONGPHILOSOPHICALTRADITIONTHATUNDERMINESSENSEPERCEPTIONAS SOMETHINGTEMPORALCHANGINGANDDEPENDENTONTHEHUMANCORPOREALBE ING"UTCANWETHINKOFATHEATERPERFORMANCETHATCANNOTBECARRIEDOUTON STAGEASAMOREORLESSVISUALPERFORMANCEBYEMBODIEDACTORS!RETHEMEAN INGSGENERATEDBYVISUALPERCEPTIONONLYANEXTRAUNNECESSARYSURPLUSORCAN THESCENOGRAPHYBEUSEDASANEXPRESSIONCOMPARABLETOWRITTENANDSPOKEN LANGUAGE )NSPITEOFHISDETESTATIONOFILLUSIONSITISCERTAINLYNOTJUSTIlABLETOBLAME 3TRINDBERGFORADISINTERESTINVISUALITY(EWASAREMARKABLEPHOTOGRAPHER ANDPAINTERANDHEWASALSOVERYCONCERNEDABOUTTHESCENOGRAPHYOFHIS DRAMAS-ISS*ULIECONTAINSADETAILEDDESCRIPTIONABOUTTHESETANDLIGHTNING ANDTHEREISAPROFOUNDDISCUSSIONABOUTHISSCENICIDEASINTHEPREFACE)N STEADOFREJECTINGSCENOGRAPHYENTIRELYHEWANTEDTORESHAPEITSVISUALCON VENTIONSINORDERTOlNDARELEVANTCONNECTIONBETWEENTHESTAGEANDTHECON TENTSOFHISDRAMATEXT ) , , 5 3 ) / . ) . 4 ( % 3 % 2 6 ) # % / & ! . ) . 6 % 3 4 ) ' !4 ) . ' % 9 % !LTHOUGHTHEBEGINNINGOFHISPREFACECASTIGATEDTHENONINTELLECTUALMID DLECLASSAUDIENCESFORTHEIRSUSCEPTIBILITYTOILLUSIONS3TRINDBERGWASALSO #VUDIFS \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES LOOKINGFORAMEANSBYWHICHHECOULDHOLDTHEATTENTIONOFAMORECULTURES ANDSOPHISTICATEDSPECTATOR !ND)HAVEDONESOBECAUSE)HAVECOMETOFEARTHATOURDECREASING CAPACITYFORILLUSIONMIGHTBEUNFAVORABLYAFFECTEDBYINTERMISSIONS DURINGWHICHTHESPECTATORWOULDHAVETIMETOREmECTANDTOGETAWAY FROMTHESUGGESTIVEINmUENCEOFTHEAUTHORHYPNOTIST (EDIDNOTAFTERALLWANTTOABANDONDECEPTIVEILLUSIONSBUTTODEVELOP THEMTOAMOREELABORATESTANDARD3OWHATWASTHEFUNDAMENTALDIFFER ENCEBETWEENANILLUSIONCREATEDBYTHETRADITIONALPAINTEDFAKERYANDTHATOF 3TRINDBERGSNATURALISM 7ASITONLYTHEOBVIOUSREMARKTHATATHREEDIMENSIONALWOODENTABLELOOKS MORE@REALTHANONEPAINTEDONCANVAS4HEILLUSIONSTILLREMAINSBECAUSEA THEATERREMAINSATHEATERAMIMICRYOFSOMETHINGTHATISNOTACTUALLYTHERE BUTISREPRESENTEDBYSOMEOTHERTHINGATHEATRICALSIGN4HEREALTABLESTANDS FORANOTHERlCTIVEBUTSIMILARLOOKINGTABLE7AS3TRINDBERGIANNATURALISM JUSTATECHNICALQUESTIONABOUTTHEDEGREEOFVERISIMILITUDE 4HEANSWERISTOBEFOUNDINTHEIDEOLOGYOFNATURALISTTRAGEDY3TRINDBERG ENVISIONEDANEWTHEATERTHATRESPONDEDTOTHEDEMANDSOFMODERNPEOPLE BYREVEALINGTHEPSYCHOLOGICALMECHANISMSOFHUMANMIND /URSOULSSOEAGERFORKNOWLEDGECANNOTRESTSATISlEDWITHSEEING WHATHAPPENSBUTMUSTALSOLEARNHOWITCOMESTOHAPPEN7HATWE WANTTOSEEAREJUSTTHEWIRESTHEMACHINERY7EWANTTOINVESTIGATE THEBOXWITHTHEFALSEBOTTOMTOUCHTHEMAGICRINGINORDERTOlND THESUTUREANDLOOKATTHECARDSTODISCOVERHOWTHEYAREMARKED )NSPITEOFTHEIRPROPOSEDNEWNESS3TRINDBERGSIDEASCANONCEAGAINBE TRACEDBACKTO!RISTOTLEACCORDINGTOWHOMTHEPLEASUREOFMIMESISLIESIN ITSCONTRIBUTIONTOTHEPROCESSOFLEARNING!RTOFFERSUSANOPPORTUNITYTO STUDYOURSELVESANDTHEWORLDAROUNDUS7HATWASDIFFERENTINTHENATURAL ISTICWORLDVIEWFROMEARLIERCENTURIESWASTHEMODERNIDEAABOUTTHEBASIS ANDORIGINSOFSIGNIlCANTKNOWLEDGE 4USJOECFSH YWJ *CJE #VUDIFS 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ )NTHETHCENTURYANOMNISCIENT'ODWASNOLONGERSEENASTHEULTIMATE SOURCEOFALLUNDERSTANDINGANDWISDOM)NSTEADOFLOCATINGTHEENIGMASIN AMETAPHYSICALREALMMODERNDRAMAINTERNALIZEDTHEMANDFOCUSEDONTHE PSYCHOLOGICALPROCESSESOPENTOEXPLANATORYSYSTEMS4HEACTUALSUBJECTOF ADRAMALIKE-ISS*ULIEISNOTTHECOURSEOFEVENTSBUTWHATHAPPENSINTHE MINDSOFTHEPROTAGONISTS4HEILLUSIONISTVISIONINNATURALISMSERVESPRIMA RILYASASOURCEOFKNOWLEDGEWHICHGIVESTHESCENOGRAPHYAPHILOSOPHICAL ANDEPISTEMOLOGICALDIMENSION4HISHASBEENEXPRESSEDBY&REDDIE2OKEM INTHEFOLLOWINGWAY 4HEKNOWABILITYOFTHETHEATRICALWORKOFARTASPRESENTEDONTHESTAGE ORTHROUGHAhTHEATRICALvREADINGOFTHETEXTDEPENDSONTHESTRUCTURE OFTHElCTIONALWORLDWHICHITSELFISPRESENTEDTHROUGHTHESCENOGRA PHYOFTHEPLAYANDORITSPRODUCTION !NATURALISTICREALISTICILLUSIONRESTSNOTONLYONTHEPRESUMPTIONTHATTHE WORLDSHOWNONSTAGECORRESPONDSTOREALITYBUTALSOONACLAIMTHATTHE SPECTATORISFREETOOBSERVETHEVISIONONHISHEROWNTERMSANDTHEREFOREIS EMPOWEREDTOMAKEOBJECTIVECONCLUSIONS4HEILLUSIONISSHOWNASANUN MEDIATEDENTRYPOINTINTOAWORLDWHEREEVERYTHINGNECESSARYCANBESEENBY ACOMPETENTOBSERVER4HEPROBLEMSINTHEPLAYnTHEREASONSFOR*ULIESTRA GEDYnCREATEARIDDLEWHICHTHESPECTATORSHOULDBEABLETOSOLVEUSINGTHE INFORMATIONOFFEREDBYTHESTAGING 5NA#HAUDHURIHASLINKEDTHENATURALISTICDESIREFORSCIENTIlCEXPLANATIONS TOTHEVISIBILITYOFTHEPLAYWORLD /NCECONTEXTUALIZEDOUTSIDEOFRELIGIOUSIDEOLOGYTHEUNKNOWNAP PEARSNOTASMYSTERYBUTASENIGMACONUNDRUMANDPUZZLEAREGION NOTMERELYHOSPITABLETOBUTPOSITIVELYBEGGINGFORCOLONIZATIONBY POWERFULEXPLANATORYSYSTEMS3UCHSYSTEMSARETHETRUEPROTAGONISTS OFTHEDRAMAOFNATURALISMWHICHHAVINGSETASITSGOALTHEOBSERVA TIONEXPOSITIONANDEXPLICATIONOFLIFEASITISMUSTATEVERYMOMENT ENGAGEANDOVERCOMETHEUNKNOWN4HISPROJECTINVOLVESBOTHTHE STAGEANDTHEAUDIENCECONNECTINGTHEMTOEACHOTHERINANEWnAND IMPOSSIBLEnCONTRACTOFTOTALVISIBILITY 3PLFN $IBVEIVSJ \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 4HETASKOFANATURALISTICSCENOGRAPHYISTOSHOWTHESURROUNDINGWORLDTHAT HASMOLDEDTHECHARACTERSANDOUTLINEDTHEIRFATES4HESOCIALGEOGRAPHICAL ANDHISTORICALENVIRONMENTOFADRAMAISNOTONLYANILLUSTRATIVEMILIEUBUTA REPRESENTATIONOFTHEFACTORSTHATHAVEANINmUENCEONTHEPROTAGONISTS)TIS ATTHISPOINTTHATSCENOGRAPHYBECOMESMEANINGFULINANEWWAY !NATURALISTICPERFORMANCESHOWSTHEPROTAGONISTINTHEIREVERYDAYLIFEUN AWAREOFTHEPRESENCEOFTHESPECTATORS7HENSHEISCONFRONTEDWITHTHE ENIGMASOFTHEDRAMATHESPECTATORGRADUALLYSEESDEEPERANDDEEPERINTO HISHERPRIVATEPERSONBYIDENTIFYINGWITHHISHERREACTIONSTOTHEPAINFUL SITUATION4HEENVIRONMENTISLADENWITHINFORMATIONFROMPASTEVENTSAND PRESENTCIRCUMSTANCESWHICHTHESPECTATORSHOULDBEABLETOREADINTHESCE NICSIGNS 4HENATURALISTICSPECTATORISAKINDOFDETECTIVEFORWHOMTHEWORLDAPPEARS LIKEASYSTEMOFINFALLIBLESIGNS3HEHASTHEABILITYTOSEETHEOCCASIONAL LOOKINGOBJECTSASTRACESOFPASTEVENTSWHICHSHETHUSCANUNDERSTAND 4HEPRIVACYOFTHEPROTAGONISTSMINDINNATURALISTICTHEATERISBROKENBYRE VEALINGHISHERHIDDENTHOUGHTSANDSHOWINGHOWTHEYHAVEBEENCONSTRUCT EDBYVARIOUSINTERNALANDEXTERNALFACTORS)NHISBOOK4HEATRICAN3PACEIN )BSEN#HECHOVAND3TRINDBERG&REDDIE2OKEMANALYSESTHEDIALECTICSOFTHE PRIVATEANDTHEPUBLICINREALISTICDRAMASANDUNDERSTANDSTHEMONTHREELEV ELSTHETHEMATICONEWHERETHEPRIVATEINTERESTSOFTHECHARACTERSCONmICT WITHTHEPUBLICSPHEREOFSOCIETYTHESCENOGRAPHICLEVELWHICHALLOWSTHE SPECTATORSEEINTOTHECHARACTERSPRIVATEWORLDANDlNALLYTHECATHARTICLEVEL PRODUCEDBYTHESPECTATORSIDENTIlCATIONWITHTHEHEROSSTRUGGLEFORAMORE CLEARLYDElNEDIDENTITY 4HESCENOGRAPHICDIMENSIONISDElNEDBY2OKEMAShTHEMAJORVISUALMEANS BYWHICHTHEPRIVATEISVISUALLYOPENEDTOTHEPUBLICv 4HESCENOGRAPHICDIMENSIONISHERESEENASONEOFTHEKEYSTHROUGH WHICHTHESPECTATORISENABLEDTOINTERPRETTHEPRIVATEWORLDOFTHE lCTIONALHEROES4HEPHYSICALSURROUNDINGSOFTHEHEROESFUNCTIONAS OBJECTIlCATIONSOFTHEIRINNERWORLDANDASSUCHPROVIDEACCESSFOR THESPECTATORTOSOMEFUNDAMENTALSTRUCTURALFEATURESOFTHESEINNER WORLDS 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ 3PLFNYJJ 4HENATURALISTICSCENOGRAPHYISPRIMARILYNOTTHEILLUSTRATIONOFAPLACEBUTA VEHICLETHATMAKESTHEHIDDENWORLDOFTHEPROTAGONISTSACCESSIBLE4HEIRIN TERNALWORLDISVISIBLETHROUGHTHEIREXTERNALLIVINGENVIRONMENT4HATISALSO CONNECTEDTOTHEWAYSINWHICHTHEACTORSCONCRETELYUSETHESETANDPROPS 3TRINDBERGSCENTRALSCENOGRAPHICREQUESTINTHEPREFACEOF-ISS*ULIEWASTO REPLACETHEPAINTEDPROPSBYREALTHREEDIMENSIONALTHINGSANDTOENABLE THEACTORSTOMOVENATURALLYINTHESPACESOMETIMESTURNINGTHEIRBACKSTO THEAUDIENCEORBEINGONLYPARTIALLYVISIBLE(ISAIMWASTOMAKEhTHElGURES BECOMEPARTSOFTHEIRSURROUNDINGSv3TRINDBERGWRITES /FCOURSE)HAVENOILLUSIONSABOUTGETTINGTHEACTORSTOPLAYFORTHE PUBLICANDNOTATITALTHOUGHSUCHACHANGEWOULDBEHIGHLYDESIR ABLE)DARENOTEVENDREAMOFBEHOLDINGTHEACTORSBACKTHROUGHOUT ANIMPORTANTSCENEBUT)WISHWITHALLMYHEARTTHATCRUCIALSCENES MIGHTNOTBEPLAYEDINTHECENTREOFTHEPROSCENIUMLIKEDUETSMEANT TOBRINGFORTHAPPLAUSE)NSTEAD)SHOULDLIKETOHAVETHEMLAIDIN THEPLACEINDICATEDBYTHESITUATION4HUS)ASKFORNOREVOLUTIONBUT ONLYFORAFEWMINORMODIlCATIONS4OMAKEAREALROOMOFTHESTAGE WITHTHEFOURTHWALLMISSINGANDAPARTOFTHEFURNITUREPLACEDBACK TOWARDTHEAUDIENCEWOULDPROBABLYPRODUCEADISTURBINGEFFECTAT PRESENT 4HESEREQUESTSWEREMADEPOSSIBLEONLYBYTHEDEVELOPMENTOFSTAGELIGHT NINGWHICHWASPARTOFAMASSIVETECHNOLOGICALPROCESSTHATTURNEDTHENIGHT INTODAYINBIGCITIESATTHEENDOFTHCENTURY4HEINNOVATIONSOFGASAND ELECTRICITYENABLEDMOREmEXIBLELIGHTNINGOFACTORS4HEYWERETHEREFORENO LONGERFORCEDTOSTICKTOTHEFORESTAGEWHICHHADPREVIOUSLYBEENTHEONLY PLACEWHERETHEYCOULDBECLEARLYSEENANDHEARD !RTIlCIALLIGHTWHICHSUDDENLYENHANCEDTHEPOSSIBILITIESOFSEEINGISCOM PARABLETOADVANCESINSCIENCETHATENABLEDPEOPLESEETHINGSNEVERSEEN BEFORE4HISMETAPHORICALLYPARALLELSTHENATURALISTICIDEAOFSHOWINGTHE CONSTRUCTIONOFTHEINTERNALPSYCHOLOGYOFTHECHARACTERS-ODERNSTAGEMA CHINERYALLOWEDTHESPECTATORSEEMOREANDDEEPERTHANBEFORE 4USJOECFSH YWJJJ 4USJOECFSH YJY \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES .ATURALISTICSCENOGRAPHYSHOULDBECREDIBLEANDMEANINGFULINTHEEYESOFA SCIENTIlCALLYAWARESPECTATORANDTHEILLUSIONCREATEDBYPAINTEDWALLSWOULD COLLAPSEASSOONASTHELIVINGACTORENTEREDTHESTAGE 4HEYARENOTEVENCAPABLEOFEXPRESSINGTHEANGEROFANIRATEPATER FAMILIASWHOONLEAVINGHISHOMEAFTERAPOORDINNERSLAMSTHEDOOR BEHINDHIMhSOTHATITSHAKESTHEWHOLEHOUSEv/NTHESTAGETHE HOUSESWAYS 3TRINDBERGSWANTFORREALPROPSWASNOTONLYAQUESTIONOFCREATINGANILLU SIONFORTHEMODERNSPECTATORSOTHATTHEYWOULDNOTHAVETOENGAGEINhTHE TOOGREATEFFORTOFBELIEVINGINPAINTEDPANSANDKETTLESv4HEREWASALSO ADEMANDFORACTORSTOGRASPCONCRETELYATTHINGS4HEWORLDAROUNDTHEM SHOULDNOTBEANIMMATERIALILLUSIONPERCEIVABLEONLYBYSIGHTBUTENVIRON MENTWHEREMATERIALOBJECTSARECENTRALTOTHEACTION 4HEIMPORTANCEOFTHETHREEDIMENSIONALSTAGELIESNOTONLYINTHEMORE REALISTICILLUSIONITPRODUCES)TALSOCANBESEENASASYMPTOMOFTHEIDEA THATTHEENVIRONMENTOFTHEPLAYISNOTASHADOWOFAMETAPHYSICALIDEABUT AMATERIALENTITYEXISTINGINTHEREALWORLD4HEACTORSMOVINGAROUNDIN THESPACEANDCONCRETELYGRASPINGATTHEPROPSHADANEWCREATIVERELATION SHIPWITHTHESETANDITSOBJECTS4HESCENOGRAPHYBECAMEATOOLOFACTING ANDTHUSAKEYPARTOFTHEPLAYSDIRECTIONINSTEADOFBEINGJUSTANECESSARY BACKGROUND4HEINTERACTIONBETWEENTHESETTINGANDACTINGMEANSTHATTHE PRACTICALITIESOFSCENOGRAPHYCANNOTBEDISCUSSEDINDEPENDENTLYFROMTHE PROTAGONISTSANDTHEIRANALYSIS4HERELATIONSHIPBETWEENACTORSANDSCENOG RAPHYCANALSOBESEENASAMETAPHORFORTHEINTERACTIONBETWEENTHEPROTAG ONISTANDHISHERSURROUNDINGWORLD !SIDEFROMTHENATURALISTICSTYLEANDIDEOLOGYTHISCONTINUITYBETWEENACT INGANDSPACEISESSENTIALFORBOTHTHEATERPRACTICEANDAMORETHEORETICALAP PROACHTOSCENOGRAPHY4HISSTAGESPACEISNOTONLYABACKGROUNDCREATING ATMOSPHEREBUTADYNAMICELEMENTSERVINGASARESISTANCEORANOBSTACLEFOR ACTORS4HEACTINGMUSTBEINCLUDEDINTHEDESIGNOFASETBYANTICIPATINGTHE POTENTIALUSEOFTHESPACEANDSTAGEELEMENTS4HEREBYTHESCENOGRAPHYISIN EXTRICABLYINVOLVEDWITHTHEDIRECTIONOFTHEACTORS 4USJOECFSH YWJJJ 4USJOECFSH YWJJJ 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ 4HEORETICALLYTHISMEANSTHATTHEREPRESENTATIONOFTHEPROTAGONISTSMIND ISNOTLIMITEDTOTHEINSIDEOFTHECHARACTERBUTITISALSOCONSTRUCTEDBYAN INTERACTIONWITHTHEENVIRONMENT4HEWAYOFINHABITINGTHESPACEISCON CEIVEDOFASBEINGATOOLTOMAKETHEMENTALCONSTITUTIONVISIBLE *5,)%)-02)3/.%$).(%27/2,$ 3TRINDBERGSPROPOSALABOUTTHECONSTITUTIONOFHUMANMINDINWHICHHE COMPARESITTOASAMPLEOFDIFFERENTLAYERSISRENOWNED -YSOULSORCHARACTERSARECONGLOMERATESMADEUPOFPASTANDPRES ENTSTAGESOFCIVILIZATIONSCRAPSOFHUMANITYTORNOFFPIECESOF3UNDAY CLOTHINGTURNEDINTORAGSnALLPATCHEDTOGETHERASISTHEHUMANSOUL ITSELF 4HEMINDOFTHEPROTAGONISTISNOTUNDERSTOODASAPERMANENTSOLIDCHARAC TERBUTRATHERASAPROCESSOFINTERACTIONWITHOTHERPEOPLEANDTHESURROUND INGWORLD"ARRY*ACOBSAND%GIL4RNQVISTHAVENOTEDTHATTHE3TRINDBERG IANCONCEPTOFHUMANMINDCOMESCLOSETOMODERNPSYCHOLOGYTHEORIES ACCORDINGTOWHICHOURBEHAVIORISMOREDElNEDBYCHANGINGSOCIALSITUA TIONSTHANBYASOLIDNATURE )NSTEADOFHAVINGANINDEPENDENTPSYCHICNUCLEUSOFTHEIROWNTHEIDENTITIES OFTHEPROTAGONISTSARECOLLAGESOFDIFFERENTROLESCREATEDBYTHEIRPASTAND ADOPTEDACCORDINGTOPRESENTSITUATIONSTHEYENTERINTO%VENTHEMOSTPER SONALCHARACTERTRAITSAREDEVELOPEDINCONSTANTINTERACTIONWITHTHEOUTER WORLD)NHERITEDGENESHAVEBEENSELECTEDTHROUGHEVOLUTIONANDSOCIALBE HAVIORISLEARNEDCULTURALLY 4HISSHOWSTHEINTEREST3TRINDBERGTOOKINTHEADVANCEOFTHENEWPSYCHO LOGICALSCIENCEANDADVANCEMENTSINBIOLOGY4HEBEHAVIOROFTHECHARACTERS ISDETERMINEDBYTHEIRBIOLOGICALCONDITIONSnESPECIALLYINTHECASEOFTHEFE MALESEXnORBYTRAUMASTHATHAVETHEIRORIGINSINTHEIRPERSONALPAST 4USJOECFSH YJJ +BDPCT5zSORWJTU 4HE3TRINDBERGIANPROTAGONISTISTHUSCARRYINGBOTHHISHEROWNHISTORYAND THATOFTHEWHOLEMANKIND3HEISIMPRISONEDINHISHERHISTORICALSOCIAL ¬ \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES BIOLOGICALANDPSYCHOLOGICALBEINGANDVICEVERSATHESURROUNDINGWORLD HASBECOMEAPARTOFTHEPROTAGONISTSMIND )NTHEPREFACE3TRINDBERGOFFEREDSEVERALEXPLANATIONSFORMISS*ULIESSAD FATE (ERMOTHERSFUNDAMENTALINSTINCTSHERFATHERSMISTAKENUPBRINGING OFTHEGIRLHEROWNNATUREANDTHESUGGESTIVEINmUENCEOFHERlANC£ ONAWEAKANDDEGENERATEBRAINFURTHERMOREANDMOREDIRECTLYTHE FESTIVEMOODOFTHE-IDSUMMERS%VETHEABSENCEOFHERFATHERHER PHYSICALCONDITIONHERPREOCCUPATIONWITHTHEANIMALSTHEEXCITATION OFTHEDANCETHEDUSKOFTHENIGHTTHESTRONGLYAPHRODISIACALINmU ENCEOFTHEmOWERSANDLASTLYTHECHANCEFORCINGTHETWOOFTHEMTOBE TOGETHERINASECLUDEDROOMTOWHICHMUSTBEADDEDTHEAGGRESSIVENESS OFTHEEXCITEDMAN 4HESEXUALDESIREOFMISS*ULIEANDTHESELFDESTRUCTIONTHATFOLLOWSTHEINTER COURSEARECONSEQUENTIALOFSEVERALFACTORSSOMEOFTHEMBELONGTOHEROWN PERSONALQUALITIESOTHERSAREDERIVEDFROMHERPASTORPRESENTCIRCUMSTANCES 4HEFUNCTIONINGnORRATHERMALFUNCTIONINGnOFMISS*ULIESMINDISDEPEN DANTONHERCONTACTWITHTHESURROUNDINGWORLDANDTHEPEOPLEINHABITING IT*ULIEREFERSTOTHISINHERLINESATTHEENDOFTHEPLAY3HEARGUESTHATHER TRAGICOUTCOMEISDUETOACOMPLICATEDNETWORKOFHUMANINTERACTIONOF WHICHONLYAFEWASPECTSAREVISIBLEDURINGTHEPLAY 7HOSEFAULTISITTHISTHATHASHAPPENED-YFATHERSnMYMOTHERS nMYOWN-YOWN7HY)HAVENOTHINGTHATISMYOWN)HAVENT ATHOUGHTTHATDIDNTCOMEFROMMYFATHERNOTAPASSIONTHATDIDNT COMEFROMMYMOTHERANDNOWTHISLASTnTHISABOUTALLHUMAN CREATURESBEINGEQUALn)GOTTHATFROMHIMMYlANC£nWHOM)CALL ASCOUNDRELFORTHATREASON 4HESCENICOBJECTSARELIKETRACESLEFTFROMDIFFERENTFACTORS&OREXAMPLETHE #OUNTWHOISTHEDOMINATINGlGUREINTHEHOUSEISREPRESENTEDMOSTLYBY SCENOGRAPHICMEANS4HEREISANAWARENESSTHATTHEUPSTAIRSISHISRESIDENCE THESOUNDOFHISSTEPSCOMEFROMUPSTAIRSTHEREISTHESPEAKINGTUBEAND THEBELLMEDIATINGHISORDERSTHEREAREHISRIDINGBOOTSCLEANEDBY*EANAND ALLTHESEDETAILSSYMBOLIZEHISABSOLUTEPOWERINTHEKITCHEN4HERELATIONOF 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ 4USJOECFSH YJ 4USJOECFSH *EANTOTHE#OUNTISEXEMPLIlEDINHISBEHAVIORTOTHESIGNSOFTHE#OUNTS EXISTENCE4HEINVISIBLERULEROFTHEWORLDISPRESENTINTHESTRUCTUREOFTHE SPACEANDHISPOWERISMADEVISIBLEBYTHEWAYSINWHICHTHECHARACTERSRE ACTTOTHESCENICSIGNS 4HEINSEPARABILITYOFTHECHARACTERSANDTHEIRWORLDISONEVERYOBVIOUSREA SONFORCOMMONUSEOFTHEHOMEINMODERNREALISTICPLAYSnANOTHERREASON ISOFCOURSETHEPRACTICALEASINESSOFCREATINGAREALLOOKINGLIVINGROOMONA SMALLINTIMATESTAGEPROPOSEDBYNATURALISTS!HOMEISAPLACEWHEREPUBLIC ANDPRIVATESPHERESINTERACTNATURALLY/NTHEONEHANDITISTHESITEOFSOLI TUDEWHERETHEMOSTINTIMATESECRETSCANBEHIDDENBUTONTHEOTHERITISA PLACEWHERETHEDECENTFACADEOFTHEFAMILYISMAINTAINEDINFRONTOFTHEEYES OFVISITORS 5NA#HAUDHURIHASEXAMINEDTHEIMAGERYOFTHEHOMEINRELATIONTOTHE PSYCHOLOGICALCOHERENCEOFPROTAGONISTSINREALISM3HEHASDEVELOPEDADIS COURSECALLEDGEOPATHOLOGYWHEREILLPLACEMENTnORPLACELESSNESSnFORMSTHE PSYCHOLOGICALPROBLEMATICSOFTHEHEROANDTHUSCONTRIBUTESTOHISHERTRAGIC FATE!LTHOUGHTHEPLACEMENTOF*ULIEISNOTAPUREEXAMPLEOFGEOPATHOLOGY THECONCEPTISVERYHELPFULFORMYSPATIALANALYSISOFTHEPLAY 4HEKITCHENIN-ISS*ULIEISPARTOFTHE#OUNTSHOUSEWHICHISTHEDWELL INGPLACEOFALLCHARACTERSINTHEPLAY4HEHIERARCHYOFPLACEFOUNDINTHE KITCHENISALSODERIVEDFROMTHECONVENTIONSOFGENDERANDSOCIETY)TISTHE PLACEFORLOWERCLASSWOMENnTHETERRITORYOF+RISTINnANDITBELONGSTOTHE HOUSEUNDERANINVISIBLEMASCULINERULE4HESITUATINGOFTHEPLAYCANTHUS BESEENASANEXAMPLEOFTHEIDEAOFANhILLPLACEMENTvORhINADEQUACYOF HOMEvCAUSEDBYTHESOCIALSTRUCTUREPROJECTEDONTHEORDEROFSPACE!TTHE MOSTOBVIOUSGEOPATHOLOGICLEVEL*ULIEISTRAPPEDINTHEKITCHENBECAUSESHE LITERALLYDOESNOTKNOWHERPLACE $IBVEIVSJ ¬ (OWEVERTHEKITCHENHARDLYSERVESASAHOMETO*ULIEWHOISANOUTSIDER THEREANDRATHERANUISANCETOTHESERVANTSDOINGTHEIRDUTIES/NTHEOTHER HANDALTHOUGH*EANAND+RISTINLIVEANDWORKINTHEKITCHENTHEYAREOUT SIDERSTHATAREHIREDTODOTHEIRJOBSANDARENOTPERSONALLYINVOLVEDWITHTHE PLACE4HE#OUNTSHOUSEREPRESENTSASOCIALORDERTHATPUTS*EANAND+RISTIN INASUBORDINATEPOSITIONHOWEVERTHEYARESTILLFREETOLEAVEASSOONASTHEIR CONTRACTSRUNOUT \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES )NFACTTHEKITCHENlRSTBECOMESAFATALPLACEWHEN*ULIEISFORCEDINTO*EANS ROOMASACONSEQUENCEOFHEROWNBEHAVIOR*ULIEISTRAPPEDBECAUSEOFHER FAILURETOBELIEVEINHEREQUALITYWITH*EAN(OWEVERIFTHEFAILUREOF*EAN AND*ULIESBUDDINGLOVEWASONLYDUETOTHESOCIALSYSTEMTHEPLAYWOULDBE AMORETRADITIONALTRAGEDYnOREVENAMELODRAMAnANDTHE#OUNTSHOUSE WOULDONLYHAVETHESYMBOLICROLEOFANUNCONQUERABLEOBSTACLETHATDE STROYSTHEHEROINE4HERELATIONSHIPSBETWEEN*ULIEANDHERHOMEANDTHAT OF*EANAND*ULIEAREMORECOMPLICATED !LTHOUGHITISALMOSTIMMEDIATELYAPPARENTTHATTHERECANBENOHAPPY COMMONFUTUREFOR*ULIEAND*EANSHEDESPERATELYTRIESTOESCAPEFROMHER FATHERSHOUSEWITHHIM)TMIGHTBEUSEFULTOCOMPARE*ULIESATTEMPTFORhA HEROICDEPARTUREvTOTHATANOTHERGEOPATHOLOGICFEMALECHARACTEROFMODERN DRAMANAMELY.ORAINTHE)BSENS!$OLLS(OUSE.ORABELIEVEDINHERABIL ITYTOREALIZEHERTRUESELFBUTITRELIESONHERESCAPINGHERHOMEWHICHREP RESENTSTHEFALSITYANDLOVELESSNESSOFHERMARRIAGEWHETHERSHESUCCEEDSIS INCONSEQUENTIAL5NLIKE.ORA*ULIENEVERLEAVES ,EAVINGONESHOMEMETAPHORICALLYALSOMEANSTHECAPABILITYOFFREEINGONE SELFFROMTHEGEOPATHOLOGICPOWEROFTHEENVIRONMENTDElNINGTHEIDENTITY OFTHEPROTAGONIST)TMEANSAPOSSIBILITYTORECONSTRUCTONESPSYCHEACCORD INGTOBETTERCONDITIONSWHICHAREVOLUNTARILYCHOSEN7HEN*ULIETRIESIN VAINTOLEAVEEVERYTHINGBEHINDSHEACTUALLYREFUSESTOENTERANEWENVIRON MENTWHICHWOULDDEVELOPHERINTOANEWKINDOFPERSONALITYnWITHOUTHER INHERITEDPRIVILEGES3HECANNOTEXISTASHERSELFOUTSIDETHEWORLDTHATSHEBE LONGSTO!SUCCESSFULDEPARTUREWOULDBEASYMBOLICALDEATHTOOTHEDEATH OFANOBLEGIRLWHOBECOMESACOMMONWOMANWORKINGINAHOTEL*ULIEPRE FERSTOCHOOSEAREALDEATH 4HATISWHY*ULIECANNOTSAVEHERSELFBYESCAPINGFROMTHEINADEQUATECIR CUMSTANCES3HEISPARTOFTHEMANDTHUSCARRIESHERPRISONINHERPERSON ALITY4HISISSYMBOLIZEDBYTHEBIRDCAGEWHICHSHECANNOTLEAVEBEHIND ANDWHICHlNALLYPREVENTSHERESCAPE)TISNOTONLYTHATSHEBECOMESAVIC TIMOFHERENVIRONMENT4HEPLACEHASBECOMEPARTOFHERMINDANDVICE VERSA.ORASREVOLTAGAINSTTHEINADEQUACYOFHERHOMEISLIKE*ULIESDESPER ATESTRUGGLEAGAINSTTHEDICTATIONOFHEROWNIDENTITY!NDlNALLYSHEHASNO OTHEREXITOUTOFHERSELFBUTSUICIDE $IBVEIVSJ ¬ 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ /NEFUNDAMENTALDIFFERENCEBETWEEN*EANAND*ULIELIESINTHEIRABILITYTOAD JUSTTOSURROUNDINGCIRCUMSTANCES*EANSSUPERIORITYISBASEDONHISABILITYTO ADAPTHISBEHAVIORTOEVERYNEWSITUATION4HERELEVANTQUESTIONISNOTWHERE HEBELONGSORWHEREHECOMESFROMBUTHOWHECANTAKEADVANTAGEOFTHE PLACEINWHICHHEPRESENTLYEXISTSSOASTOACHIEVEABETTERPOSITION(ECOULD PROBABLYLIVEANYWHEREBUTACTUALLYHEBELONGSNOWHERE4HUSHEISPRECED INGTHEIMAGEOFAHOMELESSHEROINLATERMODERNANDPOSTMODERNDRAMA ANALYZEDBY5NA#HAUDHURIAHEROWHOHASLOSTALLPRIVATECONNECTIONSTO APHYSICALPLACEANDRATHERHISHERLIFEISDElNEDBYALIFESTYLEOROTHERCON CEPTUALIMAGES /NEREASONFORTHEHOMELESSNESSOF*EANLIESINTHEPOORCIRCUMSTANCESOFHIS CHILDHOODFROMWHICHHEHASCONTINUOUSLYTRIEDTOBREAKAWAYFROM&OR HIMEVERYPLACEISJUSTASTEPONTHEWAYTOTHENEXTONE"UT*ULIEISTIEDTO THE#OUNTSHOUSEWITHITSBEAUTIFULGARDEN3HECANESCAPEHERHIGHSOCIAL STATUSONLYBYFALLINGANDDYING3TRINDBERGEXPLAINSTHEDIFFERENCEBETWEEN *EANAND*ULIE 4HEVALET*EANCONTINUESTOLIVEBUT-ISS*ULIECANNOTLIVEWITHOUT HONOR)NSOFARASHELACKSTHISLIFEENDANGERINGSUPERSTITIONABOUT HONORTHESERFTAKESPRECEDENCEOVERTHEEARLx $IBVEIVSJ ¬ 4USJOECFSH YJJJ $IBVEIVSJ ¬ 4HESOCIALDIFFERENCEGIVES*EANAKINDOFFREEDOMNOTPOSSIBLEFOR*ULIE)T ISSYMBOLIZEDBYASTORYTOLDBY*EANWHEREHEWASSECRETLYCREEPINGTOTHE 4URKISHPAVILIONASACHILD(ESAYSTHATTHEUPPERCLASSHADONLYONEWAYOUT BUTHEHADONEMOREALOWERANDDIRTIERONE"UT*ULIECANNOTLETHERSELF GETDIRTY/NCESHEHASGONEBEYONDHERLIMITSSHEHASNOLONGERHASARESPEC TABLEEXITANDISTRAPPEDINTHEKITCHEN4HEPRIVILEGEDPOSITIONGUARANTEEDTO *ULIEBYHERSOCIALSTATUSISVALIDONLYASLONGASSHESTAYSINHERGOLDENCAGE !SANEMANCIPATEDWOMAN*ULIEDOESNOTOBEYTHELIMITSOFHERSOCIALAND SEXUALPOSITION3HEISSEEKINGAGENDEREDLIBERTYnJUSTLIKE*EANISSTRIVINGFOR ASOCIALADVANCEnANDTHATISDOOMEDTOFAILUREINTHE3TRINDBERGSWORLD *ULIE 7HATWOULDYOUDOINMYPLACE *EAN )NYOURPLACE,ETMESEE!SONEOFGENTLEBIRTHASAWOMAN ASONEWHOHASnFALLEN)DONTKNOWnYES)DOKNOW *ULIE 0ICKINGUPTHERAZORWITHASIGNIlCANTGESTURE,IKETHIS *EAN 9ESn"UTPLEASEOBSERVETHAT)MYSELFWOULDNTDOITFORTHERE \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES *ULIE *EAN ISADIFFERENCEBETWEENUS "ECAUSEYOUAREAMANAND)AWOMAN7HATISTHE DIFFERENCE )TISTHESAMEnASnTHATBETWEENMANANDWOMAN 4HISSHOWS3TRINDBERGSFAMOUSMISOGYNYREACHINGAPEAKINHISWRITING ABOUTEMANCIPATEDhHALFWOMENvLIKE*ULIE )TISNOTAGOODTYPEFORITDOESNOTLASTBUTUNFORTUNATELYITHASTHE POWEROFREPRODUCINGITSELFANDITSMISERYTHROUGHONEMOREGENERATION !NDDEGENERATEMENSEEMINSTINCTIVELYTOMAKETHEIRSELECTIONFROM THISKINDOFWOMENSOTHATTHEYMULTIPLYANDPRODUCEINDETERMINATE SEXESTOWHOMLIFEISATORTURE&ORTUNATELYHOWEVERTHEYPERISHIN THEENDEITHERFROMDISCORDWITHREALLIFEORFROMIRRESISTIBLEREVOLTOF THEIRSUPPRESSEDINSTINCTSORFROMFOILEDHOPESOFPOSSESSINGTHEMAN %VENIF3TRINDBERGSTRESSESTHECONSTRUCTEDNATUREOFACHARACTERHESEEMSTO TAKETHEGENDEREDESSENCEOFAWOMANFORGRANTED*ULIEPERISHESNOTONLYBE CAUSESHEHASMADEAFATALMISTAKEBUTBECAUSENOWHEREINTHE3TRINDBERGIAN WORLDCANGIVEREFUGETOAWOMANLIKEHER3HEISNOTONLYAPRODUCTOFHERSO CIETYOROFHERDISTORTEDPSYCHICDEVELOPMENTBUTAPRODUCTOFTHE3TRINDBERG IANVIEWOFTHEWORLDRESTINGONTHEPSYCHOLOGICALINSIGHTOFHISOWNAGE 4HESTAGINGOF-ISS*ULIEACCORDINGTOTHEINSTRUCTIONSOFTHEPLAYWRIGHT MEANSCONSTRUCTINGTHIS3TRINDBERGIANWORLD#HALLENGINGTHENATURALISTIC STYLECANRESPECTIVELYBESEENASAREACTIONTOTHEOBVIOUSNATUREOFITSSTRUC TUREANDPARTICULARLYTHEPOSITIONOFWOMENTHERE4HEREFOREEXPERIMENTA TIONSWITHTHEREPRESENTATIONALMODESALSOHAVEANIDEOLOGICALDIMENSION BECAUSETHEYREVALUATETHEWAYSINWHICHTHETRAGEDYISSEENANDEXPLAINED 4HATOFCOURSEHASTODOWITHTHECULTURALSTATUSANDREPUTATIONOF3TRIND BERGWHOSEWELLKNOWNOPINIONSANDCOLORFULRELATIONSHIPSWITHHISWIVES SEEMTOHAUNTMOSTREADINGSOF-ISS*ULIE 5 . # % 2 4! ) . 4 9 / . 3 4! ' % 4USJOECFSH 4HEPHILOSOPHICALBACKGROUNDOFNATURALISMLIESINTHEEMERGENCEOFMA TERIALISMANDSCIENCE4HEEXISTENCEOFTHEWORLDANDHUMANFATEWERENO 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ ¬ 4USJOECFSH YJJJ LONGERSEENTOBECAUSEDBYMETAPHYSICALFORCESBEYONDOURCOMPREHENSION BUTTHEYCOULDBEEXAMINEDINMATERIALISTICTERMS(ENCETHETRAGICEVENTS OFTHEDRAMACOULDBEUNDERSTOODBYMEANSOFTHEPSYCHOLOGICALANDSOCIO LOGICALFACTORSTHATCONSTITUTEDTHECHARACTERSANDTHEIRCIRCUMSTANCES4HE TRAGEDYWASCAUSEDBYTHINGSTHATCOULDBEEXPLOREDANDTOSOMEEXTENTEX PLAINEDHOWEVERUNAVOIDABLE 4HETASKOFTHESPECTATORISTOUNDERSTANDTHEHIDDENMOTIVESANDTHEPSY CHOLOGICALORSOCIOLOGICALSTRUCTURESTHATLIEBEHINDTHEM4HEAUTHOROFFERS HIMHERINFORMATIONTHROUGHWHICHSHEMUSTWORKOUTANEXPLANATIONFOR THEPLAYSEVENTS7HENLOOKINGATTHEPLAYTHESPECTATORDOESNOTACTUALLY GAINMOREKNOWLEDGETHANTHEPROTAGONISTS2ATHERSHEISPUTINFRONTOFA RIDDLETHATSHEMUSTSOLVEUSINGGIVENTHEHINTSANDALLUSIONSOFPASTEVENTS )ASSUMETHISISWHAT#HAUDHURIMEANSWHENSHEWRITESTHAThTHENATURALIS TICAGENDATRANSFERSTHEFUNCTIONOFRECOGNITIONFROMTHEPROTAGONISTTOTHE SPECTATORv -ISS*ULIETAKESPLACEINTHEKITCHENOFABIGCOUNTRYHOUSEOWNEDBYACOUNT *ULIESFATHER4HEABSENT#OUNTRULESOVERTHEKITCHENALTHOUGHHISPRESENCE ISONLYMADEKNOWNBYHISRIDINGBOOTSARINGINGBELLANDTHEMOUTHPIECE OFASPEAKINGTUBE7HATWESEEONSTAGEISASPACEFORTHESERVANTS+RISTINS WORKINGPLACEANDTHEDININGTABLEFORALLSERVANTS7EARENEVERSHOWNTHE UPPERmOORSOFTHEHOUSEWHICHFORMTHEHOUSESMOSTPUBLICPART2ATHER WEAREINVITEDINTOTHEINFRASTRUCTURETHATKEEPSTHEHOUSEFUNCTIONINGAND MAKESTHEPUBLICFACADEPOSSIBLE 5NLIKESOMEONESPRIVATEROOMTHEKITCHENISANOPENSPACEFACILITATINGTHE STAFF SCOMINGSANDGOINGS4HEOBJECTSINTHISSPACEDONOTPROVIDEEVIDENCE OFANYPERSONALSECRETS(OWEVERACCESSISPROVIDEDTOTHEPRIVATEROOMSOF THESERVANTSANDTHATSWHERE*EANAND*ULIEHIDEFROMTHEGOSSIPINGCROWD 4HEREBEHINDTHEPUBLICKITCHENARETHEPRIVATEWORLDSTHATARENEVERRE VEALEDIN-ISS*ULIE3IMILARLYWEARENEVERTOLDTHEULTIMATETRUTHABOUTTHE PROTAGONISTS4HESECRETSANDUNSOLVEDENIGMASARENEVERREVEALEDBUTTHEY ARELEFTTOBEIMAGINEDBYTHESPECTATOR4HEVISIBLESTAGEISLIKEANICEBERG ONLYTHETOPOFWHICHCANBESEEN4HISTHOUGHTISECHOEDINAFAMOUSQUOTE FROM3TRINDBERGSPREFACETO-ISS*ULIE $IBVEIVSJ \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES "ECAUSETHEWHOLEROOMANDALLITSCONTENTSARENOTSHOWNTHEREIS ACHANCETOGUESSATTHINGSnTHATISOURIMAGINATIONISSTIRREDINTO COMPLEMENTINGOURVISION 4HISWORKSINCONJUNCTIONWITHHISPROPOSALTHATTHEREARESEVERALMOTIVESFOR THEIRBEHAVIORFROMWHICHTHESPECTATORMAYSELECTTHEMOSTlTTINGONES 4HENEGOTIATIONSBETWEENVISIBILITYANDINVISIBILITYSHOWINGANDHIDINGOPEN UPASCENOGRAPHICDISCOURSEABOUTTHEKNOWABILITYOFTHEPERCEIVEDWORLD WHICHHASBEENEXPLOREDBY&REDDIE2OKEMINHISANALYSISOFSTAGESPACEIN -ISS*ULIE2OKEMHIGHLIGHTSTHENOVELTYOFINCLUDINGTHESPECTATORINTHE lCTIONALKITCHENBYMEANSOFADIAGONALSETTINGANDPARTIALIMPRESSIONISTIC VISION4HISDIFFERSFROMTHECOMMONREALISTICCONVENTIONOFTHE@MISSING FOURTHWALLWHERETHEAUDITORIUMANDTHESTAGEAREONTHESAMEAXIS 4HEANGULARPOSITIONOFTHESCENICSPACEMAKESONECORNEROFTHElCTIONAL KITCHENOVERLAPWITHTHEAUDITORIUM4HESPECTATORSPLACEISIMAGINARILYSITU ATEDINSIDETHEKITCHEN4HEYARETHEREFORENOTONLYOBSERVINGTHEPLAYEVENTS BUTINVITEDTOSHARETHESAMECONCEPTUALSPACEANDTOBEPRESENTATTHEPLAY EVENT4HECONSEQUENCEOFTHISARRANGEMENTISTHATNOTALLOFTHEKITCHENIS DISCERNIBLEBUTITCONTINUESOUTSIDETHEMARGINSOFTHEVISIBLESTAGE 4HISCANBEUNDERSTOODASASTATEMENTTHATASPECTATORCANNOTHAVETHEDE TACHEDPOSITIONNECESSARYFORANOMNISCIENTOBSERVER%VERYVIEWPOINTINSIDE THESCENERYISLIMITEDPARTIALANDHENCERELATIVE4HESPECTATORHASNOACCESS TOOBJECTIVEKNOWLEDGEABOUTTHEWORLDREPRESENTED4HESTAGESPACEOF-ISS *ULIEPRESENTSTHEWORLDASANENIGMATICPLACENEVERTOBETOTALLYUNDERSTOOD ANDEXPLAINED4HISBRINGSUSTOQUESTIONTHEORIGINSOFKNOWLEDGEh3TRIND BERGPLACESTHEQUESTIONOFTHERELIABILITYOFINFORMATIONANDTHERHETORICAL TOOLSUSEDTOPRESENTITINTHEFOREGROUNDOFHISPLAYSv 4HEREADEROF-ISS*ULIEREMAINSIGNORANTABOUTTHETRUTHNESSOFTHESTORIES *EANAND*ULIEARETELLINGABOUTTHEIRPASTSINTHESAMEWAYTHAT3TRINDBERG LEAVESONLYPARTSOFTHEKITCHENVISIBLE(ECREATESANAMBIGUOUSCONSTRUC TIONWITHGAPSAFRAGMENTOFAWORLDWHICHONLYGIVESCLUESTOPOSSIBLECON CLUSIONS4HEPLAYTEXTDOESNOTFOREXAMPLEREVEALTHERELIABILITYOFMANY FACTSDISCUSSEDBY*EANAND*ULIEINTHEPLAY7EARETOLDDIFFERENTVERSIONS ABOUT*ULIESBROKENENGAGEMENTSTORIESOF*EANASAYOUNGBOYAND*ULIES PARENTSPAST 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ 4USJOECFSH YWJJJ 4USJOECFSH ¬ 3PLFN¬ 3PLFN %VENTHEDECISIVEACTOFMAKINGLOVETAKESPLACEIN*EANSROOMHIDDENFROM THEEYESOFAUDIENCE4HEAUTHORDOESNOTTELLUSWHETHER*ULIEHASHADSEX VOLUNTARILYORWHETHERSHEWASRAPEDnORWHETHERTHEYHADSEXATALL!LL ALTERNATIVESCREATEGROUNDSFORVERYDIFFERENTREADINGSOFTHELATTERPARTOF THEPLAY)FTHEINTERCOURSEWASPRESENTEDASARAPETODAYTHEFUNDAMENTAL QUESTIONABOUT*ULIESSELFDESTRUCTIVEBEHAVIORCOULDTURNINTOONEABOUTA WOMANSRIGHTTOREFUSETOHAVESEXREGARDLESSOFHERSEDUCTIVEBEHAVIORAND THEEXPLANATIONFORHERSUICIDECOULDBEFOUNDINHERLEGITIMATEDDEPRESSION AFTERTHEVIOLATIONOFHERBODY )NTHEFAMOUSlNALSCENEOFTHEPLAY*ULIEISGUIDEDBYAVIVIDDREAMTEMPT INGHERINTODEATH4HESPECTATORDOESNOTSHARE*ULIESHALLUCINATIONBUT ONLYSEESTHEREALISTICSUNSHINEILLUMINATING*EAN4HESUBJECTIVEMOTIVE LEADING*ULIETOHERSUICIDEREMAINSINVISIBLEANDULTIMATELYUNEXPLAINABLE TOANOUTSIDER 4HElNALSCENEHASOFTENBEENBLAMEDFORITSINCREDIBILITYANDLACKOFLOGIC .OTEVENADEGENERATEDNOBLEWOMANWOULDCOMMITASUICIDEJUSTBECAUSE OFFALLINGFORHERSERVANTANDTHEFAILUREOFSUCHALOVEAFFAIR)TISREMARKABLE THATTHISNATURALISTICTRAGEDYINFACTENDSINAVERYMYSTICALCONCLUSIONWHICH SEEMSTOBECAUSEDBYSOMEUNKNOWNFORCES4HEMYSTERIOUSMOTIVEWHICH WECANTERMTHEDEATHINSTINCTEXISTSONLYIN*ULIESHEAD)TISANINNATEPHE NOMENONWHICHlNALLYESCAPEShCOLONIZATIONBYPOWERFULEXPLANATORYSYS TEMSvAS5NA#HAUDHURIHASPUTIT4HEHUMANPSYCHEWHICHWASTHEAC TUALARENAOFTHEDRAMACANNEVERBEMADETOTALLYVISIBLENOREXPLAINED )TISPROBABLYNOCOINCIDENCETHAT-ISS*ULIEISSETINTHEKITCHENSITUATED DOWNSTAIRSBELOWTHEPUBLICROOMSOFTHE#OUNTSHOUSE4HECELLARISUN DERSTOODBY'ASTON"ACHELARDASADARKSPACECONNECTEDTOIRRATIONALUN DERGROUNDFORCESWHICHWENEVERDARETOFACEINDAYLIGHT7HEN*ULIEDE SCENDSTOTHEKITCHENSHELOOSESHERCAPABILITYTOACTRATIONALLYANDTOSEE CLEARLY4HESPECTATORSEESHERINEXPLICABLEBEHAVIORBUTNOTTHECAUSEOFIT $IBVEIVSJ 4HERESTRICTEDVISIONISALSOAREFERENCETOTHEIMPOSSIBILITYOFEVERACHIEVING COMPLETEKNOWLEDGEABOUTWHATOTHERPEOPLEEXPERIENCEINTERNALLY3TRIND BERGIANDRAMAHASBEENCHARACTERIZEDASSUBJECTIVEBY%GIL4RNQVIST #BDIFMBSE ¬ \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES )FWECOMBINETHESETWOIDEASnTHEIDEATHATYOUONLYKNOWYOUR OWNLIFEANDTHEIDEATHATTHEEGOISHETEROGENEOUSnWENATURALLYAR RIVEAT3TRINDBERGIANSUBJECTIVEDRAMATHATISADRAMAINWHICHONE CHARACTERTHEPROTAGONISTTENDSTOEMBRACEALLTHEOTHERSWHOBELOW ATHINREALISTICVENEERFUNCTIONASRADIATIONSOREMANATIONSOFHISOR HEREGOx 4HESCENOGRAPHICEQUIVALENTOFTHESUBJECTIVITYIN3TRINDBERGIANDRAMAHAS BEENSTUDIEDBY2OKEM!CCORDINGTOHIMTHETHEATRICALCOMMUNICATIONIN 3TRINDBERGSPLAYSISCOMPARABLETOTHETECHNIQUEOFAMOVIECAMERAWHICH CANCHANGEPERSPECTIVEANDFOCUS4HESUBJECTIVEVISIONWASDEVELOPEDMOST LYINEXPRESSIONISTICPLAYSWHICHARESITUATEDINTHEINNERLANDSCAPESOFTHE MIND )N-ISS*ULIETHEKITCHENISREPRESENTEDFROMONESOLIDVIEWPOINTANDTHE OTHERDIFFERENTPERSPECTIVESAREREPRESENTEDONLYINTHESPOKENLINESOFTHE CHARACTERS(OWEVERTHETECHNIQUEOFTHESUBJECTIVEMOVABLECAMERAISPRES ENTINTHEACTOFFRAMINGTHEVIEWOFTHE#OUNTSKITCHENMUCHLIKESHOOTING APHOTOGRAPH 4HENATURALISTICILLUSIONBY3TRINDBERGWASIMITATINGANOCCASIONALEVERYDAY PERCEPTIONWHICHTAKESPLACEWITHOUTCONSCIOUSMEDIATION4HEPERFORMANCE SHOULDAWAKEANILLUSIONOFWITNESSINGTHEPLAYEVENTSASIFTHEYHAPPENED ACCIDENTALLY4HERANDOMNESSWHICHWASCAREFULLYBUTSECRETLYPREMEDITATED WASSIMILARTOTHESHOOTINGOFAPHOTOGRAPHORTOTHECOMPOSITIONOFANIM PRESSIONISTICPAINTINGTOWHICH3TRINDBERGHIMSELFREFERRED !SFARASTHESCENERYISCONCERNED)HAVEBORROWEDFROMIMPRESSIONIS TICPAINTINGITSASYMMETRYITSQUALITYOFABRUPTNESSANDHAVETHEREBY INMYOPINIONSTRENGTHENEDTHEILLUSION"ECAUSETHEWHOLEROOMAND ALLITSCONTENTSARENOTSHOWNTHEREISACHANCETOGUESSATTHINGS nTHATISOURIMAGINATIONISSTIRREDINTOCOMPLEMENTINGOURVISION 3TRINDBERGANDTHEIMPRESSIONISTSHADTHECOMMONAIMOFSHARINGTHEIRSUB JECTIVEEXPERIENCESWITHTHESPECTATORANDTHEREFORECREATINGAVERYEFFECTIVE SUGGESTIVEILLUSION-OREOVERTHEYTRUSTEDTHEIMAGINATIONOFTHESPECTATOR ASBEINGCAPABLEOFCOMPLETINGTHEINVISIBLEPARTSOFTHEREPRESENTEDWORLD )MPRESSIONISTPAINTINGSARESOLIVELYBECAUSEOFTHEIRROUGHANDINCOMPLETE 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ 5zSORWJTU 3PLFN 4USJOECFSH YWJJJ BRUSHSTROKESWHICHLEAVEROOMFORANACTIVERESPONSE7EAREALLOWEDTOlLL INTHEGAPSACCORDINGTOOUROWNIMAGINATIVECAPABILITYANDTHUSWEBE COMEACOCREATORINTHEWORKOFART .OTONLYISTHESPECTATORSMENTALCOMPLETIONOFTHEPAINTINGIMPORTANTBUT THEIRCONSCIOUSNESSOFTHEPICTURESINCOMPLETENESSISANESSENTIALFEATUREOF THEIMPRESSIONISTICWORKINGMETHOD ,IKEIMPRESSIONISMINlNEART3TRINDBERGBOTHDEVELOPEDTHENATURALIST PREMISESASFARASTHEYCOULDGOANDANTICIPATEDTHENONREALISTSTYLESOFTHE MODERNERA4HISCOMPARISONBETWEEN3TRINDBERGSTHINKINGANDIMPRESSION ISMISUSEFULINTHECONTEXTOFSCENOGRAPHYWHICHISALSOCLOSELYLINKEDTOTHE TRADITIONSOFMODERNlNEART 4HEBASICIDEAOFIMPRESSIONISMISTOCATCHANIMPRESSIONFROMTHEOUTER WORLDASIMMEDIATELYASPOSSIBLE4HATISWHYTHEARTISTSMOVEDTHEIRCANVAS ESFROMTHEIRSTUDIOSTOTHEOPENAIRINORDERTOPAINTACCORDINGTOLIVINGNA TURE)NSTEADOFRECORDINGTHEPERMANENTAPPEARANCEOFTHEWORLDTHEYCON CENTRATEDONCHANGINGMODESOFPERCEIVINGIT4HESUBJECTIVEANDTEMPORAL EXPERIENCEOFCOLORBECAMETHEDOMINATINGTHEMEINTHEIRPAINTINGS 4HEUSEOFASYMMETRICALCOMPOSITIONSTOWHICH3TRINDBERGREFERREDMEANT THATTHElGURESWEREPRESENTEDASIFCAUGHTINTHEMIDDLEOFTHEIRMOVEMENT SOMETIMESONLYPARTIALLYSHOWN4HISALSOBROUGHTATEMPORALDIMENSION INTOTHEPAINTINGS4HEVISIONOFTHEWORLDWASTHUSNOTAPERMANENTTIME LESSVIEWBUTADYNAMICANDCHANGINGPROCESSOFPERCEPTION!NIMPRES SIONISTICPAINTINGISLIKEANINDEXOFTHEARTISTSONLOCATIONEXPERIENCETHAT RECORDSHISHERmEETINGPERCEPTIONOFTHELANDSCAPEONCANVAS4HEASYMMET RYAND@CARELESSNESSOFTHECOMPOSITIONAREREFERENCESTOTHETRANSITIONALCIR CUMSTANCESTHECAPTUREDMOMENT 4HERANDOMNESSOFAPAINTINGTHATCATCHESAmEETINGMOMENTISSIMILARTO 3TRINDBERGSIDEASABOUTTHEDIALOGUEIN-ISS*ULIE )HAVEAVOIDEDTHESYMMETRICALANDMATHEMATICALCONSTRUCTIONOFTHE &RENCHDIALOGUEANDHAVEINSTEADPERMITTEDTHEMINDSTOWORKIRREG ULARLYASTHEYDOINREALITYWHEREDURINGCONVERSATIONTHECOGSOFONE MINDSEEMMOREORLESSHAPHAZARDLYTOENGAGETHOSEOFANOTHERONE \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES ANDWHERENOTOPICISFULLYEXHAUSTED.ATURALLYENOUGHTHEREFORE THEDIALOGUESTRAYSAGOODDEALASINTHEOPENINGSCENESITACQUIRES AMATERIALTHATLATERONISWORKEDOVERPICKEDUPAGAINREPEATED EXPOUNDEDANDBUILTUPLIKETHETHEMEINAMUSICALCOMPOSITION 4HE3TRINDBERGIANDIALOGUEORIMPRESSIONISTICFRAMINGOFAVIEWTAKEPLACE ASIFTHEYWEREACCIDENTALEVENTSNOTCONSTRUCTEDBYANYONE4HISSTRESSESTHE PARTICULARITYANDTEMPORALITYOFTHEEVENTANDINIMITATINGTHERANDOMNESS OFANACTUALEXPERIENCEITSCONTRIVEDNATUREISCONCEALEDBYITSVERISIMILI TUDE /NEHALLMARKOFMODERNREALISTICTHEATERISEXACTLYTHEOBSCURINGOFTHAT BOUNDARYBYMAKINGTHEAUDIENCEFORGETTHATTHEYAREATTHETHEATER7ILLIAM "7ORTHENHASARGUEDTHAThITISTHERHETORICALPURPOSEOFREALISTICTHEATER TOASSERTTHEPERCEPTIONOFVERISIMILITUDEASTHESIGNOFOURPROPERENGAGE MENTWITHTHEPLAYv2EALISMISCHARACTERIZEDNOTBYITSLIFELIKENESSBUTBY hTHEFRAMINGMACHINERYTHATSEEMSTOMAKESUCHLIFELIKENESSAPPEARv4HE PRACTICALANDMENTALAPPARATUSENABLINGTHECREATIONOFANILLUSIONSHOULDBE HIDDENASIFTHETHEATRICALMACHINERYDOESNOTEXISTATALL 4HENATURALISTICILLUSIONSUGGESTEDBY3TRINDBERGENABLEDTHEAUDIENCETO FOCUSONTHElCTIONONSTAGEBYREMOVINGORHIDINGEVERYTHINGTHATMIGHT IMPLYTHEPRESENCEOFTHEATRICALMACHINERY4HEREPRESENTATIONALAPPARATUS ITSELFWASTOBECOME@TRANSPARENTINORDERTOLETTHEAUDIENCEIMMEDIATELY ACCESSANOTHERlCTIONALREALITY/NAPRACTICALLEVELTHISMEANSPURSUINGVERI SIMILITUDETHROUGHEVERYDAYEXPERIENCES4HEPERFORMANCESHOULDBELIKEA SLICECUTOUTREALLIFEOCCUPYINGTHEATTENTIONOFAUDIENCECOMPLETELY (OWEVERACCORDINGTO5NA#HAUDHURI3TRINDBERGSHOWSTHEIMPOSSIBILITY OFNATURALISMBYDEVELOPINGITShCONTRACTOFTOTALVISIBILITYvTOITSLIMIT 4USJOECFSH YW¬YWJ 3TRINDBERGBREACHESTHENATURALISTCONTRACTOFTOTALVISIBILITYINITS OWNNAMESUBSTITUTINGAPARTIALVISIBILITYOFFEREDASANINVITATION TOTHESPECTATORSCOOPERATIVEIMAGINATIONx)NAMOVEMENTTHATIS ALSOTYPICALATTHELEVELOFTHEPLAYSMEANINGTHESPECTATORSATTENTION ISDISTRACTEDFROMITSHYPNOTIClXITYDRAWNTOWARDSTHELIMITSAND MARGINSOFTHESTAGE5PONTHESEMARGINSAREINSCRIBEDTHEIDEOLOGICAL LIMITATIONSOFNATURALISM 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ *VTFUIFXPSE SFBMJTNIFSF NFBOJOHSPVHIMZ UIFTBNFBT OBUVSBMJTN 8PSUIFO $IBVEIVSJ $IBVEIVSJ ¬ 342).$"%2')!.!5$)%.#%3 !SANATURALIST3TRINDBERGASSERTEDANASPIRATIONhTOlNDTHEJOYOFLIFEINITS VIOLENTANDCRUELSTRUGGLESANDMYPLEASURELIESINKNOWINGSOMETHINGAND LEARNINGSOMETHINGv(EDREAMTOFANOBSERVERSEEINGANDANALYZINGTHE WORLDWITHOUTBEINGEMOTIONALLYINVOLVED "UTPERHAPSATIMEWILLARRIVEWHENWEHAVEBECOMESODEVELOPED SOENLIGHTENEDTHATWECANREMAININDIFFERENTBEFORETHESPECTACLEOF LIFEWHICHNOWSEEMSSOBRUTALSOCYNICALSOHEARTLESSWHENWEHAVE CLOSEDUPTHOSELOWERUNRELIABLEINSTRUMENTSOFTHOUGHTWHICHWECALL FEELINGSANDWHICHHAVERENDEREDNOTONLYSUPERmUOUSBUTHARMFUL BYTHElNALGROWTHOFOURREmECTIVEORGANS 3TRINDBERGCONSIDEREDTHEIRRATIONALDOMAINOFFEELINGSANDEMOTIONSASAN OBSTACLEFORTHENATURALISTICOBSERVATION7ESHALLNOTBEMOVEDBYWHATWE SEEBUTREMAINDISTANCEDOBJECTIVEANDINDIFFERENTOBSERVERS4HEUNDER STANDINGOFTRAGEDYTHAT3TRINDBERGDESIREDWASINDEPENDENTFROMEMOTIONAL RESPONSESELICITEDFROMTHEPSYCHEOFTHEOBSERVERS4HEATERSHOULDSTUDYTHE PSYCHOLOGICALPROCESSESFEELINGSANDEMOTIONSOFTHEPROTAGONISTBUTTHISIR RATIONALDOMAINWASTOBEEXCLUDEDFROMTHETHINKINGOFTHEAUTHORAND SPECTATORTHEMSELVES /NTHEOTHERHAND3TRINDBERGDIDNOTHESITATEINMANIPULATINGTHEPLAYS RECEPTIONTHROUGHSENSUALRATHERTHANRATIONALMEANS4HEPRECONDITION FORTHEhSUGGESTIVEINmUENCEOFTHEAUTHORHYPNOTISTvISTHATTHESPECTATOR SWITCHESOFFHISHERCRITICALAPPARATUSANDWILLINGLYEXPOSESHIMSELFHERSELFTO THESENSUALSTIMULATIONANDIMPRESSIONSmOWINGFROMTHESTAGE 4HEREINLIESANINHERENTCONTRADICTIONIN3TRINDBERGSTHINKING4HECREATION OFRATIONALCONCLUSIONSWHICHANILLUSIONSHOULDELICITANDTHESUGGESTIVE MEANSBYWHICHITISCREATEDSEEMTOBEMUTUALLYEXCLUSIVE&IVEDECADESLAT ER"ERTOLT"RECHTWANTEDTOREJECTTHEEMPHATICILLUSIONINHISPLAYSBECAUSE OFITSTENDENCYTOOBSTRUCTTHEAUDIENCESABILITYTOTHINKCRITICALLY 4USJOECFSH YJ 4USJOECFSH Y (OWEVERTHISINCONSISTENCYHASTODOWITHHOWOURMENTALAPPARATUSCOM BINESTHEIRRATIONALUNFORESEENASPECTSOFTHEHUMANMINDWITHRATIONAL PROCESSING7EKNOWBYNOWTHATEMOTIONALANDRATIONALPROCESSESDONOT \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES TAKEPLACESEPARATELY4HEAFFECTIVEASPECTSAREINVOLVEDEVENINTHEMOSTIN TELLIGIBLEREASONINGANDDECISIONMAKING)TSEEMSTHATALTHOUGHTHEAFFECTS ARECONCEIVEDOFASENEMIESOFOURREASONINGCAPACITYWECANNOTDOWITHOUT THEMASTHEYARECONSTITUTIVEFOROURTHINKING !SASENSITIVEARTIST3TRINDBERGSEEMSTOHAVEINTUITIVELYUNDERSTOODTHERE STRICTIONSONSPECTATORSABILITYTOFORMULATEPURELYRATIONALCONCLUSIONS !NDWHATALSOWILLOFFENDSIMPLEBRAINSISTHATMYACTIONCANNOT BETRACEDBACKTOASINGLEMOTIVETHATTHEVIEWPOINTISNOTALWAYS THESAME!NEVENTINREALLIFEnANDTHISDISCOVERYISQUITERECENT nSPRINGSGENERALLYFROMAWHOLESERIESOFMOREORLESSDEEPLYLYING MOTIVESBUTOFTHESETHESPECTATORCHOOSESASARULETHEONEHISREASON CANMASTERMOSTEASILYORELSETHEONEREmECTINGMOSTFAVORABLYONHIS POWEROFREASONING!SUICIDEISCOMMITTED"ADBUSINESSSAYSTHE MERCHANT5NREQUITEDLOVESAYTHELADIES3ICKNESSSAYSTHESICKMAN #RUSHEDHOPESSAYSTHESHIPWRECKED %VENIFHEWASDREAMINGOFAPERFECTFUTUREWHERETHEAUDIENCEWASCAPABLE OFRUTHLESSOBSERVATIONHEKNEWTHATEVERYLIVINGSPECTATORWOULDlNALLY MAKEUPHISHEROWNVERSIONOFTHEPLAY!SAMATTEROFFACTHEDENIEDTHE WHOLEEXISTENCEOFANAMBIVALENTPERMANENTTRUTHTOBEACHIEVEDINHIS PLAY "UTNOWITMAYBETHATTHEMOTIVELAYINALLORNONEOFTHESEDIREC TIONS)TISPOSSIBLETHATTHEONEWHOISDEADMAYHAVEHIDTHEMAIN MOTIVEBYPUSHINGFORWARDANOTHERMEANTTOPLACEHISMEMORYINA BETTERLIGHT )NSPITEOFHISCELEBRATIONOFTHEJOYOFOBSERVATIONANDUNDERSTANDING 3TRINDBERGHASWRITTENAPLAYWHICHCANNEVERBECOMPLETELYEXPLAINEDAND INWHICHTHERELIABILITYOFOBSERVATIONISPUTATSTAKE9OURCONCLUSIONSABOUT *ULIEAREARESULTOFYOURREASONINGCAPABILITYWHICHDEPENDSONTHEPERSONAL LIMITSANDPOSSIBILITIESINYOURLIFE 4HERELATIVITYOFTHEKNOWLEDGEABOUTTHEMOTIVATIONALFORCESBEHIND*ULIES TRAGEDYCANBEAPPLIEDTOSCENOGRAPHYASANAPPARATUSTHATENABLESTHESPEC TATORTOSEETHEPERFORMANCEINAPHYSICALLYCONTRIVEDSETTING"YSHOWING 4H E3 C EN OGRAPH IC # HA LLE NGESO F- I SS *UL IE \ 4USJOECFSH YJ 4USJOECFSH YJ THEPLAYWORLDITALWAYSCONSTRUCTSASPECIlCVIEWINGPOSITIONWHICHNOT ONLYPLACESTHESPECTATORINTHEKITCHENBUTALSOPUTSHERHIMINASPECIlC SITUATIONWHERESHEMUSTDRAWONTHELIMITSOFHISHERPERCEPTION4OPUTIT SIMPLY7HENYOUSEETHEILLUSIONOFASPACEYOUAUTOMATICALLYKNOWYOUR RELATIVEPOSITIONTOITBECAUSETHEILLUSIONCANBESEENONLYFROMTHERE 4HECREATIONOFANATURALISTICILLUSIONISITSELFONLYPOSSIBLETHROUGHTHESUB JECTIVECONDITIONSWHICHMAKEOBJECTIVEOBSERVATIONIMPOSSIBLE!SETSERVES NOTONLYASTHEDETERMININGENVIRONMENTOFTHEPROTAGONISTITALSODETER MINESTHERELATIONSHIPBETWEENTHEAUDIENCEANDTHEPERFORMANCE4HELATTER FUNCTIONISNODOUBTCARRIEDOUTBYALLSCENOGRAPHIESDElNINGTHEBOUNDA RIESOFVISUALPERCEPTION-ODERNSCENOGRAPHYTHATOPPOSESNATURALISTICREP RESENTATIONCANALSOBESEENASEXPERIMENTATIONWITHTHELIMITSOFVISIONIT PROBLEMATIZESTHEACTOFSEEINGAPLAY 4HENATURALISTICPREMISESOF-ISS*ULIEGENERATEANINCOMPATIBLENEGOTIATION BETWEENTHEOUTSIDEWORLDASANOBJECTFOROBSERVATIONANDTHEINSIDEEX PERIENCEOFTHEPERCEIVINGSUBJECT4HISNEGOTIATION)SUGGESTHASBEENONE OFTHEMOSTINTERESTINGISSUESINMODERNANDPOSTMODERNSCENOGRAPHY4HE PLAYCOMBINESNATURALISTOBSERVATIONWITHSUBJECTIVEVISIONTHEREFOREITALSO INVITESTHESCENOGRAPHERTOFOCUSONTHEPERCEPTIONALPROCESSANDONTHE FUNCTIONINGOFVISIONASARHETORICALTOOLTHATMAKESMEANING \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 6! 3TAGING-ISS*ULIE IN&INNISH4HEATER 7H E N $ I D T H E . A T U RA L I S T I C 0 L A Y 3 T A R T T O 4H R I L L -ISS*ULIEISONEOFTHEMOSTFREQUENTLYPERFORMEDPLAYSINTHE7ESTERNWORLD )N&INLANDITHASBEENSTAGEDALMOSTTIMES+NOWLEDGEABOUTTHESCENOG RAPHIESISMINIMALESPECIALLYCONCERNINGOLDERPERFORMANCESBUTITISPOS SIBLETOHAVEAVAGUEIDEAABOUTTHEGENERALARTISTICASPIRATIONS4HEEMPHASIS ANDINTERPRETATIONOFTHEPLAYASWELLASTHESCENICSTYLEOFTHESTAGINGSHAVE VARIEDALOTALONGWITHTHECHANGINGTIMES!SMORETIMEHASPASTBETWEEN THE3TRINDBERGIANERAANDTHEPRESENTDAYTHENEEDTOLEGITIMATETHETOPICAL ITYOF-ISS*ULIEHASBECOMEINCREASINGLYNECESSARYASITSTHEMESARECLOSELY CONNECTEDTOASPECIlCHISTORICALCONTEXT4HENATURALISTICSTYLEHASALSOBEEN QUESTIONEDANDCHALLENGEDBUTALSOREVALUEDDURINGDIFFERENTPERIODS )AMNOTGOINGTOGIVEACOMPLETESURVEYOFALLSTAGINGSOF-ISS*ULIE4HE FOCUSOFMYTHESISISONTHETHINKINGBEHINDTHESCENOGRAPHICELEMENTSTHAT CHARACTERIZE&INNISHMODERNANDPOSTMODERNTHEATER4HATISWHY)WILL CONCENTRATEONPERFORMANCESINAPERIODTHATSTARTEDWITHTHEBLOSSOMINGOF RADICALTHEATERTHESANDSANDENDEDINOURCONTEMPORARYTIME 4HELATTERHALFOFTHCENTURYWASATIMEOFVERYRAPIDCHANGEIN&INNISH HISTORY&INLANDDEVELOPEDFROMBEINGANAGRARIANCOUNTRYTOBEINGAMOD ERNIZEDWELFARESOCIETY4HEREWASASIGNIlCANTCULTURALSHIFTBROUGHTONBY POSTINDUSTRIALISMWHICHEMPHASIZEDNEWTECHNOLOGIESANDGLOBALIZATION! GREATNUMBEROFPROFESSIONALTHEATERSWEREESTABLISHEDOREXPANDED 4HESANDEARLYSWEREANESPECIALLYLIVELYTIMEFORSCENICEXPERI MENTATIONSIN&INLAND!PPRECIATIONFORSCENOGRAPHYGREWENORMOUSLY ALONGWITHEDUCATIONALDEVELOPMENTSTHEIMPROVEDECONOMICPOSITIONOF THEATERSANDINCREASINGNUMBEROFVACANCIESFORPROFESSIONALSCENOGRAPHERS 3 T AGIN G-ISS*UL I E I N &I NNI SH 4H EATE R \ 4HESECIRCUMSTANCESMADEITPOSSIBLEFORSCENOGRAPHYTOBECOMEANINTE GRALANDRECOGNIZEDARTISTICDIMENSIONOFAPERFORMANCENOTONLYAMONG AVANTGARDEGROUPSANDONTHEBIGGERSTAGESBUTALSOINMAINSTREAMTHEATER) WOULDLIKETOCALLTHATTIMETHEGOLDENYEARSOFSCENOGRAPHYSINCEITSAWTHE DEVELOPMENTOFMANYVARIEDVISUALSTYLESANDTHEPOSSIBILITIESOFSTAGESPACE WEREAPPROACHEDWITHGREATCREATIVITY 4HEDEPRESSIONINTHESWHICHFOLLOWEDTHEECONOMICBOOMOFTHE SCREATEDVASTUNEMPLOYMENTANDDISPLACEDMANYPEOPLETOTHEMAR GINSOFSOCIETY4HISPERIODALSOSAWTHEFUTUREOFMANYTHEATERSATRISKAND THEOPPORTUNITYFORARTISTICEXPERIMENTINTHEREALMOFSCENOGRAPHYALSODE CREASED !LTHOUGHMYFOCUSISONTHEPASTTHIRTYlVEYEARSITISNECESSARYALSOTOTAKE ABRIEFLOOKATEARLIERPRODUCTIONSOF-ISS*ULIEINORDERTOESTABLISHTHEHIS TORICALCONTEXTOFTHEATRICALCONVENTIONSAGAINSTWHICHTHEEXPERIMENTATIONS WEREREACTING4HEEVIDENCEONWHICHTHISCHAPTERISBASEDCOMESMOSTLY FROMNEWSPAPERREVIEWSREmECTINGPUBLICRECEPTIONANDOPINIONSRATHER THANTHESTAGINGSTHEMSELVESORTHEPROCESSESOFCREATION)NPARTICULAR)TRY TOASKWHY-ISS*ULIEWASCONSIDEREDASRELEVANTORNONRELEVANT(ERE)CON CENTRATEMOSTLYONTHESTAGINGATTHE.ATIONAL4HEATREINSINCEITSEEMS TOHAVEESTABLISHED-ISS*ULIESCULTURALSTATUSASAPIECEOFCLASSICALDRAMA "EFORETHE3ECOND7ORLD7AR-ISS*ULIEWASPERFORMEDONLYATWORKERSTHEA TERSAND3WEDISHSPEAKINGTHEATERS4HECLASSSTRUGGLEBETWEENTHECOUNTESS ANDVALETWASSEENASTOORADICALFORTHEBOURGEOISAUDIENCESINTHE&INNISH SPEAKINGSIDE$URINGTHESTHEPLAYSEEMEDTOBEFORGOTTENBYEVERY BODYPROBABLYBECAUSEOFTHEWANINGINTERESTINNATURALISM )TWASAFTERTHEWARTIMETHAT-ISS*ULIElRSTBECAMETOPICAL)TWASSTAGED INATTHE3WEDISH4HEATERIN(ELSINKIANDINTHEFOLLOWINGYEARATTHE .ATIONAL4HEATREWHERETWOGREATSTARSOFTHATTIME%LLA%RONENAND4AUNO 0ALOHADTHELEADINGROLES4HELATTERWASALSOCASTINATOURINGVERSIONOF THEPERFORMANCEWITHHISWIFE3YLVI0ALOAS*ULIE4HISTOURBROUGHTTHEPLAY ALLOVERTHECOUNTRY 4HETOPICALITYOF-ISS*ULIEAFTERTHEWARSWASPOINTEDOUTBYMANYREVIEWERS INDISCUSSIONSABOUTTHEPERFORMANCEATTHE.ATIONAL4HEATREIN&OR \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES EXAMPLE/LAVI6EISTØJØSAWANhATLEASTHALFUNCONSCIOUSMENTALCONNECTIONv BETWEENTHENATURALISMOFSANDHISOWNAGE4HEREVIEWEROF)LTA3ANO MATWROTE /UTOFTHISPLAYHURTLEDSURPRISINGLYEVENFRIGHTENINGLYMANYISSUES THATREPRESENTTHENEWESTVIEWSOFHUMANCHARACTERIZATIONxANDA STRONGSPIRITOFCOMMUNITYWITHTHEENDLESShUNDERCURRENTvOROTHER FEELINGINTHEAIRTHATARETYPICALOFOURTIME4HEMAINCHARACTERSOF THE3TRINDBERGIANPLAY-ISS*ULIEANDTHEVALET*EANSOLVETHEMSELVES THEIRMOTIVESANDPOSSIBILITIESBOTHASHUMANBEINGSINGENERALAND INRELATIONTOEACHOTHERJUSTINTHESAMEWAYASATYPICALMODERN PERSONDOES 4HEPOSTWARPERIODBROUGHTARADICALCHANGETOTHESOCIALANDCULTURALAT MOSPHEREIN&INLAND)TWASATIMEOFPOLITICALUNCERTAINTYBUTALSOATIME TOLOOKFORNEWVALUESANDIDEOLOGIESTHATWOULDREPLACETHEOLDONES4HE 3TRINDBERGIANWORLDVIEWWASATTHATTIMECONNECTEDTOTHEADVANCEOFPSY CHOLOGYSCIENCEANDEXISTENTIALISMWHICHBECAMECHARACTERISTICOF%UROPEAN CULTURALDEVELOPMENTINTHES1UESTIONSABOUTINDIVIDUALMORALRE SPONSIBILITYWITHOUTDIVINELAWSORTHECONSTRUCTIVITYOFHUMANPSYCHEWERE HOTTOPICS4HE3WEDISHDIRECTOR!LF3JBERGALSOREFERREDTOEXISTENTIALISMAS ATHEORYWHICHINSPIREDNOTONLYHISINTERPRETATIONOF-ISS*ULIEBUTMOST 3WEDESINTHESBECAUSEOFITSANTI.AZISMANDTHEIDEAOFTHEHUMAN FREECHOICE 4OTHEREVIEWEROF)LTA3ANOMATTHEROLEOF*EANPLAYEDBY4AUNO0ALOWAS REPRESENTATIVEOFTHEAVERAGEPOSTWARMAN&ORMETHECOMPARISONOFTHE UPSTARTVALETTOTHEMENWHOHADRECENTLYRETURNEDFROMWARISASTONISH ING7ITHOUTSEEINGTHEPERFORMANCEITISIMPOSSIBLETOKNOWWHETHERTHE REVIEWERWASACTUALLYREFERRINGTO*EANTHECHARACTEROR0ALOONEOFTHEMOST POPULARACTORSOFHISTIMEWHOSEOTHERROLESMAYHAVE@GHOSTED HISRECEP TION !CONTRARYVIEWHOWEVERWASEXPRESSEDINTHE3WEDISHSPEAKING(UFVUD STADSBLADETACCORDINGTOWHICHTHEAUDIENCEWASLAUGHINGAT0ALO!NOTHER REVIEWIN3AVON3ANOMATDESCRIBEDHOWTHEAUDIENCEHADDISTURBEDTHE.A TIONAL4HEATRESVISITINGPERFORMANCEIN+UOPIOBYLAUGHINGLOUDLYEVENAT THEMOSTTRAGICSCENES!PLAYANDSTYLEOFACTINGTHATWERECONSIDEREDASREL 3 T AGIN G-ISS*UL I E I N &I NNI SH 4H EATE R \ 7FJTUjKj 15BWJ -BHFSSPUI 15BWJ *IBWFVTFEUIF UFSN®HIPTUJOH¯ JOUSPEVDFECZ .BSWJO$BSMTPO NFBOJOHUIBUPUIFS SPMFTPGBOBDUPS IBWFBOJOºVFODFPO UIFSFDFQUJPOPGIJT PUIFSQFSGPSNBODFT $BSMTPO ), +5" EVANTANDTOPICALINTHECAPITALWERENOTNECESSARILYSUCCESSFULINTHEPROV INCES 7HATMAYHAVECONNECTED*EANTO&INNISHPOSTWARMENWASTHERAPID CHANGEIN&INNISHSOCIETYWHERETHEPREVIOUSCONSERVATIVERULERSWEREDIS PLACEDBYNEWLIBERALLYMINDEDANDLEFTISTPOLITICIANS4HELEGITIMIZATIONOF CLASSDISTINCTIONSANDPRIVILEGESWASPUTATSTAKETHEWORKINGCLASSWEREGAIN INGANEWCONlDENCEANDEQUALITYANDGENERALATTITUDESWERESLOWLYBECOM INGMOREDEMOCRATIC0ERHAPS*EANASAPROLETARIANONHISWAYTOBETTERSO CIALPOSITIONINGWASSEENASAREPRESENTATIONOFTHISDEVELOPMENT /NTHEOTHERHANDAVALETWEARINGPRETENTIOUSCLOTHESDOESNOTAPPEARTOBE ATRADITIONALEMBODIMENTOFTHE&INNISHWORKINGMANWHOWASPRIMARILY CONNECTEDTOPHYSICALLABORPROUDOFHISMANUALSKILLSANDDISMISSIVEOFTHE VALUESOFTHEIDLEGENTRY*EANRATHERWANTSTOBEASSIMILATEDINTOTHENOBIL ITYORNEWBOURGEOISIEANDDESPISESHISPROLETARIANORIGINS#OMPAREDTOTHE IMAGERYOFPEASANTSORWORKERSDESCRIBEDIN&INNISHDRAMAANDLITERATURE *EANAPPEARSASANINFERIORMEMBERINTHEUPPERCLASSSNOBLEWORLDRATHER THANREPRESENTATIVEOFTHECOMMONFOLK -OREOVERINFERIORITYBYBIRTHWHICHSEEMEDSOPAINFULTO3TRINDBERGAS @THESONOFASERVANTPERHAPSDIDNOTREPRESENTTHEIDEAOFCLASSDISTINCTIONS SOWELLIN&INLANDWHERETHENOBILITYHADMOSTLYBEENFOREIGNANDWHERE MANYMEMBERSOFTHENEWLYBORN&INNISHSPEAKINGCULTURALELITECAMEFROM RELATIVELYMODESTRURALFAMILIES 4HISDISTANCEBETWEENTHESOCIALTHEMATICSMIGHTALSOOFFERANEXPLANATION FORTHEFRICTIONBETWEENTHE3WEDISHAND&INNISHTRADITIONSOFPERFORMING -ISS*ULIE4HEFORMERINSISTINGMORECLOSELYON3TRINDBERGIAN@ORIGINALITY HASPUTANEMPHASISONTHESOCIALSTRUCTURESANDTHEIRINmUENCEONTHEPRO TAGONISTS4HE&INNISHSPEAKINGPERFORMANCESOF-ISS*ULIEHAVECONCENTRATED MOREONTHEINDIVIDUALPSYCHOLOGYOFTHECHARACTERSANDONTHESEXUALTEN SIONBETWEENTHEM4HEREWASALSOANEWMORESCIENTIlCALLYORIENTEDINTEREST INTHEPSYCHOLOGYANDPSYCHOANALYSISWHICHWASCONNECTEDTONATURALISM )+O /NEREVIEWERPUTITh4ODAYTHEANALYSISOFTHEUNCONSCIOUSMENTALPRO CESSESWHICHTHENATURALISTSWEREABSORBEDINSEEMTOHAVEBECOMERELEVANT AGAINANDINSOMENEWWAYTOPICALv \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 4HEDIFFERENCEBETWEEN&INNISHAND3WEDISHINTERPRETATIONSOF-ISS*ULIEIS VISIBLEINTHEREVIEWS%LLA%RONENSPERFORMANCEATTHE.ATIONAL4HEATREIN WASPRAISEDFORITSDRAMATICSTYLEBY&INNISHCRITICSANDCRITICIZEDINTHE 3WEDISHSPEAKINGNEWSPAPERSFROMWHICHTHEFOLLOWINGEXTRACTISTAKEN %LLA%RONENACTSMOSTLYONTHESENSUALITYOFTHEROLEx3HEHAPPILY AVOIDSTHEPATHOLOGYOFTHEROLEANDSHEGLIDESHALFLIKEASLEEPWALKER INHERFATALADVENTURE"UTTHENEUROSISITSELFINTHISHALFWOMANAND HALFMANISNOTWORKEDOUTWITHASUFlCIENTLYPSYCHOLOGICALGRIP %RONENPLAYSTOOMUCHTOTHEAUDIENCESHETAKESADVANTAGEOFTHEROLE INORDERTOPLAYATHEATRICALTRAGEDYSOLOANDBECAUSEOFTHATSHELOSES HERCONNECTIONTOIT(ERWAYOFEMPHASIZINGTHEENDPHRASEISTYPICAL INATRANCECHANTINGHERREPEATINGENDLINESTOHERSELFSHEFOLLOWSHER DESTINY 4HEDESCRIPTIONOF%RONENSACTINGGIVESCAUSETOSUGGESTTHATSHEDETACHED HERSELFFROMTHESURROUNDINGSPACEANDCOACTORSCONCENTRATINGONTHERECI TATIONOFHERLINES)NTHATWAYTHETRAGEDYBECAMEMOREANENIGMAOF*ULIES INTERNALMINDINSTEADOFBEINGASERIESOFEXPLICABLEEVENTSGUIDEDBYOUTSIDE FORCES)NSOMESENSE*ULIECREATEDHEROWNENVIRONMENTBEINGSURROUNDED BYHERINTERNALDELIRIOUSSTATE &INNISHSPEAKINGREVIEWERSFORTHEIRPARTDIDNOTLIKETHEPERFORMANCEATTHE 3WEDISH4HEATERWITHOUTRESERVE/NEOFTHEMWROTE .OWWEHOWEVERFEELTHATTHEAUTHORHASCONCENTRATEDTOOMUCHON MOTORICACTSANDELIMINATEDTHEMOSTINTERNALANDPHENOMENALCON TENTSOFTHESOULSFROMHISDESCRIPTIONBECAUSEOFHISFEAROFSENTIMEN TALITY(ENCETHEHARSHIMPRESSIONTHISSMARTPLAYMAKESONAMODERN LISTENER)TSCHARACTERSSEEMTOLACKTHEMOSTDELICATESCENTOFLIFE 4HEREWEREVERYFEWCOMMENTSABOUTTHESCENOGRAPHIESOFBOTHTHESEPER FORMANCESINTHEREVIEWSBUTITSEEMSTHAT-ISS*ULIEWASPLACEDINATRADI TIONALCOUNTSKITCHENBOTHATTHE3WEDISH4HEATERSCENOGRAPHER/LAVI3AU VOLAANDAT4HE.ATIONAL4HEATRESCENOGRAPHER+ARL&AGER4HELATTERONE WASDESCRIBEDASAhMODELKITCHENvBYONEREVIEWERWHOALSOCRITICIZEDITFOR BEINGSHORTONSIGNSREFERRINGTOTHEATMOSPHEREOF-IDSUMMER 3 T AGIN G-ISS*UL I E I N &I NNI SH 4H EATE R \ ,PTLJNJFT /-PV )+O /-PV 4HESETBECAMECOMPLETELYUNNECESSARYINTHETOURINGPERFORMANCEOF -ISS*ULIEIN4EATTERI*URKKA4HEPREMIERETOOKPLACEINAPRIVATELIVINGROOM ANDTHEACTORSWEREWEARINGCONTEMPORARYCLOTHES4HEIMPORTANTTHING THEREISTHATTHEPLAYWASCOMPLETELYTAKENOUTOFITSHISTORICALANDSOCIAL CONTEXT4HISWASPROBABLYDUEINTHElRSTPLACETOTHELIMITEDECONOMICAL ANDPRACTICALRECOURSESOFTHETINYTHEATERGROUPRUNBYTHE*URKKAFAMILY (OWEVER-ISS*ULIEWASTHENEWLYESTABLISHED4EATTERI*URKKASOPENINGPLAY WHICHLATERBROUGHTALOTOFNEWINTERNATIONALANDDOMESTICDRAMATO&IN LAND4HEDECISIONTOPERFORM-ISS*ULIEINSPITEOFTHESCENOGRAPHICLIMI TATIONSSHOWSTHAT*URKKASBELIEVEDINTHETOPICALITYANDRELEVANCEOFTHE PLAYOUTSIDEOFITSHISTORICALCONTEXT4HECONTEMPORARINESSOFTHECOSTUMES TURNEDITINTOATIMELESSDRAMAABOUTHUMANRELATIONSHIPS4HELACKOFSET ASADETERMININGENVIRONMENTCOMPLETELYTURNEDTHEDRAMAINTOACTORSTHEA TERWHERETHEIRINTERACTIONCREATEDTHEWHOLEMEANINGFULWORLD !PPARENTLYTHE*URKKASWERERIGHT)NSPITEOFSOMEREVIEWERSCOMPLAINING ABOUTTHELACKOFACONVENTIONALSETTINGTHEPERFORMANCEWASASUCCESSAND AFTERTHEPREMIERETHEYTOUREDWITHTHEPLAYWITHNOSETEXCEPTBLACKCUR TAINS4HEREVIEWSALSOREVEALTHATTHETRAGEDYSURPRISINGLYTURNEDOUTTOBE HUMOROUSIN%MMI*URKKASDIRECTION/NECRITICDESCRIBEDHOWTHEAUDI ENCEJUSTKEPTLAUGHINGWHILE*ULIEWASOFFCUTTINGHERTHROAT $URINGTHEFOLLOWINGDECADES-ISS*ULIEWASFOUNDINTHEREPERTOIRESOFMOST &INNISHTHEATERSWHICHPROBABLYSHOWSITSNEWVALUEASAPIECEOFESTABLISHED DRAMA(OWEVERTHEPRODUCTIONSWERENOTNECESSARILYBOXOFlCESUCCESSES 4HESTAGINGAT*OENSUUINWASONLYPERFORMEDFOURTIMESTHE PRODUCTIONAT6ARKAUSWASPLAYEDTHREETIMES 4HESETSOFTHEPROVINCIALPERFORMANCESBETWEENSANDSWEREMOST LYDESCRIBEDINTHEREVIEWSASREALISTICGENUINEANDFAITHFULTOTHE3TRINDBERG IAN£POQUE4HATWASPROBABLYBECAUSEOFTHEIRCORRESPONDENCEWITHCON VENTIONALTHINKINGBUTALSOBECAUSEOFALACKOFANYEXTRAMONEYTOBESPENT ONSCENOGRAPHIES!KITCHENWASEASYTOSETUPBYUSINGTHETHEATERSOWN STORESANDBYBORROWINGTHINGSFROMPRIVATEPEOPLE ), )TISIMPOSSIBLETOTALKABOUTMODERN&INNISHTHEATERWITHOUTDISCUSSINGTHE POLITICALLYACTIVEANDCOLORFULPERIODOFLATESANDEARLYS/NECOULD \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES EASILYnANDMISTAKENLYnPRESUMETHATTHEREWERESEVERALPERFORMANCESOF -ISS*ULIEDEALINGWITHTHEMUCHDEBATEDISSUESOFTHATPERIODCLASSDISTINC TIONSGENDERROLESSEXUALFREEDOMANDINEVITABLESOCIALCHANGES(OWEVER -ISS*ULIENEVERINSPIREDANYRESPONSEFROMTHE&INNISHDIRECTORSWHOWERE COMMITTEDTOTHERADICALLEFTWINGMOVEMENT /NEREASONFORTHISMIGHTBETHAT-ISS*ULIEISNOTVERYlTFORTHEPURPOSES OFANYPOLITICALIDEOLOGY)TESCAPESALLUNAMBIGUOUSINTERPRETATIONSINAVERY SLIPPERYWAY3INCE-ISS*ULIEAFTERALLGIVESNOlNALREASONSOREXPLANATIONS NORPRIVILEGESANYSTANDPOINTNOPOLITICALCOMMITMENTCANBESUPPORTED BYIT-OREOVERTHE3TRINDBERGIANCLASSSTRUGGLEWITHINTHEPLAYISENTWINED WITHMISOGYNICAND$ARWINISTIDEASABOUTOURSOCIETYWHICHCOULDHARDLY BEAPPROVEDOFBYTHENEWLEFTISTTHEATERMAKERS.ORDOESTHECLASSSTRUGGLE IN-ISS*ULIETRANSPIRETOBEANEXCLUSIVELYPOSITIVEDEVELOPMENT!NDASWAS DISCUSSEDBEFORE*EANWASNOTATYPICALPROLETARIANHERO 0ERHAPSTHE3TRINDBERGIANWORLDWASALSOTOOREMOTEFROM&INNISHSOCIETY INS7HEN3WEDISH*OHAN"ERGENSTR»HLEDIRECTEDAVERYTRADITIONAL -ISS*ULIEAT,ILLA4EATERNIN(ELSINKIMOSTREVIEWSAGREEDTHATHEHAD FAILED4HEPERFORMANCEWASSAIDTOBEOUTDATEDLACKINGALEADINGIDEAAND PUTTINGEMPHASISON*EANINSTEADOF*ULIE,ASSE0YSTIWHOACTEDTHEROLEOF *EANWASUNIVOCALLYPRAISEDBUTINHISMEMOIRSHEDESCRIBESHOWTHEREHEARS ALSTURNEDINTOANIGHTMARESINCETHEACTORSLOSTTHEABILITYTOBEANALYTICAL ANDINTERACTWITHEACHOTHER4HESCENOGRAPHER-»NS(EDSTRMHADCON STRUCTEDAREALLOOKINGKITCHENANDHERECALLSHAVINGDECIDEDAFTERTHEPRE MIERETONEVERMAKEANYNATURALISTICSCENOGRAPHIESAGAIN 4HENATURALISTICSTYLEASPIRESTOCREATEASITUATIONTHATENABLESTHEAUDIENCETO ASSOCIATETHEPLAYWORLDWITHTHEIROWNEXPERIENCE7ITHOUTTHISASSOCIATION THEPERFORMANCETURNSINTOAMUSEUMPIECE)TISHARDTOPERFORM-ISS*ULIE WITHOUTITSSOCIALTHEMATICSBUTTHEYCANNOTBEPROPERLYINCLUDEDBYNATU RALISTICMEANSIFTHATSPECIlCSOCIALSPHEREISNOTFAMILIARTOTHEACTORSANDTHE AUDIENCE4HISHASBEENAWORLDWIDEPROBLEMWHENEVER-ISS*ULIEHASBEEN STAGEDINCOUNTRIESWITHAHISTORYDIFFERENTTOTHATOF3WEDEN4HERUPTURE BETWEENTHE3TRINDBERGIANWORLDANDLOCALSOCIALHISTORIESHASGIVENCAUSETO ALARGENUMBEROFATTEMPTSTOTRANSLATETHECLASSDISTINCTIONSTRUGGLEINTOOTH ERKINDSOFSOCIALINEQUALITIESTHEMOSTFAMOUSBEINGPERHAPSTHE3OUTH !FRICANPRODUCTIONWHERE*ULIEWASWHITEAND*EANBLACK/NEATTEMPTTO 3 T AGIN G-ISS*UL I E I N &I NNI SH 4H EATE R \ 1zZTUJ )FETUSzN ADAPT-ISS*ULIETOTHE&INNISHCONTEXTWASARADIOPLAYINWHICH*ULIESPOKE WITHA3WEDISH3WEDISHACCENTWHEREAS*EANAND+RISTINHAD&INNISH3WED ISHINTONATION 4HElRSTSCENOGRAPHYTHAT)HAVECHOSENFORMYCLOSERSTUDYISAPRODUCTION OF-ISS*ULIESTAGEDUNDERTHETITLEh3TRINDBERGvBYTHE0OLISHDIRECTOR !DAM(ANUSZKIEWICZIN)TWASORIGINALLYANACTORSTRAININGANDRE HEARSINGPROJECTATTHE$RAMA3TUDIOIN4AMPERE5NIVERSITYBUTITHADSIX PUBLICPERFORMANCES (ANUSZKIEWICZDIFFERENTIATEDHIMSELFFROMCONTEMPORARYPOLITICALLYENGAGED THEATERANDCONCENTRATEDONTHERELATIONSHIPBETWEENPERFORMERSANDTHE TEXTPERFORMED(ISMOTIVATIONWASTOFOCUSONTHEPROCESSOFACTORSSTUDY INGTHEIRROLES4HEMAINIDEABEHINDh3TRINDBERGvWASTOSTUDYACTORS WORKBYLETTINGANUNPLANNEDPROCESSLEADTHEREHEARSALS3HORTPIECESFROM OTHERPLAYSANDINCIDENTALELEMENTSFROMPRACTICALLIFEWEREINCLUDEDINTHE PERFORMANCE4HESETWASCONSTRUCTEDLITTLEBYLITTLEDURINGTHEREHEARSALSRE mECTINGTHESCENICPROCESSRATHERTHANTHEPLAYWORLD (ANUSZKIEWICZWASHIMSELFMOSTLYRESPONSIBLEFORTHElNALDEVELOPMENTOF THESCENOGRAPHYINh3TRINDBERGvALTHOUGHTHEWHOLESTAGINGWASDIRECTED TOLOOKASIFITWERECREATEDATTHEMOMENTOFPERFORMANCE4HEQUESTFOR SPONTANEITYANDTHEEMPHASISONSTAGEREALITYASAVEHICLEFORMAKINGMEAN INGAREIDEASPRESENTIN(ANUSZKIEWICZSTHINKINGANDWERESHAREDBYMANY DIRECTORSINVOLVEDWITHMODERNTHEATERh3TRINDBERGvREPRESENTSSCENOG RAPHICASPIRATIONSTHATHAVEPLAYEDANIMPORTANTROLEIN&INNISHTHEATEREVER SINCETHELATESALTHOUGHITCERTAINLYWASNOTTHElRSTINSTANCETHATTHEY WEREINTRODUCED )NTHEFOLLOWINGYEAR(ANUSZKIEWICZSTAGED-ISS*ULIEAGAINAT4AMPERE 4HEATREWITHMOSTLYTHESAMECASTFORBOTHPERFORMANCES4HISPERFORMANCE WASAPPARENTLYMORETRADITIONALALTHOUGHASMALLJAZZBANDPLAYEDONSTAGE ANDTHELIGHTSWEREDESCRIBEDASEXPRESSIVE4HEEXCERPTSFROMOTHERPLAYS WERELEFTOUTANDTHESCENOGRAPHYCLEARLYREPRESENTEDTHE#OUNTSKITCHEN AVOIDINGEXTREMESTATEMENTSSEENINh3TRINDBERGv 5zSORWJTU¬+BDPCT ¬ 4HEREWASABOOMINTHENUMBEROFPERFORMANCESOF-ISS*ULIEINTHES ANDS)TWASOFTENSTAGEDBYFEMALEDIRECTORSTHEN$URINGTHISTIME \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES POLITICALLYENGAGEDTHEATERWASWANINGANDAREACTIONTOTHEPOLITICALBIAS OFTHEEXTREMELEFTDEVELOPED4HEINTERESTOFMANYARTISTSWASNOWDIRECTED TOWARDSTHEINNERREGIONSOFHUMANMIND)NSTEADOFONECANONIZEDTRUTH THEYTHOUGHTABOUTTHESIMULTANEOUSNESSOFVARIOUSDIFFERENTEXPERIENCES THISWASLINKEDTOTHEDEVELOPINGFEMINISTMOVEMENTS 4HESTUDENTSOFTHE4HEATER!CADEMYPERFORMED-ISS*ULIEATTHEIROWN STUDIO4IKAPUUTEATTERIIN4HEFOCUSWASONTHENONCOMPLETEDAND OPENACTINGPROCESSWHICHWASSYMBOLIZEDBYTHEROUNDNESSOFTHEARENA STAGE/NTHESTAGETHEYHADONLYTWOGRANDPIANOSANOLDCLOSETANDABIG STOVEONABLACKWHITECHECKEDmOOR4HEPERFORMANCECONTINUEDWITHTHE EXPERIMENTALACTINGBASEDTRADITIONOFh3TRINDBERGvANDTHEQUESTIONS ANDISSUESTHATCONCERNTHESETWOPRODUCTIONSOVERLAPSIGNIlCANTLY3INCE h3TRINDBERGvWASSOWELLDOCUMENTEDnPERHAPSBETTERTHANANYOTHER PRODUCTIONEVERPERFORMEDIN&INLANDn)WILLFOCUSONITANDLEAVETHE4I KAPUUTEATTERIPERFORMANCEOUTOFMYSTUDY -ISS*ULIEAT4IKAPUUTEATTERIEXEMPLIlEDALSOTHEKEENINTERESTINSPATIALEX PERIMENTSANDENVIRONMENTALSTAGINGSINTHELATES)TISWORTHNOTING THATOUTOFTHETHREEPRODUCTIONSMADESIMULTANEOUSLYINTHE4HEATER!CAD EMYONLYONEWASPUTONACOMMONPROSCENIUMSTAGE(OWEVERTHESEIS SUESWILLRESURFACELATERINTHECONTEXTOFA+/-TEATTERIPRODUCTION )NTHEPERFORMANCEATTHE4URKU3WEDISH4HEATERª34IN-ISS*ULIE WASREADASAPSYCHOANALYTICALPLAYABOUTFEMALESEXUALITYREPRESSEDBYOUR WESTERNCULTURETHATSEPARATESMINDANDBODY4HEVISUALASPECTSPLAYEDAN IMPORTANTROLEMAKINGARCHETYPALIMAGESEVIDENT4HElNALSTAGINGHOWEV ERNEITHERSATISlEDTHEDIRECTOR!NNETTE!RLANDERNORTHESCENOGRAPHER4OVE !HLBØCK)NSPITEOFTHEPROPOSEDFAILUREOFTHEPERFORMANCE)HAVECHOSEN ITASTHESECONDSUBJECTOFMYSTUDY 4HElRSTREASONFORCHOOSINGTHEª34PRODUCTIONISITSUSEOFTHEVISIBLE STAGETOEMBODYTHEINVISIBLECONTENTSOFTHEUNCONSCIOUSWHICH)THINKISA CHARACTERISTICOFMODERNART7HATINTERESTSMEEVENMOREISTHEDISSONANCE BETWEENARTISTICINTENTIONSANDITSPRACTICALREALIZATIONONSTAGE!DDITION ALLYTHIS-ISS*ULIEWASATOURINGPERFORMANCELINKEDTOTHENEWESTABLISHED REGIONALTHEATERSYSTEM 3 T AGIN G-ISS*UL I E I N &I NNI SH 4H EATE R \ -ANYFEATURESOFTHEABOVEMENTIONEDPRODUCTIONWEREATTEMPTEDBYPER FORMANCEAT6AASA4OWN4HEATERTWOYEARSLATER4HEYWEREALSOTOUR INGBUTTHEYHADDIVIDEDTHEAUDITORIUMINTOTWOPARTSANDPLACEDTHESTAGE INTHEMIDDLE)WASFACEDWITHADIFlCULTCHOICEWHENDECIDINGBETWEEN THESETWOPRODUCTIONSBUT)ENDEDCHOOSINGª34&IRSTLYTHISWASBECAUSE )HAVEEXPERIENCEDDOINGATOURINGSCENOGRAPHYTHEREINANDHENCE) KNOWTHEPRACTICALCIRCUMSTANCESOFª34BETTERTHANTHOSEIN6AASA3ECOND LY)WANTEDTOINCLUDEA3WEDISHSPEAKINGPERFORMANCEINMYSTUDYAND THISWASDElNITELYTHEMOSTINTERESTINGONE 4HESPATIALEXPERIMENTATIONWASPERHAPSMOSTLYDEVELOPEDAT+/-TEATTERI WHERE-ISS*ULIEWASSTAGEDININACAFETERIABYTHEDIRECTOR,AURA*ØNT TIANDTHESCENOGRAPHER-»NS(EDSTRM4HEACTORSMOVEDALLOVERINTHE SPACEAMONGTHESPECTATORSWHOWEREHAVINGCOFFEE4HEBASICIDEAWASTO STAGETHEVERYACTOFSEEINGTHEPRIVATETRAGEDYOF*ULIE4HESCENOGRAPHYAT +/-CLEARLYQUESTIONEDTHELEGITIMACYOFTHENATURALISTICRHETORICTHATHIDES SPECTATORSINASAFEDARKNESSFROMWHERETHEYOBSERVETHESTAGE 4HEIDEASOFTURNINGAROUNDCONVENTIONSOPPOSINGNATURALISTICPREMISES ANDNEGOTIATINGTHEAUDIENCESPERCEPTIONWERECHARACTERISTICNOTONLYOFTHE +/-STYLEBUTOFSCENOGRAPHICTHINKINGINTHESANDS4HATIS WHY)lNDITNECESSARYTOINCLUDETHIS-ISS*ULIEINMYSTUDY 4HEREWASONEPERFORMANCEOF-ISS*ULIEIN7ILLENSAUNAATTHE.ATIONAL 4HEATREINWHICHWASDESCRIBEDASAFEMINISTPRODUCTIONBYSEVERALRE VIEWERS)NTERESTINGLYENOUGHTHISTIMETHEDIRECTORANDSCENOGRAPHERWERE BOTHMEN4HESCENOGRAPHYBY+ARI*UNNIKKALAWASANEXPRESSIONISTVISION RESEMBLINGANICEBERG4HEPERFORMANCEDIRECTEDBY/LLI4OLAWASACCOMPA NIEDBYINTENSELIVEMUSICANDTHEREWASADANCINGGROUPWHOSEEROTICAP PEARANCESREFERREDTOSUBCONSCIOUSFORCES 4HEPRODUCTIONAT7ILLENSAUNACANBELINKEDTOTHECONCEPTOFVISUALTHEA TERFREQUENTLYUSEDBYTHEATERPRACTITIONERSPARTICULARLYDURINGS4HE BASICIDEAHEREWASTOUNDERSTANDSCENOGRAPHYASAMENTALSPACEAPHYSICAL STAGEMETAPHORICALLYEQUIVALENTTOAPSYCHOLOGICALONE4HENONLINGUISTIC SIGNSFUNCTIONEDASANIMMEDIATEEXPRESSIONOFEMOTIONALEXPERIENCES4HE SCENOGRAPHYHERECAMEVERYCLOSETOTHEARTOFMODERNNONREPRESENTATIVE PAINTINGWHICHALSOCAUSEDPROBLEMSINRELATIONTOREALISTICALLYORIENTEDAC \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES TORS4HISPERFORMANCEOFFERSMEAPOSSIBILITYFORANALYZINGTHEATERFROMA VISUALPERSPECTIVEANDITISTHEFOURTHSUBJECTOFMYSTUDY 4HESCENOGRAPHIESINTHEPROVINCIALTHEATERSOF)MATRA+OKKOLAAND*OENSUU WEREALLDESCRIBEDINTHEREVIEWSASREDUCEDANDSIMPLEINAPOSITIVESENSE 4HEYWERENOTONLYNECESSARYARRANGEMENTSBUTCREATEDEXPRESSIVEVISIONS &OREXAMPLETHESCENOGRAPHYBY#HRISTER,»GLANDIN+OKKOLA4OWN4HEATER CONSISTEDOFONEDOORINTHEMIDDLEOFTHESTAGEACOUPLEOFWOODENBEDS ANDTWONAKEDTREES4HEYWOULDCERTAINLYHAVEDESERVEDCLOSEREXAMINATION TOOBUT)BELIEVETHATTHESCENOGRAPHICQUESTIONSFOUNDTHERECANBEDEALT WITHINCONNECTIONTOOTHERPRODUCTIONS 4HESSAWONLYFEWPERFORMANCESOF-ISS*ULIE/NEREASONFORTHEWAN INGINTERESTIN-ISS*ULIEWASPROBABLYTHENEWMARKETINGPOLICYCAUSEDBY THEECONOMICPRESSUREONMANYTHEATERSDURINGTHEDEPRESSION.ATURALISTIC TRAGEDYISSELDOMABOXOFlCEHIT 4HEREWASANOPERAPRODUCTIONIN6AASAANDASHORTLIVEDVERYPHYSI CALSTAGINGAT4AMPERE7ORKERS4HEATREIN4HELATTERWASNODOUBT ANIMPORTANTCONTRIBUTIONTOTHETRADITIONOFPERFORMING-ISS*ULIE3CE NOGRAPHICALLYITCONNECTSTOTHEIDEAOFEMPTYSPACEANDREDUCEDVISUALITY WHICHHAVEBEENDISCUSSEDALONGWITHh3TRINDBERGvAND+/-TEATTERI) WISHTHAT)HADSEENTHEPERFORMANCEPERSONALLYSINCEITWASSUCHARECENT STAGINGANDBECAUSETHATKINDOFPHYSICALACTINGNECESSITATESLIVEEXPERIENCE )WASAVICTIMOFBADLUCKASIN)HADNOIDEATHAT)WOULDWRITEON -ISS*ULIE 7HENAVERSIONTHATFOLLOWEDTHE3TRINDBERGIANTEXTRELATIVELYFAITHFULLYWAS STAGEDINAT1TEATTERIITSSUCCESSNECESSITATEDAREVIVALPREMIERETWO YEARSLATERIN)NSPITEOFITSCLOSENESSTOTHEWRITTENPLAY1TEATTERI MARKETED-ISS*ULIEASANEWREADINGh*ULIEOFTENISREPRESENTEDASAVICTIM WHOISDESTROYEDBUTINTHEVERSIONBY1TEATTERI*ULIEISRESPONSIBLEFORTHE EVENTSANDSEDUCESTHEPEOPLETOCARRYOUTHERSUICIDEv )TWASHOWEVERINTERESTINGTONOTETHATMOSTDIRECTORSSEEMEDTOHAVE DRAWNEXACTLYTHESAMECONCLUSIONSTHAT*ULIEISNOTAVICTIMANDTHEPLAYIS ABOUTHERUNCONTROLLABLESEXUALDESIRES3TRINDBERGDIDNOTCHARACTERIZE*ULIE ASINNOCENTEITHER)NSTEADOFBEINGARADICALREINTERPRETATIONINMYEYES 3 T AGIN G-ISS*UL I E I N &I NNI SH 4H EATE R \ 2UFBUUFSJ THESTAGINGAT1TEATTERIACTUALLYPRESENTEDA-ISS*ULIETHATWASVERYFAITHFUL LYTO3TRINDBERGSTEXTANDTOTHETRADITIONOFPERFORMINGIT4HISCERTAINLY DIDNOTDECREASEMYENJOYMENTOFTHEPRODUCTION 4HESCENOGRAPHYAT1TEATTERIWASASEEMINGLYNATURALISTICSPACEBUTUNLIKE CONVENTIONALNATURALISMITDIDNOTSHOWARATIONALDESCRIPTIONOFREALITYBUT RATHERANIMPOSSIBLEPLACEWHERETHEDETAILSDIDNOTlTTOGETHER4HISOPENS UPADISCUSSIONABOUTTHEPOSTMODERNRETURNTONATURALISTICAPPEARANCES WITHOUTCREATINGATRANSPARENTVIEWINTOTHEREALITYOFlCTION4HESCENOGRA PHYAT1TEATTERIISNOTONLYCOMPARABLETO3TRINDBERGIANNATURALISMBUTALSO TOTHEPREMISESOFMODERNTHEATER4HISWILLBETHELASTSUBJECTOFMYSTUDY SOMEHOWCOMPLETINGACIRCLEOFTHEDEVELOPMENTLEADINGFROMTHENATURAL ISMOFSTHROUGHMODERNTHEATERINTHESANDSTOTHEPRESENT DAY 4HENEWESTPRODUCTIONOF-ISS*ULIEAT4EATTERI*URKKAISNOTINCLUDEDINMY STUDYSINCEITPREMIEREDAROUNDTHESAMETIMEAS)WASlNISHINGMYSTUDY 4HESCENOGRAPHYINTHISPRODUCTIONWASALMOSTTHEEXACTOPPOSITETOTHE STAGINGINTHESAMETHEATERYEARSEARLIER7HERETHE*URKKASHADNOSETAT ALLINTHEDIRECTOR0ASI,AMPELAANDTHESCENOGRAPHER-ARKUS4SOKKI NENOFTHEMORERECENTPRODUCTIONBROUGHTARICHVISUALWORLDTOTHESTAGE (EREIMAGESANDOBJECTSSERVEDASSEPARATESIGNSINSTEADOFREPRESENTINGA UNIlEDSPACE 4HE#OUNTSKITCHENWASSQUEEZEDINTOASMALLCORNERPACKEDWITHALLKINDS OFOBJECTSINCLUDINGA46MONITORANDTHEOBLIGATORYPANSANDKETTLES4HE ACTUALARENAFORACTINGWASANEMPTYSPACEWITHASTEELmOORANDABUTCHERS HOOKHANGINGFROMARAILINTHECEILING4HESCENERYWASRATHERSYMBOLIC SURROUNDEDBYLARGESTEREOTYPICALTROPICALPHOTOSOFPALMTREESAGAINSTARED SUNSET*EANSROOMWASLIKEACLOSETFACINGTHEAUDIENCE \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES "QQFOEJY 4(%0%2&/2-!.#%3/&-)33*5,)%).&).,!.$ 4WFOTLB5FBUFSOJ)FMTJOHGPSTUIF4XFEJTI5IFBUSFJO)FMTJOLJ 5IFUPVSJOHQFSGPSNBODFCZUIFBDUPS"BSOF0SKBUTBMP 5BNQFSFFO5ZzWjFO5FBUUFSJ5BNQFSF8PSLFST±5IFBUSF ,PJUPO/jZUUjNzUIF,PJUUP4UBHF aCP4WFOTLB5FBUFSUIF5VSLV4XFEJTI5IFBUFS ,VPQJPO5ZzWjFOUFBUUFSJUIF8PSLFST±5IFBUFSJO,VPQJP 4WFOTLB5FBUFSOJ)FMTJOHGPSTUIF4XFEJTI5IFBUFSJO)FMTJOLJ +ZWjTLZMjOUZzWjFOUFBUUFSJ+ZWjTLZMj8PSLFST±5IFBUFS ,PJUPO/jZUUjNzUIF,PJUUP4UBHF -BIEFO5FBUUFSJUIF8PSLFST±5IFBUFSJO-BIUJ *OUJNB5FBUFSOGSPN4UPDLIPMNWJTJUFE)FMTJOLJ 4WFOTLB5FBUFSOJ)FMTJOHGPSTUIF4XFEJTI5IFBUFSJO)FMTJOLJ 4VPNFO,BOTBMMJTUFBUUFSJUIF'JOOJTI/BUJPOBM5IFBUSF ,VOHMJLB%SBNBUJTLB5FBUFSOGSPN4UPDLIPMNWJTJUFE)FMTJOLJ 5FBUUFSJ+VSLLB +PFOTVVO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO+PFOTVV 7BSLBVEFO5ZzWjFOUFBUUFSJUIF8PSLFST±5IFBUFSJO7BSLBVT 3JJIJNjFOUFBUUFSJ3JJIJNjLJ5IFBUFS aCP4WFOTLB5FBUFSUIF5VSLV4XFEJTI5IFBUFS ,FNJO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO,FNJ 4WFOTLB5FBUFSOJ)FMTJOHGPSTUIF4XFEJTI5IFBUFSJO)FMTJOLJ ,PULBO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO,PULB 1PSJO5FBUUFSJ1PSJ5IFBUFS ®4USJOECFSH ¯JO%SBBNBTUVEJPUIF%SBNB%FQBSUNFOUBU5BNQFSF6OJWFSTJUZ 5BNQFSFFO5FBUUFSJ5BNQFSF5IFBUSFTUVEJP -JMMB5FBUFSO 0VMVO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO0VMV 3BVNBO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO3BVNB -BIEFO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO-BIUJ 5JLBQVVUFBUUFSJBUUIF5IFBUSF"DBEFNZ aCP4WFOTLB5FBUFSUIF5VSLV4XFEJTI5IFBUFS 7BBTBO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO7BBTB ,0.UFBUUFSJ+ZWjTLZMjO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO+ZWjTLZMj 4VPNFO,BOTBMMJTUFBUUFSJ5IF'JOOJTI/BUJPOBM5IFBUFS8JMMFOTBVOBTUBHF *NBUSBO5FBUUFSJ*NBUSB5IFBUFS ,PLLPMBO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO,PLLPMB +PFOTVVO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO+PFOTVV 7BBTBO,BVQVOHJOUFBUUFSJUIF$JUZ5IFBUFSJO7BBTB BOPQFSBQSPEVDUJPO 5BNQFSFFO5ZzWjFO5FBUUFSJ5BNQFSF8PSLFST±5IFBUSF 2UFBUUFSJ 5FBUUFSJ+VSLLB "QQFOEJY 0%2&/2-!.#%3/&-)33*5,)%).&).,!.$!&4%2 5IFBSUJTUJDUFBNBOEBTIPSUEFTDSJQUJPOPGUIFTDFOPHSBQIZ %FTDSJQUJPOTBSFUBLFOGSPNOFXTQBQFSSFWJFXT 3 6%. 3 + ! 4%!4%2 .)(%,3 ).' & / 2 3 \ 2 ))()-¯ %.4%!4 4% 2) \ 5IF4XFEJTI5IFBUFSJO)FMTJOLJ 3JJIJNjLJ5IFBUFS 5PHFUIFSXJUIUIF)JSTJQVVNJFT5IF(BMMPXTNBO CZ3VOBS4DIJMEU %JSFDUJPO (FSEB8SFEF +VMJF ,FSTUJO/ZMBOEFS 4DFOPHSBQIZ 0MBWJ4BVWPMB +FBO &SJD(VTUBGTTPO %JSFDUJPO ,BVLP-BVSJLBJOFO 4DFOPHSBQIZ 6SQP4JNPMB $PTUVNFT 4BJNJ/VSNJ 5IFTDFOPHSBQIZDPSSFTQPOEFEUP4USJOECFSH±TOPUJPOPGSFBMJTN +VMJF ,BJKB,VKBMB +FBO .BSUUJ3jTjOFO ,SJTUJO "JOP"STJ 5IFTDFOPHSBQIZBOEDPTUVNFTXFSFGSPNUIFSJHIUnQPRVF ± " / 3 6%.3 +!4 %!4% 2\ 5IF5VSLV4XFEJTI5IFBUFS 3 5 / -%.+ ! .3 ! ,,)3 4%!44%2 ) \ 5IF'JOOJTI/BUJPOBM5IFBUSF %JSFDUJPO 7FSOB1JQPOJVT 4DFOPHSBQIZ ,BSM'BHFS +VMJF &MMB&SPOFO +FBO 5BVOP1BMP ,SJTUJO 3BVIB3FOUPMB "XFMMDMFBOFENPEFMLJUDIFO %JSFDUJPO 3VSJL&LSPPT +VMJF (VOWPS4BOERWJTU 4DFOPHSBQIZ (VOOBS$MnNFOU +FBO 3PMBOE)FEMVOE ,SJTUJO #JSHJU4USBOENBO "LJUDIFOTJUVBUFEJOUIFCBTFNFOUPGUIF$PVOUTIPVTF XJUICSPXOWBVMUJOHXBMMT +%-).+!505.' ).4%!4 4% 2) \ 4%!44%2 )* 5 2 + + ! \ 5IF$JUZ5IFBUFSJO,FNJ "UPVSJOHQFSGPSNBODF %JSFDUJPO &NNJ+VSLLB %JSFDUJPO *MNJ1BSLLBSJ +VMJF *MNJ1BSLLBSJ 4DFOPHSBQIZ &OTJP4FQQjOFO +FBO -FP-BTUVNjLJ $PTUVNFT 5PQQP/PVTJBJOFO ,SJTUJO )JMMFWJ3BVUJP +VMJF 7BQQV+VSLLB +FBO .BVOP)ZWzOFO ,SJTUJO &NNJ+VSLLB /PTDFOPHSBQIZDPOUFNQPSBSZDPTUVNFT 5IFTDFOPHSBQIZSFQSFTFOUFEUIF$PVOU±TLJUDIFO 3 6%.3 +! 4%!4 %2 .) (% ,3) .' &/ 2 3\ 5IF4XFEJTI5IFBUFSJO)FMTJOLJ * / %. 3 5 5 .+ !5 05 .' ).4%!44%2 ) \ 5PHFUIFSXJUIUIFDIBNCFSQMBZ®-FLBNFEFMEFO¯ 1MBZXJUIUIF'JSF CZ4USJOECFSH 5IF$JUZ5IFBUFSJO+PFOTVV %JSFDUJPO 7FJLLP.BOOJOFO +VMJF -BIKB7JMFO 4DFOPHSBQIZ 7jJOz)FJTLBOFO +FBO 5PQJ,BOLBJOFO $PTUVNFT "JOP.BLLPOFO ,SJTUJO "OKB1PIKPMB 5IFLJUDIFOJOUIF$PVOU±TNBOPSXBTDP[Z 5IFDPTUVNFTXFSFGSPNUIFSJHIUnQPRVF 6! 2 + !5 $ %.49¾ 6¯ %.4%!44%2 )\ 5IF8PSLFST±5IFBUFSJO7BSLBVT %JSFDUJPO ,BJKB1BBTJ 4DFOPHSBQIZ 7JMJ3POLBJOFO $POWFOUJPOBMTDFOPHSBQIZ +VMJF 1JB(SzOMVOE +FBO 1BBWP)ZUUJMj ,SJTUJO ,BJKB1BBTJ %JSFDUJPO /BOOZ8FTUFSMVOE 4DFOPHSBQIZ -BTTF&MP +VMJF .jSUB-BVSFOU +FBO (zSBO$FEFSCFSH ,SJTUJO )nMnOF )BHFMTUBN "SPNBOUJDJ[FEJOUFSQSFUBUJPOXJUIEFUBJMFESFBMJTN TFUJOUIFSJHIUnQPRVF +/4+ ! .+ !5 05 .' ).4%!44%2 )\ ,! ($%.+!505.') .4% !44 %2 )\ 5IF$JUZ5IFBUFSJO,PULB 5IF$JUZ5IFBUFSJO-BIUJ %JSFDUJPO &HJM)jHHNBO +VMJF &JMB*MFOJVT 4DFOPHSBQIZ 4FQQP)FJOPOFO +FBO 0TTJ"IMBQVSP $PTUVNFT *SKB-BJOF ,SJTUJO .JSKB*NNPOFO %JSFDUJPOBOE4DFOPHSBQIZ 1BBWP1JSUUJNBB +VMJF .BBSJUB.jLFMj +FBO 4WBOUF,PSLJBLPTLJ ,SJTUJO 4JSLLB-JJTB 8JMnO "VUIFOUJDGSBNJOHGPS.JTT+VMJF 3FBMJTUJD 0 / 2 ).4%!44%2 )\ 1PSJ5IFBUFSTUVEJP 2 !5-! .+!505.') .4% !44 %2 ) \ 5IF$JUZ5IFBUFSJO3BVNB %JSFDUJPO 4FQQP)BVLJKjSWJ 4DFOPHSBQIZ .BUUJ4BBSOJP $PTUVNFT -JJTJ7JMLNBO +VMJF "JSJ1JIMBKBNBB +FBO &SLLJ4JMUPMB ,SJTUJO 5FMMFSWP)BSLLP %JSFDUJPO "IUJ"IPOFO 4DFOPHSBQIZ "OUUJ"MBTBBSJ +VMJF .BSKBUUB1BMNJP +FBO )BSSJ7JJUB ,SJTUJO ,BJKB,JJTLJ "HFOVJOFFOWJSPONFOUDPTUVNFTGSPNUIFSJHIUnQPRVF h 3 42 ).$ " %2 ' v ).$ 2 ! ! - ! 3 45 $ )/ \ 5IF%SBNB%FQBSUNFOUBU5BNQFSF6OJWFSTJUZ %JSFDUJPO +VMJF 5VJKB7VPMMF "EBN)BOVT[LJFXJD[ +FBO +VIBOJ/JFNFMj 4DFOPHSBQIZ ,SJTUJO 4BMNF,BSQQJOFO "EBN)BOVT[LJFXJD[ +VIB-VLBMB "QFSGPSNBODFEJGGFSJOHGSPNSFBMJTUJDUSBEJUJPOTUIFTDFOPHSB QIZXBTDSFBUFECZUIFBDUPSTQSPDFTTJOHUIFJSSPMFT 4! -0%2 %%.4%!44%2 )\ "$PVOU±TLJUDIFOTIBCCZBOECSPXOUPOFE 4)+! 0554%!4 4% 2) \ 7BOIBO:MJPQQJMBTUBMPO.VTJJLLJTBMJ 5IF5IFBUSF"DBEFNZ5IF0ME4UVEFOUT)PVTF.VTJD)BMM %JSFDUJPO (FPSH%PMJWP 4DFOPHSBQIZ 4JSQB7JSUBOFO $PTUVNFT -JMKB.jLFMj +VMJF .JJUUB/PSUJB +FBO 3JTUP5VPSJMB ,SJTUJO ,BJKB,BOHBT "OBSFOBTUBHJOH5IFQFSGPSNBODFXBTCBTFEPOJNQSPWJTBUJPO ± " / 3 6 %.3 +!4 %!4% 2\ 5IF5VSLV4XFEJTI5IFBUFS 5IF5BNQFSF5IFBUFSTUVEJP "UPVSJOHQFSGPSNBODF %JSFDUJPO +VMJF 5VJKB7VPMMF "EBN)BOVT[LJFXJD[ +FBO +VIBOJ/JFNFMj 4DFOPHSBQIZ 6MMB4FMJOIFJNP ,SJTUJO 3JUWB7BMLBNB "SFBMJTUJDTDFOPHSBQIZ5IFQMBZXBTBDDPNQBOJFE CZBMJWFKB[[CBOE %JSFDUJPO "OOFUUF"SMBOEFS 4DFOPHSBQIZ 5PWF"IMCjDL +VMJF .BSKPSJUB)VMEFO +FBO -BTTF'BHFSTUSzN ,SJTUJO +BOJOB#FSNBO "TFUXJUISFEDPMPSFEEFDPSBUJWFUSFFTBOEBSDIFUZQBM TZNCPMJDTDFOJDWJTJPOT ,),,! 4%!4%2 .\ 6! ! 3 ! .+!505.' ).4%!4 4% 2) \ %JSFDUJPO +PIBO#FSHFOTUSlIMF +VMJF &MJOB4BMP 4DFOPHSBQIZ .lOT)FETUSzN +FBO -BTTF1zZTUJ ,SJTUJO #JSHJUUB0MGTTPO 5IF$JUZ5IFBUFSJO7BBTB "HSFFODPMPSFESFBMJTUJDLJUDIFOGBJUIGVMUP 4USJOECFSHJBOnQPRVF %JSFDUJPO .BSKBBOB$BTUSFO +VMJF 3JJUUB4FMJO 4DFOPHSBQIZ 5JJOB.BLLPOFO +FBO ,BSJ,JIMNBO ,SJTUJO -BJMB3jJLLj / 5 ,5 .+ !5 05 .' ).4%!44%2 )\ 5IF$JUZ5IFBUFSJO0VMVTNBMMTUBHF %JSFDUJPO "SJ,BMMJP 4DFOPHSBQIZ +VLLB4BMPNBB $PTUVNFT &JMB3PWJP +VMJF &FWB.BJKB )BVLJOFO +FBO +VIBOJ+VVTUJOFO ,SJTUJO 4FJKB/jQQJMj "SFBMJTUJDCFBVUJGVMLJUDIFOXJUIUIFSFBMTNFMMPGGPPE "UPVSJOHQFSGPSNBODF "SFBMJTUJDLJUDIFO5IFTUBHFEJWJEFEUIFBVEJFODF JOUPUXPQBSUT * 96¯ 3 + 9,¯ .+ !5 05 .' ).4%!44%2 )\ */ %.3 55.+!505.') .4% !44 %2 )\ 5IF$JUZ5IFBUFSJO+ZWjTLZMj 5IF$JUZ5IFBUFSJO+PFOTVVTNBMMTUBHF %JSFDUJPO +BSNP*OLJOFO +VMJF .BSKB1FTPOFO 4DFOPHSBQIZ +FBO +VTTJ.ZMMZNjLJ 5JNP.BSUJOLBVQQJ ,SJTUJO .BSJUUB $PTUVNFT ,BJKB4BMBTQVSP 7JJUBNjLJ "SFBMJTUJDLJUDIFOXJUIBOBDDVSBUFEFQJDUJPO PGUIFSJHIUnQPRVF %JSFDUJPO "IUJ"IPOFO 4DFOPHSBQIZ *SJT3PVUB 6! ! 3 ! ./ / 00%2 ! 6! ! 3 ! .+!505.') .4% !44 %2 )\ +/ - 4%!44%2 )+ )./ #! " ! 2 %4\ 7BBTB0QFSBUIF$JUZ5IFBUFSJO7BBTB %JSFDUJPO -BVSB+jOUUJ 4DFOPHSBQIZ .lOT)FETUSzN $PNQPTFS *MLLB,VVTJTUP +VMJF 3JJUUB.BJKB"IPOFO %JSFDUPS 5BJTUP#FSUJM0STNBB +FBO )FJLLJ,FJOPOFO 7JTVBMEFTJHO .BSLLV4JSnO ,SJTUJO "OJUUB3BOUB .VTJDBMMFBE .BUUJ5JBJOFO +VMJF .BSKB-FFOB,PVLJ +FBO ,BSJ)BLBMB ,SJTUJO &SKB.BOUP 'JEEMFS 3BVOP4BMNJOFO 5IFUIFBUFSWFOVFXBTDIBOHFEJOUPBDBGFUFSJB +VMJF 3JJUUB1JJSPOFO +FBO +BSNP+jNTnO ,SJTUJO ,BJTB6STJOVT 'BJUIGVMUP4USJOECFSH±TOBUVSBMJTN"SFEVDFETDFOPHSBQIZ 4! -0%2 %%.49¾6 ¯% .4% !44 %2 ) LFMMBSJUFBUUFSJ\ 5BNQFSF8PSLFST±5IFBUSFTUVEJP 3 5 / -%.+ ! .3 ! ,,)3 4%!44%2 )\ 5IF'JOOJTI/BUJPOBM5IFBUSF8JMMFOTBVOBTUVEJPTUBHF %JSFDUJPO 0MMJ5PMB +VMJF .BSKVLLB)BMUUVOFO 4DFOPHSBQIZ ,BSJ+VOOJLLBMB +FBO 3JTUP"BMUPOFO $IPSFPHSBQIZ "OV1BOVMB ,SJTUJO 4PJMB,PNJ .VTJD 1FLLB-BJUJOFO 5IFTDFOPHSBQIZSFQSFTFOUFE°BOJDZDBTUMF± +VMJF .JOOB)PLLBOFO +FBO "VWP7JISP ,SJTUJO "OOB)BBSBOFO 5IFQMBZXBTQFSGPSNFECPUIJOUIF,FMMBSJTUVEJPJO UIF5BNQFSF8PSLFST±5IFBUSFBOEJOUIF,VTUBB)JFLLBBSU NVTFVN5IFBDUJOHXBTWFSZQIZTJDBM5IFSFXBTBCJHUBCMF JOUIFNJEEMFPGUIFTUBHFBOEBCVOLCFEBUUIFCBDL )- !42 ! .4%!44%2 )\ *NBUSB5IFBUFSTUVEJPTUBHF %JSFDUJPO )FJLLJ5JNPOFO 4DFOPHSBQIZ 1FSUUJ)JMLBNP $PTUVNFT 4ZMWJ%BWJETTPO )BJSESFTTT .JLB.VTUPOFO %JSFDUJPO )BOOP&TLPMB 4DFOPHSBQIZ 6MMB.BJKB1FMUPMB .VTJD "SJ&SLLP 1 4%!44%2 ) TNBMMTUBHF\ +VMJF 5JJOB.BSLLBOFO +FBO ,BSJ.jLJMj ,SJTUJO *SNB5BJWBJOFO 5IFTDFOPHSBQIZDPOUBJOFENJSSPSTBOEXBMMTNBEFPGMBDF +/ + +/ ,! .+ !5 05 .' ).4%!44%2 ) ] %JSFDUJPO ,BUBSJJOB-BIUJ 4DFOPHSBQIZ ,BUBSJJOB,JSKBWBJOFO +VMJF )FOSJJLLB4BMP +FBO 5PNNJ,PSQFMB ,SJTUJO "OOB.BJKB 7BMPOFO "OBQQBSFOUMZSFBMJTUJDLJUDIFOUIFJOIFSFOUMPHJD PGXIJDIXBTCSPLFO 5IF$JUZ5IFBUFSJO,PLLPMB 4%!44%2 )*52 ++!\ %JSFDUJPO 4FQQP3BOUPOFO +VMJF ,FSUUV+VVTPMB 4DFOPHSBQIZ $ISJTUFS-lHMBOE +FBO +VIB"OUUJMB ,SJTUJO 4JMKB4BBSJNBB %JSFDUJPO 1BTJ-BNQFMB 4DFOPHSBQIZ .BSLVT5TPLLJOFO "TJNQMFBMMVTJWFTDFOPHSBQIZDPOTJTUJOHPOMZPGBEPPS JOUIFNJEEMFPGUIFTUBHFBDPVQMFPGXPPEFOCFETBOE UXPOBLFEUSFFT 5IFTFUIBEBTUFFMºPPSXJUIBCVUDIFS±TIPPLIBOHJOHGSPN UIFDFJMJOHUIFLJUDIFOXBTDSBNNFEJOUPBDPSOFS+FBO±T SPPNXBTMJLFBDMPTFUXJUIBNJSSPSPOUIFEPPS5IFSFXFSF MBSHFQIPUPTPGQBMNUSFFTTFUBHBJOTUBTVOTFUPOUIFXBMMT CFIJOEUIFBVEJFODFBOEJO+FBO±TSPPN +VMJF .FSJ/FOPOFO +FBO +BOOF)ZZUJjJOFO ,SJTUJO 0OB,BNV %XPERIENCESIN4HEATRICAL3PACESISASTUDYABOUTCONTEMPORARY&INNISHSCENOG RAPHY)TDEALSWITHlVEDIFFERENTSTAGINGSOF!UGUST3TRINDBERGS-ISS*ULIE APLAYWHERESCENOGRAPHYANDVISIONHAVEASPECIALROLE4HESCENICILLUSION SHOULDHELPTHESPECTATORTOUNDERSTANDTHETRAGEDYMOREPROFOUNDLYBUTTHE SPATIALORDERLOCATESTHEAUDIENCEINSIDETHElCTIVEWORLDWHERETHEYONLYSEEA FRAGMENTARYVIEW4HEREBYTHECERTAINTYOFKNOWLEDGEANDTHETRUSTINEMPIRI CALOBSERVATIONISPUTONSTAKEANDTHEOMNISCIENTANGELICEYEISREPLACEDBYA SUBJECTIVEVISION %ACHOFTHE-ISS*ULIESCENOGRAPHIESSTUDIEDINTHISBOOKREJECTTHENATURALISM THATISTRADITIONALLYCONNECTEDTOTHEPLAY)NSTEADTHEYUSESTAGESPACEANDVI SIONASCOMMUNICATIONINAGREATVARIETYOFWAYS4HEYGIVECAUSEFORTHEORETI CALDISCUSSIONSABOUTTHECONSTRUCTIONANDFUNCTIONINGOFVISUALPERCEPTIONS ANDSPATIALEXPERIENCES(OWAREMEANINGSCREATEDTHROUGHSCENOGRAPHY(OW ISTHEAUDIENCEMADETOPERCEIVETHESTAGE(OWISTHEIRPERCEPTIONSUPPOSED TOGENERATEIDEASUNDERSTANDINGEMOTIONSANDEXPERIENCES4HESEISSUESARE ANALYZEDBYUSINGTHEFOLLOWINGPERFORMANCESASCASESTUDIES 4! - 0 % 2 % 5 . ) 6 % 2 3 ) 4 9 $ 2 ! ! - ! 3 4 5 $ ) / h 3 4 2 ) . $ " % 2 ' v 4 ( % 4 5 2 + 5 3 7 % $ ) 3 ( 4 ( % !4 2 % - ) 3 3 * 5 , ) % +/ - 4 % !4 4 % 2 ) - ) 3 3 * 5 , ) % 4 ( % . !4 ) / . ! , 4 ( % !4 2 % 7 ) , , % . 3 !5 . ! 3 4 5 $ ) / 3 4!' % - ) 3 3 * 5 , ) % 1 4 % !4 4 % 2 ) 0 5 / , ) 1 3 4 5 $ ) / 3 4!' % - ) 3 3 * 5 , ) % )3". 0 $& s )3". 0!) . % 4 4 5 6 % 23 ) / s ) 3 3 . 7!! h3TRINDBERGv 0 RO C E S S I N G 3 C E N O G RA P H Y 4H RO U G H ! C T I N G 4HE$RAMA$EPARTMENTINTHE5NIVERSITYOF4AMPEREARRANGEDANEDUCA TIONALANDEXPERIMENTALPROJECTFORPROFESSIONALACTORSINTHESUMMEROF 4HEPARTICIPANTSWORKEDFORFOURWEEKSON-ISS*ULIEUNDERTHEGUID ANCEOFTHE0OLISHACTORANDDIRECTOR!DAM(ANUSZKIEWICZ4HEPRODUCTION CALLEDh3TRINDBERGvALSOCONTAINEDTEXTFRAGMENTSFROMTHEPLAYS4AMING OFTHE3HREWAND7HO)S!FRAIDOF6IRGINIA7OOLFANDTHE"IBLICALSTORYABOUT THEFALLOF!DAM)THADSIXPUBLICPERFORMANCESATTHE4AMPERE4HEATRE&ES TIVALWHEREITGOTAMOSTLYPOSITIVEANDEVENENTHUSIASTICRECEPTION 4HETHINKINGANDMETHODSOF(ANUSZKIEWICZWEREEVIDENTTHROUGHOUTTHE PRODUCTION4HESCENOGRAPHYCANALSOBEATTRIBUTEDTOHIMALTHOUGHONEOF THEPARTICIPANTS*UHA,UKALAWASASCENOGRAPHER(OWEVERHERATHERTOOK CAREOFTHEPRACTICALWORKh3TRINDBERGvISANEXAMPLEOFAPERFORMANCE INWHICHTHESCENOGRAPHYISSOTIGHTLYINVOLVEDWITHTHEDIRECTIONANDACTING THATITCANONLYBEDISCUSSEDASAPARTOFTHEMRATHERTHANASAPURELYSPATIO VISUALWORK 4HEPRODUCTIONWASDOCUMENTEDVERYWELLINAPAGEDSPECIALISSUEOFTHE JOURNAL6ASTAVALOPUBLISHEDBYTHE$RAMA$EPARTMENT)TCONTAINSADETAILED REHEARSALDIARYKEPTBY+ARI3ALOSAARIWHOWAS(ANUSZKIEWICZSASSISTANTAND INTERPRETER-OREOVERTHEREAREPHOTOGRAPHSFROMREHEARSALSQUOTESBY(A NUSZKIEWICZTHATEXPRESSHISARTISTICOPINIONSASUMMARYFROMTHEREVIEWS COMMENTSBYTHELEADINGACTORSANDADESCRIPTIONOFTHESCENOGRAPHYWRITTEN BY*UHA,UKALA!SIDEFROMUSING6ASTAVALO)HAVEINTERVIEWED+ARI3ALOSAARI ANDACTORSWHOPLAYED*ULIAAND*EAN4UIJA6UOLLEAND*UHANI.IEMELØALL OFWHOMREMEMBEREDINDETAILTHEIRh3TRINDBERGvEXPERIENCE h 3 TR IN DBER G v \ 4HEEVIDENCEABOUTTHEPRODUCTIONMOSTLYDOCUMENTSTHEREHEARSALPROCESS WHICHlTSWELLWITHMYFOCUS4HERELEVANTASPECTFORMEISTHESCENOGRAPHIC CREATIONPROCESSTHATHAPPENEDDURINGREHEARSALSINTANDEMWITHTHEACTORS WORKINGONTHEIRROLES4HISISALSOTHEREASON)HAVEEMPHASIZEDTHEVIEW POINTSOFTHEACTORSANDDIRECTORINSTEADOFTHESCENOGRAPHERCARRYINGOUTTHE PHYSICALCONSTRUCTIONOFTHESET !CCORDINGTO+ARI3ALOSAARI(ANUSZKIEWICZWORKEDONTHESTAGEASIFITWERE ANEMPTYCANVAS7HENTHESITUATIONDEMANDEDITHESTARTEDTOBUILDTHE SCENERY7HENSOMETHINGWASNEEDEDITWASADDEDONTHESTAGEANDIN THISWAYTHElNALCOMPOSITIONWASCREATED4HEONLYSTARTINGPOINTWASTHE FRAMEWORKGIVENBYTHESITUATIONANDTHETEXT4HEACTORSWEREEXPECTEDTO REACTTOTHEMWITHORIGINALITYANDASARESULTPRODUCENEWMATERIALINTHERE HEARSALS4HEWHOLEPERFORMANCEINCLUDINGTHESCENOGRAPHYWASTHOUGHT OFASANUNCOMPLETEDPROCESS &INALLYTHEMOSTIMPORTANTPARTOFTHESETCONSISTEDOFREHEARSINGSCREENS WHICHWEREUSEDINMANYDIFFERENTWAYS*UHA,UKALADESCRIBEDTHESCENOG RAPHYINTHEFOLLOWINGWAY 4HESCENOGRAPHICOUTCOMEINh3TRINDBERGvCAMEABOUTINAN EXCEPTIONALWAY!TTHEBEGINNINGOFTHEFIRSTREHEARSALPERIODWE HADNOHOLISTICSOLUTIONATALL4HEDIRECTORAPPROACHEDTHESCENESAS SEPARATEENTITIESx 7HENTHElRSTPERIODOFREHEARSALSHADENDEDCONSEQUENTDECISIONS WEREMADECONCERNINGTHESETANDTHECOSTUMES4HESPACEFORACTING WASTOBEMARKEDOFFBYREHEARSINGSCREENSx /NTHESCREENSWHICHSURROUNDEDTHEACTINGSPACEWERETHEFOLLOWING DETAILS!PICTUREOFASCENERYPAINTEDINTHESTYLEOFTHETHCENTURY APHOTOGRAPHOF3TRINDBERGANDANOLDINTERPHONEx )TWASDECIDEDTHATFURNITURESHOULDBERUSTICANDINCLUDEAGENUINE WOODENTABLEFIVECHAIRSABEDAWOODENBENCHANDAMODERN ELECTRICSTOVE )BMUUVOFO4BMPTBBSJ ¸-PPLBUUIFJMMVTUSBUJPOBOENPSFDPNQMFUFEFTDSJQUJPOJO"QQFOEJY -VLBMB \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 4HEACTRESSWHOPLAYED*ULIE4UIJA6UOLLERECALLED )FSOMETHINGFELTGOODITWASLEFTASITWAS&ORINSTANCETHESCREENS ATlRSTWEREONLYINTENDEDTOSERVETHEREHEARSALSANDBECAUSETHEY WORKEDSOWELLTHEYSTAYED4HEYALSOEMPHASIZEDTHEEDUCATIONAL ASPECTSOFTHEPROJECT#ERTAININCOMPLETENESSWASLEFTONTHESTAGETO STRESSTHEPROCESSTHATHADBEENEMPLOYED )TISLIKELYTHATTHEUSEOFREHEARSINGSCREENSASTHEMAINSCENOGRAPHICELE MENTWASINITIALLYDUETOECONOMICANDPRACTICALCIRCUMSTANCES4HETEAM DIDNOTHAVEEXTRAMONEYTOBUILDACOMPLETESETNORWERETHEREANYWORK SHOPSORCARPENTERSATTHE5NIVERSITYSTUDIO4HESCREENSWEREMOSTREADILY AVAILABLE4HEYALSOSERVEDTHEIRPURPOSEWELLASTHEYWERESMALLLIGHTAND EASYTOMOVE4HISALLOWEDFORRAPIDREARRANGEMENTOFSPACEALLOWINGNEW IDEASTOBETESTEDATANYTIME4HEPOSSIBILITYOFCHANGINGTHESETWASNATU RALLYIMPORTANTFORAPRODUCTIONCONCENTRATINGPRIMARILYONTHEREHEARSAL PROCESSRATHERTHANTHElNISHEDPRODUCT 4 ( % 3 4! ' % 2 % 0 2 % 3 % . 4 ) . ' 4 ( % !4 % 2 7HATHASh3TRINDBERGvTODOWITHTHEARTOFSCENOGRAPHY)TWASPRIMA RILYATRAININGPROJECTFOCUSINGONACTORSWORK4HEREWASNOSCENOGRAPHIC DESIGNBUTTHESETTOOKITSSHAPEDURINGTHEREHEARSALS4HESCENICMEANINGS CAMEABOUTONLYTHROUGHTHEACTIONWHICHWASGENERATEDUNPREDICTABLYIN REHEARSALS 4HEmEXIBILITYOFTHESCENICMEANINGSCOULDBESEENASAREMINDERTHATALL MEANINGSAREBASEDONANINTERACTIONWITHINHUMANCOMMUNITIES4HE EMPTINESSOFTHESTAGEPROVIDEDANOPPORTUNITYFORCREATINGDIFFERENTSITUA TIONSACCORDINGTOWHICHTHEMEANINGSWERECODED)TALSOMEANTCREATINGA KINDOFTEMPORALTHEATRICALCOMMUNITYOUTSIDEBOTHTHEEVERYDAYWORLDAND THElCTIVEONE!PERFORMANCEPLAYINGWITHTHECHANGEABLEMEANINGSSOME HOWSERVEDASAKINDOFSEMIOTICLABORATORYFORHUMANCOMMUNICATION )NSTEADOFBEINGAPICTORIALREPRESENTATIONOFAMILIEUTHESETSERVEDASA STORINGPLACEFOROBJECTSPROVIDINGTHEACTORSWITHPOSSIBILITIESFORSPATIAL ANDVISUALEXPRESSION)TWASTHEACTORSWHOWERETHECREATIVEAGENTSANDTHE h 3 TR IN DBER G v \ 7VPMMF SCENOGRAPHYWASPUTTOGETHERACCORDINGTOTHEIRNEEDS)NPRACTICEITMEANT THATWHATEVERWASONSTAGEHADTOBEEASYTOCONSTRUCTANDBREAKUPSOTHAT EXPERIMENTATIONCOULDBEFACILITATED4HISKINDOFASCENOGRAPHICAPPROACH PROVIDESRAWMATERIALFORAGENERATIONOFNEWMEANINGS )NTERMSOFSTAGEPRESENCETHESCENOGRAPHYINh3TRINDBERGvDIFFEREDSIG NIlCANTLYFROMNATURALISTPREMISES)TDIDNOTREPRESENTAlCTIVEREALITY)TWAS CERTAINLYhIDENTIlEDASASTAGEORASPACEFORACTINGvWHICHACCORDINGTO!R NOLD!RONSONISTHElRSTBASICPRINCIPLEOFMODERNSTAGEDESIGN)THINKTHIS ALSOPOINTSTOITSMETAPHORICALSIGNIlCANCE)TREPRESENTEDTHETHEATRICALAND CULTURALHORIZONOFTHEPRODUCTIONh3TRINDBERGvANDTHEENSEMBLEGATH EREDAROUND(ANUSZKIEWICZIN4AMPERES$RAAMASTUDIOIN 4HESETELEMENTSCANBEANALYZEDASCULTURALSIGNSnTHEREHEARSINGSCREENS REFERTOTHEATERINGENERALANDINPARTICULARTOTHEPHASEOFREHEARSALS/NONE SCREENTHEREWASGLUEDAPHOTOOF3TRINDBERG)TWASOFCOURSEAREMINDEROF THEAUTHORWHOSEPERSONALITYISCLOSELYCONNECTEDTOHISWORKSINOURCOM MONCONSCIOUSNESS4OMEITALSOSEEMEDTOREPRESENTAGHOSTOFTHETHEAT RICALCONVENTIONSLINKEDTOHISPLAYS7EAREFAMILIARWITHTHEPORTRAITOF 3TRINDBERGFROMOURHISTORYBOOKSWHEREHEBELONGSTOTHEGENERATIONOF ARTISTSWHOLAIDTHEFOUNDATIONSOFCONTEMPORARYMODERNTHINKING)THINK THATTHEPHOTOONTHESCREENSYMBOLIZEDHISSIGNIlCANCEINOURCULTURE.O MATTERHOWMUCH(ANUSZKIEWICZSTRESSEDTHEFRESHNESSOFTHEIRREADINGHE MUSTALSOHAVEKNOWNTHATITWASIMPOSSIBLETOPUTALLPREVIOUSCONCEPTIONS OF-ISS*ULIEINBRACKETS 4HEREWASALSOAPAINTINGREPRESENTINGALANDSCAPEINTHCENTURYSTYLE WHICHCANBESEENASAREFERENCETOTHEHISTORICITYOFTHEPLAY)NMYEYESIT DENOTESTOTHEREALISTICTRADITIONOFVISUALREPRESENTATIONWHICHINmUENCESTHE RECEPTIONOFMODERNSCENOGRAPHY4HEREBYITWASALSOAMETAPHORFORTHE MENTALBACKGROUNDINFRONTOFWHICHTHEACTORSWORKED "SPOTPO 3IMILARLYTHEWOODENRUSTICPIECESOFFURNITUREWERENOTONLYHISTORICALSYM BOLSBUTALSOSYMBOLSOFTHECONVENTIONALWAYSOFREPRESENTINGTHEPAST4HE 4EATTERIMONTTUVENUEFORITSPARTCOULDBECONNECTEDTOTHEATERSTUDIESAND THUSMADEREFERENCETOTHECONTEMPORARYRADICALTHEATREMOVEMENTANDTHE REJECTIONOFTRADITIONh3TRINDBERGvEXISTEDWITHINTHEFRAMEWORKOFTHE 4AMPERE4HEATRE&ESTIVALWHICHWASACOLORFULHAPPENINGRECALLEDBY+ARI \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 3ALOSAARIh4HEREWASONESEMINARNEXTTOANOTHERANDINEVERYPOSSIBLE PLACEPEOPLEWEREMAKINGTHEATERPOLITICSANDREVOLUTIONIZINGTHINGSv &ORMESTAGINGTHESCENOGRAPHYOFh3TRINDBERGvEMPHASIZEDBOUNDARIES THEACTORSANDTHEDIRECTORWEREWORKINGWITHINCERTAINLIMITSANDEVENTHE SPECTATORCOULDNOTESCAPETHEM(ENCEALLSPEECHANDACTSSTOODINSOME RELATIONTOTHESERESTRICTIONSANDITWASTOTHESERELATIONSHIPSTHATTHESET lNALLYREFERRED4HISTHEMECANALSOBERELATEDTOTHECONTEMPORARYLIMITA TIONSWEAREFACEDWITHWHENTRYINGTOUNDERSTANDTHECHARACTEROF*ULIEWHO BELONGSTOANOTHERKINDOFWORLD/URREADINGOFTHECHARACTEREXISTSWITHIN THEHORIZONOFOURKNOWLEDGEANDCONCEPTIONSWHICHNEVERMATCHESTHATOF THEPLAYWRIGHT 4HEPERFORMANCEOF-ISS*ULIEWASINTERRUPTEDBYFRAGMENTSTAKENOFOTH ERPLAYSLIKE4HE4AMINGOFTHE3HREWAND7HO)S!FRAIDOF6IRGINIA7OOLF 4HESEINTERLUDESREPRESENTEDPARADIGMATICVERSIONSOFTHERELATIONSHIPBE TWEENMANANDWOMAN4HESEXUALPROBLEMATICWASPRESENTEDASELEMENTARY CONTRADICTIONSTHATWEREAPARTOFHUMANEXISTENCE4HEREPETITIVESEXUAL BATTLESALSOIMPLYABELIEFINANARCHETYPALHUMANNATURETHATISINCLINEDTO WARDSSIMILARBEHAVIORINDIFFERENTHISTORICALCIRCUMSTANCES)NSTEADOFAN INDIVIDUALTRAGEDYTHEFATEOF*ULIEWASRATHERPRESENTEDASONELINKINTHE CHAINOFACONTINUOUSSOCIALANDSEXUALSTRUGGLE ¸-PPLBUUIFJMMVTUSBUJPOTBOENPSFDPNQMFUFEFTDSJQUJPOJO"QQFOEJY )NTHATSENSETHESCENERYSTOODFORACHANGINGWORLDCAPABLEOFSHOWINGNEW ASPECTSOFAGEOLDSTORIES4HEENVIRONMENTWASAlELDOFHUMANACTIVITYON WHICHONLYTHEACTORSANDCIRCUMSTANCESCHANGEBUTSOMETHINGREMAINSTHE CHANGEANDSTRUGGLETHEMSELVESnANDTHETHEATERREPRESENTINGTHEM ! # 4 ) . ' ! 3 0! # % /NECENTRALREQUIREMENTOFASCENOGRAPHYLIKETHATOFh3TRINDBERGvIS THATTHESTAGEELEMENTSMUSTNOTOBSTRUCTTHEEXECUTIONOFIDEASINVENTED INREHEARSALS4HISMEANSTHATNOTONLYSHOULDTHESETENABLEEVERYPHYSICAL MOVEMENTBUTITSHOULDALSOPREVENTUSINGSIGNSTHATARETOODETERMINATE 4HISDEMANDISOFTENEXPRESSEDBYTHEIDEAOFANEMPTYSPACE!CCORDING h 3 TR IN DBER G v \ 4BMPTBBSJ TO*UHANI.IEMELØWHOPLAYED*EAN(ANUSZKIEWICZPUTTHISMETHODINTO PRACTICE (ESTARTEDVERYMUCHFROMANEMPTYSPACE4HEREISSOMUCHTALK ABOUTTHEBOOKBY0ETER"ROOK@%MPTY3PACEBUTHE;(ANUSZKIE WICZ=USEDITVERYEARLYON)NOTHERWORDS!NEMPTYSPACE7HAT DOWENEED7ENEEDATABLE7ENEEDACHAIR7ENEEDAWALL7E WOULDNOTEVENHAVEHADTHESCREENSUNLESSWEHADNTNEEDEDSOME THINGBEHINDWHICHWECOULDGOANDWHEREWECOULDCOMEFROM(E HADONLYWHATWASESSENTIAL4HETHINGSWHICHREMAINEDONSTAGE WEREUSEDFOREXPRESSION.OWACOULISSEWASNOTACOULISSEBUTATOOL FOREXPRESSION)THADSOMEALLEGORICMETAPHORICAL;FUNCTION=TOO 4HECLAIMFORANEMPTYSPACEISOFTENMETWITHTHEOPPOSINGREMARKTHAT THEREISNOSUCHTHING%VERYROOMHASATLEASTWALLSAmOORANDACEILING WHICHGIVEITPARTICULARCHARACTERISTICSINEXTRICABLYLINKEDTOITSHISTORYAND LOCATION-OREOVERWECANNOTPERCEIVEASPACEORANOBJECTASBEINGWITH OUTANYSIGNIlCANCE(OWEVEREVENIFANEUTRALSTAGEINTHESENSEOFATABULA RASACANNOTEXISTWECANPLAYGAMESWITHTHEPOSSIBLEMEANINGSLINKEDTOA SPACEORANOBJECT!STAGEELEMENTMAYSTANDFORANYOTHERTHINGDEPENDING ONTHEACTORSPERFORMANCE7EMAYCREATEATEMPORALEMPTINESSOFMEAN INGSBYBREAKINGCONVENTIONALSIGNIlCATIONSANDCREATINGNEWONES4HEREAS ISOFTENREPEATEDANYTHINGMAYREPRESENTANYTHING )THINKTHATTHESCREENSINh3TRINDBERGvFULlLLEDTHEIDEOLOGICALFUNCTION OFANEMPTYSPACEEXTREMELYWELL2EHEARSINGSCREENSTYPICALLYSERVEDASSUB STITUTESFORUNlNISHEDCOULISSESDURINGTHEREHEARSALSOFANYPLAYS4HEYWERE USEDINDIFFERENTPRODUCTIONSASSUBSTITUTESFORALLKINDOFOBJECTSBUTTHEY WERENOTPERMANENTLYLINKEDTOANYOFTHEM /JFNFMj !STHEIRPROPERFUNCTIONWASTOSTANDINFORALMOSTANYTHINGNOTPRESENT THEYCOULDBECONCEIVEDASEMPTYVACANTSIGNSREADYTOREPRESENTANYPOS SIBLEMEANING4HISREDUCESTHEIRPREVIOUSLYGIVENMEANINGSTOAMINIMUM 4HEASSOCIATIONSCONNECTEDTOTHESCREENSWERENOTIMPLIEDBYTHESCREENS THEMSELVESBUTBYTHEIRCHANGINGCONTEXTAMONGSTTHESTAGEACTION4HISEN ABLESUSTOSEETHEMEANINGSASSOMETHINGmUCTUATINGSOMETHINGTOBEESTAB LISHEDDESTROYEDANDNEGOTIATEDTHROUGHACTING)THASTODOWITHTHEMAGIC OF!RTAUDAND'ROTOWSKIWHICH"ERT/3TATESHASDESCRIBEDASALCHEMY \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES )TISNOTONLYTHATTHEEYECANBETRICKEDINTOSEEINGALMOSTANYOBJECT ASSOMETHINGELSEBUTTHATOBJECTTHATDOESNOTREPRESENTSOMETHING INADVANCEBECOMESABLANKCHECKANOPENPRESENCEITBECOMESTHE SOURCEOFSOMETHINGNOTYETHEREATHINGWITHOUTAHISTORYORWHOSE HISTORYISABOUTTOBEREVISED !CCORDINGTO2ICHARD3CHECHNERTHETHEATRICALCAPABILITYOFREPRESENTATIONIS BASEDONLIMINALITYBETWEENTHE@REALBEINGOFANACTORANDTHElCTIVECHAR ACTERINTHEPERFORMATIVECONSCIOUSNESS4HEACTORnORANOBJECTnBELONGS SIMULTANEOUSLYTOTWOWORLDS(EISNOTHIMSELFANDNOTNOTHIMSELFATTHE SAMETIMEWHICHMEANSTHATHECANNEITHERBECOMPLETELYIDENTIlEDWITHHIS CHARACTERNORWITHHISSOCIALPERSONALITY!S3CHECHNERSAYShTHISlELDISPRE CARIOUSBECAUSEITISSUBJUNCTIVELIMINALTRANSITIONALITRESTSONHOWTHINGS ARENOT)TSEXISTENCEDEPENDSONAGREEMENTSKEPTAMONGSPECTATORSv 3INCETHESCREENSINh3TRINDBERGvLACKEDPERMANENTSIGNIlCANCETHEYIN SOMESENSEEXACTLYREPRESENTEDTHISlELDOF@NOTBEING4HEREHEARSALSCREENS HAVENOROLEINEVERYDAYLIFEANDTHEMEANINGSTHEYSTANDFORARECOMPLETELY ARBITRARY4HEYAREOBJECTSBELONGINGONLYTOTHETHEATRICALWORLDBUTUSU ALLYTHEAUDIENCENEVERSEESTHEM7HATTHEYACTUALLYREFERTOISTHEREALITY OFREHEARSALSWHEREACTORSAREWORKINGONTHEIRROLES2EVEALINGTHEREALITYOF THEATRICALPROCESSINGWHICHISNORMALLYCONCEALEDFROMTHEPUBLICGAZEWAS OFCOURSETHEPREMISEOFh3TRINDBERGvnAFTERALLITWASPRIMARILYATRAIN INGPROJECT 4HESCREENSINh3TRINDBERGvDIDNOTACTUALLYREPRESENTANYOTHERCONCRETE OBJECTSANDNEVERLOSTTHEIRCHARACTERASTHEATRICALSCREENS4HEYRATHERSTOOD FORMETAPHORICALIDEASORHUMANRELATIONS/NEGOODEXAMPLEOFTHISWASTHE SCENEWHERE*EANAND*ULIEDISCUSSEDTHEIRDIFFERENTMEMORIES*ULIEWASHID INGBEHINDASCREENWHICHWASUSEDASASYMBOLFORCONCEALINGANDREVEALING EMOTIONSORROMANTICILLUSIONSANDWAVERINGBETWEENTRUTHSANDLIES ¸-PPLBUUIFJMMVTUSBUJPOBOENPSFDPNQMFUFEFTDSJQUJPOJO"QQFOEJY ,ATERON*EANMOVEDANOTHERSCREENBEHIND*ULIEPLACINGHERBETWEENTHE SCREENSLIKEAHOTDOGINABUN4HERESHEWASONTHEONEHANDSAFEBEING ABLETOHIDEHERANDTHEVISIONWASPLAYFUL"UTONTHEOTHERHAND*ULIEWAS IMPRISONEDANDEXPOSEDTOTHESEDUCTIVEWHISPERINGSOF*EAN7HEN*EAN h 3 TR IN DBER G v \ 4UBUFT 4DIFDIOFS PULLEDTHEFRONTSCREENAWAYSHEWASSEENHELPLESSLYBALANCINGONTWOCOUN TERWEIGHTSASIFROBBEDOFHERSHELTERANDCAUGHTINATRAP 4HEEXACTSIGNIlCANCEOF*ULIESRELATIONTOTHESCREENSWASAMBIVALENT4HIS SENSEOFUNCERTAINTYCOULDALSOBESEENTOSTRESSTHEEROTICTENSIONBECAUSE SEXUALATTRACTIONISALSOAVAGUEANDINDETERMINATEFEELINGWHEREOPPO SITEEMOTIONSINTERACT-OREOVERANEROTICALLYEXCITEDPERSONISINASENSE TRAPPEDINASITUATIONWHEREHISHERUNCONTROLLABLEFEELINGSTHREATENHISHER PRIVACYANDSELFDETERMINACY4HEEXPERIENCECREATEDBYTHESCENEWASNOTA SIMPLECOMMUNICATIONOFCERTAINMEANINGSBUTRATHERACOLLECTIONOFFEELINGS CONNECTEDTO*ULIESEROTICEXCITEMENT 4HELEADINGACTORS4UIJA6UOLLEAND*UHANI.IEMELØRECALLED(ANUSZKIEWICZS DIRECTINGMETHODS (EWASVERYPEDANTICABOUTTHEACTORSVISUALEXPRESSION!LTHOUGHHE DIDNOTUNDERSTANDTHELANGUAGEHECOULDHEARTHETONEOFASENTENCE ANDHESAWITINTHEMOVEMENTSOFTHEACTOR(EDIDAKINDOFCHORE OGRAPHY(ECOULDSPENDTIMEPERFECTINGONETOUCHFORATERRIBLYLONG TIMEFOCUSINGONITSRHYTHMx (EWASALSOVERYPEDANTICABOUTTHESPACEWHERETHEACTORACTS)DONT MEANTHETHEATERSTAGEBUTTHEMENTALANDPHYSICALSPACEINWHICH THEPERSONACTEDBYTHEACTOREXISTS(ECREATEDTHEARCHITECTUREWHERE ISTHEFATHER;OF*ULIE=nHEISTHEREYOUCANHEARHIMWALKINGUPSTAIRS ANDYOUHAVETHEBOOTSINYOURHANDx9OUARENOTONSTAGEBUTINTHE SERVANTSROOMANDTHEREUPSTAIRSLIVESYOURRULERx (ETALKEDABOUTOCCUPYINGASPACExTAKINGTHESPACEFORYOURSELF 4HISMEANSTHATTHEACTORISAPARTOFSCENOGRAPHYTHROUGHHISHEROWN BEING)FYOUAREINASAUNAnALTHOUGHYOUHAVENOSAUNA;ONSTAGE= nITMUSTBEASAUNAANDNOTARAILWAYSTATION4HEREISABIGDIFFER ENCEINTHEGESTUREx /JFNFMjBOE7VPMMF )TWASNORMALFORHIMTHATITWASTHEACTORWHOWASLOOKEDATON STAGENOTTHEPROPSANDSETS4HEACTORCREATESTHEWHOLESPACETHIS WASREALLYVERYESSENTIAL \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES 4HEREPRESENTATIONOFPLACEANDTIMEWASTHUSACONCERNFORTHEACTORSRATHER THANTHESCENOGRAPHY4HEIMPORTANTMEANINGSWERENOTINTHEVISIBLESUR FACEBUTINTHESTRUCTURALRELATIONSBETWEENTHEACTORSANDTHESPACE4HEY WERESHOWNTHROUGHTHEACTORSORIENTATIONINTHESPACE(ISHERGESTURES MOVEMENTSANDREACTIONSSHOULDMAKETHEAUDIENCE@SEEINVISIBLEIMAGES 4HEREWASAKINDOFSHAREDIMAGINATIONCOMMUNICATEDTHROUGHTHEACTORS BODIES 4HEWAYINWHICHTHEACTORSGESTURESWORKEDASSCENOGRAPHYCANBESEENAS ANEXTENSIONOF3TRINDBERGSWISHTOGETRIDOFTHEPAINTEDWALLSTHATh!RENOT CAPABLEOFEXPRESSINGTHEANGEROFANIRATEPATERFAMILIASWHOONLEAVINGHIS HOMEAFTERAPOORDINNERSLAMSTHEDOORBEHINDHIM@SOTHATITSHAKESTHE WHOLEHOUSEv (ANUSZKIEWICZDIDNOTEVENNEEDTHEREALDOORANDWALLSBUTONLYANAGGRES SIVEACTWHICHMADETHEAUDIENCEFEELASTHOUGHTHEHOUSEWASSHAKEN4HE SPECTATORSIDENTIFYWITHTHEPHYSICALACTIONANDCREATETHECORRESPONDINGEN VIRONMENTINTHEIRIMAGINATION !LOTOFPOSITIVEATTENTIONWASPAIDTOTHESCENEWHERE*ULIEASKS+RISTINTO FOLLOWTHEMTO,AKE#OMOANDDRAWSHERVISIONOFTHEPLACEONTHEmOOR WITHAPIECEOFCHALK-ANYCRITICSDESCRIBEDHERBEHAVIORASCHILDISHAND 4UIJA6UOLLERECALLEDITASAMOMENTOFREGRESSION4HESPONTANEITYAND NAIVETYOFHERDAYDREAMINGCOMPAREDTOTHEFRESHANDINNOCENTGAZEOF ACHILD)NSOMESENSETHISVISIONSYMBOLIZEDHERABILITYTOENCOUNTERTHE WORLDINANEWCREATIVEWAYANDESCAPEFROMHERPRESENTUNHAPPINESS 7HEN*EANWIPESHERDRAWINGAWAYHEDESTROYSTHISPOSSIBILITY ¸-PPLBUUIFJMMVTUSBUJPOBOENPSFDPNQMFUFEFTDSJQUJPOJO"QQFOEJY 7ITHOUTHAVINGSEENTHESCENEMYSELF)PRESUMETHATITSIMPRESSIVENESSWAS DUETOTHEFACTTHATRATHERTHANILLUSTRATINGAVISIONTHEACTOFSEEINGANIM AGEINONESIMAGINATIONWASPERFORMED7HATTHESCENEACTUALLYSHOWEDWAS *ULIEHAVINGADREAMABOUTTHEBEAUTYOF,AKE#OMO4HEAUDIENCECOULD NOTSEETHESCENERYFROM3WITZERLANDBUTTHEYWEREGIVENANOPPORTUNITYTO IDENTIFYWITH*ULIESACTOFDAYDREAMING4HESIMPLEDRAWINGREPRESENTEDTHE BLUENESSOFTHELAKEANDTHEBRIGHTNESSOFTHESUNASWETHINKOFTHEMWHEN LONGINGFORATRIPTOTHESOUTH%VENIFTHEDREAMSAREUNIQUEANDDIFFERENT h 3 TR IN DBER G v \ 4USJOECFSH YWJJJ 7VPMMF FOREVERYPERSONWEALLSHARETHECAPACITYTODREAM)TWASNOTASUBJECTIVE INNERIMAGETHATWASCOMMUNICATEDBUTACOMMONEXPERIENCEOFHAVING THISKINDOFFANTASY 4HATNOTIONOFASHAREDABILITYTOIMAGINEHASBEENDESCRIBEDBY'ASTON "ACHELARD9OUCANONLYGIVEANOTHERPERSONTHEIMPULSETOCALLFORTHHISHER OWNDREAMSNEVERTOINVITEHIMHERTOYOURPERSONALDREAMS (OWEVERTHESPECTATORALSOSEESTHEDREAMING*ULIEINTHEFRAMEWORKOFHER TRAGEDY3HEISDEVELOPINGHERFANTASIESOFESCAPEWHICHARETOBEWIPEDOUT BY*EAN*EANDIDNOTBELONGTOTHEDREAMERS7HENHEREMOVEDTHEDRAWING FROMTHEmOORHESOMEHOWDENIEDTHEFANTASIESOF*ULIEANDALONGSIDETHEM HEREMOTIONALLIFE(EREHESHOWEDANINCAPABILITYTOBESENSITIVETOANOTH ERPERSONSFEELINGSANDCONSEQUENTLYANINABILITYTORESPECTTHEM4HELAST SCENEOFTHEPERFORMANCESHOWED*EANALONEINTHESPOTLIGHTSASIFISOLATED FROMOTHERPEOPLEBYHISCRUELTY ! 5 4 / 3 4 5 $ ) 5 - n 3 4 5 $ 9 ) . ' 4 ( % !4 2 ) # ! , ) 4 9 (ANUSZKIEWICZREJECTED3TANISLAVSKISPSYCHOLOGICALREALISMANDTHETHEATEROF ILLUSION4HEAIMOFHISREHEARSALSWASNOTTOCREATEACREDIBLECHARACTERBUT TOSTUDYTHEACTORSRELATIONTOTHElCTION(ANUSZKIEWICZSASSISTANTANDIN TERPRETER+ARI3ALOSAARIDESCRIBEDHISWORKINGMETHODINTHEFOLLOWINGWAY (EDIDNOTTHINKABOUTTHECONTENTSOFTHEPLAYLIKETHIS7ELLLETS DIRECT7OYZECKWHICHHEDIRECTEDLATERIN4AMPERETHEREWEHAVE THELITTLEFELLOWWHOBECOMESAVICTIMOFTHESYSTEMANDTHESYSTEM WILLBEREPRESENTEDLIKETHISANDTHISANDTHELITTLEFELLOWANDHISFALL ANDSTRUGGLEWILLBEREPRESENTEDLIKETHATANDTHATx(ANUSZKIEWICZ DIDNOTTHINKLIKETHAT #BDIFMBSE (ESIMPLYSAIDDURINGACONVERSATIONABOUT*ULIE@)CHWEISSNICHTWAS *ULIEISTn)DONTKNOWWHAT*ULIEISBUT)MLOOKINGFORITBECAUSE SHEISTHEPROTAGONISTOFTHISPLAY)TWASKEPTOPENUNTILTHELASTMO MENTx)NTHATWAYYOUCOULDlNDNEWASPECTSUNTILTHEVERYEND YJW¬YW 4BMPTBBSJ \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES (ANUSZKIEWICZSWORKINGMETHODWASCALLED!UTOSTUDIUMWHICHMEANTTHAT THEACTORSWERESTUDYINGTHEIROWNWORK4HEPURPOSEOF(ANUSZKIEWICZS THEATERWASNOTTOOFFERANINTERPRETATIONOFTHEPLAYORGIVEANSWERSTOITS PROBLEMATICBUTTOSTAGETHETHEATRICALPROCESSDEALINGWITHTHEQUESTIONS THATHADARISENFROMTHETEXT4HEEMPHASISWASONTHATINTERROGATIVEACTIV ITYANDREPRESENTINGTHEPLAYTEXTWASOFSECONDARYIMPORTANCE4HEPERFORM ANCEWASTOBEACONTINUOUSPROCESSREmECTINGTHEACTORSRELATIONSHIPTOTHEIR ROLESANDTOTHEMSELVES)NTHATWAYTHEYSHOULDCONSTANTLYKEEPADDRESSING NEWQUESTIONS !CCORDINGTO(ANUSZKIEWICZTHESIGNIlCANTMEANINGOFAPLAYISEVIDENTIN ITSSCENICEXPRESSIONANDSTRUCTURENOTINITSDISTINGUISHABLECONTENTORAN ANALYSISOFIT4HEREFOREHEBELIEVEDITIMPOSSIBLETOUNDERSTAND3TRINDBERGS ORIGINALINTENTIONS(EEXPLAINEDTHISINANEWSPAPERINTERVIEW 9OUCANTBELOYALTOTHETEXT9OUCANTPULLONElGUREOUTFROMABOOK WITHVIOLENCENORFROMAPAINTINGTHEYARETHEIROWNENTITIESx 7HEN)PLAY(AMLETTHESPECTATORSARENOTINCONTACTWITH3HAKE SPEAREBUTWITHMYCONCEPTOF(AMLET4HEWRITTENTEXTCANONLY MEDIATEANIDEATHEACTORMUSTGENERATETHEFEELING4HESTRUCTUREOF THEPLAYISALSOANIDEATHESEMANTICSOFTHETEXTARENTx%VERYTHING ELSECANBEREMOVEDBUTTHEACTORANDTHESPECTATOR 4HISQUOTESUGGESTSAHERMENEUTICNOTIONOFATEXTCOMINGINTOBEING THROUGHDIFFERENTREADINGSANDCONDITIONEDBYTHETEMPORALANDCULTURALSIT UATIONSTHATSURROUNDTHESEREADINGS(ANS'EORG'ADAMERHASNOTEDTHATA WORKOFARTONLYEXISTSTHROUGHTHESEREPEATINGSTRUCTURESEXPERIENCE/NA PRACTICALLEVELTHEHERMENEUTICREPRESENTATIONSAPPEARASASERIESOFINDIVID UALREADINGSPRECONDITIONEDBYTHEIRHISTORY(OWEVERITISEXACTLYTHROUGH THEREPETITIVESTRUCTUREOFEXPERIENCETHATTHEWORKOFARTISFREEDFROMSUB JECTIVITY4HECAPABILITYTOENJOYTHEDRAMATICPLAYREMAINSALTHOUGHTHE WAYOFUNDERSTANDINGITVARIESACCORDINGTOPARTICULARCIRCUMSTANCES&OLLOW INGTHISREADINGITCOULDBESAIDTHATTHESTAGESPACEOFh3TRINDBERGvSTOOD FORACHANGEABLEMENTALARENAWHERETHEATERTAKESPLACEOVERANDOVERAGAIN (ANUSZKIEWICZWANTEDTHESPECTATORTOSEETHEACTORSPERSONALPROCESSINGOF THEIRROLESRATHERTHANlCTIVECHARACTERSSEENTHROUGHTRANSPARENTACTING(E WANTEDTOAVOIDTHENATURALISTICRHETORICOF3TRINDBERGARECONSTRUCTEDREAL h 3 TR IN DBER G v \ )BMUUVOFO4BMPTBBSJ (BEBNFS ¬ ITYHIDINGITSARTIlCIALITY/NTHEOTHERHANDHEDIDNOTONLYREVEALTHEREP RESENTATIONALCHARACTEROFTHESTAGEINTHE"RECHTIANSENSEBUTALSOWANTEDTO SHOWANDSTUDYTHEVERYACTSOFREADINGANDRECREATINGTHEPLAY(ANUSZKIE WICZSTRESSEDTHEARTISTSCONSCIOUSNESSOFHISHEROWNEXPRESSIONh!RTBEGINS WHENSOMEBODYTALKINGPROSEBECOMESAWARETHATHESHETALKSPROSE4HEN HESHECANSWITCHTOVERSEv )THINKTHATTHEMOSTIMPORTANTLEVELONWHICHh3TRINDBERGvTOOKPLACE WASONTHATOFTHEATRICALSPEECH)TWASTHEDIRECTORANDTHEACTORSWHOBY THEIRINTERROGATIVEPROCESSINGANDCONSTANTREADINESSTOCHANGETHEIRPERFORM ANCEBECAMETHEACTUALPROTAGONISTS4HESUBJECTOFREPRESENTATIONWASNOW THESTAGELANGUAGEREmECTINGONITSELF 7HEREASTHEINTENTIONOF3TRINDBERGASANATURALISTWASTOMAKEVISIBLETHE PSYCHICMECHANISMSOFHISlCTIVEPROTAGONISTS(ANUSZKIEWICZAIMEDATA RECONSTRUCTIONOFTHEARTISTICPROCESSOFSTAGINGTHEPLAY(ANUSZKIEWICZWAS NOTPEEPINGTOTHEPRIVACYOF*ULIEBUTINTOTHATOFHIMSELFANDTHEACTORS READINGANDREPRESENTINGTHEPLAY 4HISMANIFESTSMOSTCLEARLYINTHEPLANNEDPROLOGUEANDEPILOGUEWHICHWERE LEFTOUTOFTHEPUBLICPERFORMANCEINTHElNALDAYS(ANUSZKIEWICZHADIN TENDEDTOSTAGEDIFFERENTCONTEMPORARYCHARACTERSDISCUSSINGTHEPLAYAND THEATER4HESEROLESCLEARLYEXEMPLIlEDVARIOUSTYPICALAUDIENCERESPONSES 4HEIRCONVERSATIONWASREHEARSEDTOAPPEARASASPONTANEOUSEVENT)TWAS MEANTTOBEARANDOMSITUATIONTHATCOULDBEOBSERVEDBUTITWASINFACT CAREFULLYTHOUGHTOUT ¸-PPLBUUIFNPSFDPNQMFUFEFTDSJQUJPOJO"QQFOEJY !CCORDINGTO3ALOSAARIONEOF(ANUSZKIEWICZSMOSTCHARACTERISTICTRADE MARKSWAShANALMOSTSYSTEMATICALUSEOFACCIDENTSMOSTLYUNPLEASANTBUT SOMETIMESPOSITIVESURPRISESFORMINGTHETHEATRICALWORKINGPROCESSv )BMUUVOFO4BMPTBBSJ 4BMPTBBSJ *UHANI.IEMELØRECALLEDHOWhHEHADAFUNNYWAYOFCATCHINGIDEASFROM HISSURROUNDINGS)FTHEREWASAPARTICULARKINDOFAmOORHEWOULDSAYLETS USEITv(ANUSZKIEWICZHIMSELFPROPOSEDTHATACOMMONSPECTATORhSHOULD GETTHEIMPRESSIONTHATEVERYTHINGTAKESPLACETHROUGHAHAPPYCOINCIDENCE /JFNFMj \ % XPERIEN C ES IN 4H EAT RIC AL 3 PAC ES )TWOULDBEBETTERSTILLIFSHEEXPERIENCESEVERYTHINGASIFITWERECREATED NOWv (ERETHE3TRINDBERGIANREPRESENTATIONOFANATURALISTILLUSIONISARGUABLY SUGGESTIVE4HEPERFORMANCEWASPRESENTEDASIFITWEREARANDOMSLICECUT OUTOFREALITYONLYTHISTIMETHEREALITYOFREHEARSALSWASRECONSTRUCTEDBEFORE THEAUDIENCE4HElNALPERFORMANCEAPPEAREDASANINADVERTENTEVENTITWAS ASIFTHEACTORSWEREINVENTINGEVERYTHINGINTHEMOMENTOFPERFORMING !NYTHINGTHATHAPPENEDATREHEARSALSCOULDBETAKENADVANTAGEOF&OREX AMPLEDURINGTHEREHEARSALSATECHNICALASSISTANTCLIMBEDUPTHEBACKWALLIN ORDERTOTAKEAPHOTOGRAPHANDHEWASIMMEDIATELYINCLUDEDINTHEPERFORM ANCE4HEPHOTOGRAPHERCOULDBESEENASAMETAPHORFORTHESELFREmEC TIONCHARACTERIZINGTHEPRODUCTIONBUT)THINKTHATHEALSOREPRESENTEDTHE RANDOMNESSOFSIGNSSURROUNDINGUSINEVERYDAYLIFETHUSUNDERMININGTHE CONSTRUCTEDNATUREOFTHEPERFORMANCE )TCANBEARGUEDTHATINSPITEOFTHECREATIVEOPENNESSOFREHEARSALSTHEPUB LICPERFORMANCESOFh3TRINDBERGvWEREVERYCONSCIOUSRECONSTRUCTIONSOF PROCESSESTHATONCEMAYHAVEBEENINTUITIVEANDSPONTANEOUSBUTNOWHAD BECOMEAlNALPRODUCT4HEYREPRESENTEDAWELLPLANNEDILLUSIONOFIMPRO VISATIONANDTHISCOULDBESEENASONECRITICNOTEDh!DAM(ANUSZKIEWICZS INSTRUCTIONSWITHALLTHEIRDETAILSWEREVISIBLEALLTHETIMEANDTHEYWERE OBEYEDLIKEMATHEMATICALFORMULASv 4HATINSIGHTCANBECONlRMEDBYTHEACTORSREPORTSOFHOWINREHEARSALS (ANUSZKIEWICZSOMETIMESPOLISHEDONESIMPLEGESTUREFORALONGTIMEUNTIL HEWASSATISlEDWITHIT)NSTEADOFMAKINGTHEARGUMENTFORVERISIMILITUDE THROUGHSTAGEREALITYTHEPROPOSALFORSPONTANEITYSHOULDMAYBEBESEENAS MANIFESTINGANIDEALABOUTHOWANARTISTICPROCESSnACREATIVEORRECEPTIVE ONEnSHOULDBE (ANUSZKIEWICZALLOWEDTHEACTORSTOINTUITIVELYPRODUCEANYKINDOFSCENIC MATERIALALARGEPARTOFWHICHWASFORGOTTEN3OMEACTSANDGESTURESWERE @EXTRACTEDFROMTHISCHAOTICmOWANDDEVELOPEDFURTHERFORTHENEXTPHASE 4HECENTRALARTISTICTASKWASTHESELECTIONOFMATERIALOUTOFWHICHTHESCENES COULDBEDEVELOPED)TREQUIREDANINTUITIVISMTHATRECOGNIZEDTHEMOSTIN TERESTINGSCENICACTSANDIMAGES h 3 TR IN DBER G v \ )BMUUVOFO4BMPTBBSJ )BMUUVOFO4BMPTBBSJ "VSB 7VPMMFBOE/JFNFMj 4HISFUNDAMENTALLYDEMONSTRATESTHATTHEESSENCEOFANARTISTICEXPRESSION DOESNOTDIFFERFROMANYEVERYDAYHAPPENINGBUTCANBEFOUNDAMONGTHEM 4HEARTISTSPRIVILEGEDSKILLISNOTSOMUCHTOPRODUCEMEANINGFULVISIONSBUT RATHERTODISCERNTHESIGNIlCANTONESFROMTHEMASSANDTOPUTTHEMINTOA NEWCONTEXTWHICHGIVESTHEMARTISTICVALUE4HEMEANINGFULNESSGROWSOUT OFTHEmOWOFOCCASIONALEVENTS )FANYTHINGTHATHAPPENEDEVENANACCIDENTALDISTURBANCECOULDSERVEAS ANARTISTICELEMENTACCORDINGTO(ANUSZKIEWIZCSTHINKINGTHEREWASNOEL EMENTARYDIFFERENCEBETWEENANEVERYDAYPHENOMENONANDARTISTICONE 7HATTELLSTHEMAPARTISONLYTHEACTOFFRAMINGTHELATTERASAPERFORMANCE 4HETASKOFANARTISTISTOMAKETHESPECTATORGRASPSOMENEWSIGNIlCANCEBE YONDITSAPPARENTEVERYDAYNESS)NORDERTODOTHATTHEARTISTSMUSTBESENSI TIVETOLATENTMEANINGSFOUNDINANOBJECTOREVENT 4HEREISASIMILARITYWITHNATURALISMINSHOWINGTHEVISIBLEWORLDASADILEM MATHECAPABILITYTOCATCHHIDDENBUTNOTDIRECTLYVISIBLEMEANINGSINTHE APPEARANCEOFTHESURFACE4HEDIFFERENCEHOWEVERISTHAT(ANUSZKIEWICZ DIDNOTTHINKOFTHEPLAYWORLDASAPUZZLETOBESOLVEDBUTRATHERASAlELD OFUNANSWERABLEQUESTIONSANDSUGGESTIONSFORPOSSIBLEMEANINGS &URTHERMOREITISQUITECLEARTHATITWAS(ANUSZKIEWICZHIMSELFWHODECIDED WHICHSCENESWEREKEPTANDLEFTOUT4HEPUBLICPERFORMANCESDISJOINTEDAP PEARANCEWASACONSTRUCTEDRESULTOFHISPREFERENCESALTHOUGHTHECHOICES WERENOTMADEWITHOUTDISCUSSIONWITHTHEENSEMBLE4HEASSISTANT+ARI3A LOSAARIWROTEINTHEREHEARSALDIARYTHATATTHEBEGINNINGOFTHESECONDWEEK h)TLOOKSLIKETHEYONLYKEEPTHEIDEASTHATHAVE@STUCKTOTHEACTORSv4HE ACTRESSPLAYING*ULIE4UIJA6UOLLECONlRMEDTHAT(ANUSZKIEWICZCOULDEN ABLETHEACTORSTOlNDTHEMATERIALSFORTHEROLEINTHEMSELVES "EINGANACTORHIMSELF(ANUSZKIEWICZDIDNOTCONCEIVEOFAPERFORMANCEAS ANISOLATEDPRODUCTCREATEDBYTHEDIRECTORBUTASANEVENTCOMPLETEDBYTHE AUDIENCE )BMUUVOFO 4BMPTBBSJ 7VPMMF )BMUUVOFO 4BMPTBBSJ 4HESPECTATORISACOWORKERNOTANAPATHETICGAZER4HEIMAGINATION OFTHESPECTATORSERVESASACREATIVEDEVICEHISHERREACTIONSAPPLAUSE WHISTLINGSTAMPINGSANDALLOTHERKINDSOFEXPRESSIONSANDDEMON STRATIONSMAKEUPTHEMOSTIMPORTANTDIALOGUEINTHEATER \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HERECEPTIONANDCREATIONOFTHEATERTHEREFOREMIXTOGETHER(ANUSZKIEWICZ CONCEIVEDOFTHEATERASADYNAMICPROCESSWITHEVERYBODYANDEVERYTHING PARTICIPATINGINIT(ECRITICIZEDTHE&INNISHATTITUDETOTHEATER 4HEDIFlCULTYOFPERFORMINGANARGUMENTIN&INNISHTHEATERISNOT DUETOOURNATIONALCHARACTERBUTDUETOOURTHEATRICALCONVENTIONS HAVINGTOODISCRETEANATTITUDETOAUDIENCE!SARESULTNOREALARGU MENTWITHAUDIENCEEMERGES !SA&INNISHSPECTATORWHOISNOTTOOKEENONPARTICIPATINGINPERFORMANCES )WONDERWHETHERTHETHEATRICALIDEOLOGYOF(ANUSZKIEWICZPRESUPPOSEDAN IDEALAUDIENCEDIFFERENTFROMTHEEXISTING&INNISHONE7HENITCAMETO THEPRODUCTIONOFh3TRINDBERGvTHERECEPTIONPROBABLYFULlLLEDHISEXPEC TATIONSSINCETHEMAJORITYOFSPECTATORSWERETHEATERPROFESSIONALSANDAMA TEURSANDTHEREFOREMOREOPENTOPARTICIPATIONTHANAVERAGEAUDIENCES 4OSOMEEXTENTh3TRINDBERGvWASASIGNIlCANTPROJECTFORTHEINSIDERSOF &INNISHTHEATER"EINGPRIMARILYANEDUCATIONALPROJECTITCONCENTRATEDON THEWAYSOFDOINGTHEATERWHICHPROBABLYMOSTLYINTERESTEDPROFESSIONALSAS ONEREVIEWERWROTE 4HISKINDOFSTUDYINGTHEATERMAKINGISNODOUBTREWARDINGFORTHE RECEIVINGACTORANDTHESPECIALIZEDAUDIENCEANORDINARYSPECTATOR DOESNOTALWAYSSEEMTOGETINVOLVEDWITHITALTHOUGHTHEYAREAWARE OFSOMETHINGHAPPENING !CCORDINGTO3ALOSAARIh3TRINDBERGvWASSEENASOPPOSITIONALTOPOLITICAL THEATERWHICHWASTHENINITSHEYDAY4ODAYITISPOSSIBLETOSEEANALYSISOF THEATRICALLANGUAGEASAPOTENTIALLYPOLITICALEXERCISEBUTINTHECONCEP TIONOFPOLITICSWASLIMITEDTOISSUESDIRECTLYCONCERNINGTHESTRUCTURESOF SOCIETY/NEREVIEWERSAWTHEAIMSOF(ANUSZKIEVICZASPURELYAESTHETIC !NOTHERCRITICCOMMITTEDTOTHEPOLITICALLYENGAGEDLEFTISTTHEATERSEVERELY CRITICIZEDh3TRINDBERGvh4OMETHEWHOLEPERFORMANCEWITHALLITSMETH ODSWASSTUFFYANDOUTDATEDTHEATERv )BMUUVOFO 4BMPTBBSJ )NFACT(ANUSZKIEWICZHIMSELFALSOSTRESSEDHISDISINTERESTINPOLITICALTHEATER ANDSOCIALCRITIQUEWHICHACCORDINGTOHIMIShRATHERSUITEDTOCABARETWHERE "VSB 4BMPTBBSJ 4BMPNBB 4VWBMP h3 T R I NDBER G v \ ITHASITSPLACEIN0OLANDTHETASKOFTHEATERBEINGBIGGER4HEATERSHOULD DEALWITHPROBLEMSTOWHICHTHEREARENOUNAMBIGUOUSANSWERSv /FCOURSEITISPOSSIBLETHAT(ANUSZKIEWICZWASBEINGCAREFULWITHHISSTATE MENTSBECAUSEHEWASANARTISTFROMSOCIALIST0OLANDVISITINGA7ESTERNCOUN TRY4HELEADINGACTORS4UIJA6UOLLEAND*UHANI.IEMELØWHOHADSEENSEV ERALSTAGINGSBY(ANUSZKIEWICZIN0OLANDREMARKEDTHATINTHECONTEXTOF HISHOMELAND(ANUZCKIEWICZWASINFACTAVERYPOLITICALDIRECTORWHOWAS SUDDENLYDISCARDEDFROMHISLEADINGPOSTATTHE0OLISH.ATIONAL4HEATERLATER INTHES.IEMELØDESCRIBEDONEPARTICULARSTAGINGHESAWBOTHIN0OLAND ANDIN&INLAND 4HEPERFORMANCEOF(AMLETTHAT)SAWIN7ARSAWWASSOIL LUMINATING)TWASAHUGESUCCESSTHEAPPLAUSELASTEDnMINUTES 4WOYEARSLATERTHESAMEPERFORMANCEVISITEDTHE&INNISH.ATIONAL 4HEATER)TWASTHESAMEPERFORMANCEBUTITDIDNOTHAVETHESAME EFFECT)N0OLANDATTHEBEGINNINGOFTHES(AMLETWASPOLITICAL BEINGABOUTAMANWHOOVERTURNSTHETHRONE4WOYEARSLATERWHEN ITCAMEHEREITWASATIRED(AMLETWITHTHEmU7HATPOLITICALCON TENTDOWEHAVEHERE7ECANUNDERSTANDTHERELEVANCE!HANOW THEYHAVEOVERTURNEDTHETHRONEBUTTHEREISNOEFFECT!NDTHATS WHAT!DAMPROBABLYMEANTINHISINTERVIEW(EREALIZEDTHATHEWAS NOTPOLITICALHERE 4(%!24)34)#02/#%33 7HEN)STARTTODIRECT)READTHETEXTONLYONCEINADVANCELIKEA CARICATURISTWHOKEEPSHISHANDPARTLYINFRONTOFTHEMODELSOASNOT TOBETOOINVOLVEDWITHHIMHERANDNOTTOLOSEHISHERCREATIVESELF )BOVT[LJFXJD[ /JFNFMj )BMUUVOFO 4BMPTBBSJ 4HISQUOTEBY(ANUSZKIEWICZPRESENTSATYPICALBELIEFAMONGSTARTISTSWHO THINKTHATTHECREATIVEPROCESSISHAMPEREDBYTOOMANYOUTSIDEINmUENCES 4HESUBJECTIVEIMPRESSIONSTHATARISESPONTANEOUSLYFROMTHEMINDOFTHEART ISTARETOBEPROTECTEDINORDERTODEVELOPINTOFORMSOFORIGINALITYANDSIGNIl CANCE(ANUSZKIEWICZCOMBINEDTHISWITHHISREJECTIONOFPSYCHOLOGICALORSO CIOLOGICALANALYSES7HATREALLYMATTEREDFORHIMWASIMMEDIATEANDINTUITIVE CONTACTTOTHETHINGSTOBEREPRESENTEDNOTANINTELLIGIBLEKNOWLEDGEABOUTIT \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES (EREHESHOWEDAROMANTICBELIEFINTHEARTISTSCAPABILITYTOSEEINTOTHEES SENCEOFTHINGSWITHOUTBEINGMEDIATEDBYTHECONCEPTUALIZINGAPPARATUSOF RATIONALTHOUGHT/NTHEOTHERHAND(ANUSZKIEWICZSTRESSEDTHATTHE@CON TENTOFAPERFORMANCEDOESNOTEXISTINISOLATIONTOBEINGPROJECTEDONSTAGE BUTITISTHEREINTHESTRUCTUREOFTHEPLAYANDTHEMISEENSCÞNE !CCORDINGTO(ANUSZKIEWICZPRODUCINGOFAWORKOFARTISNOTAPROJECTION OFIDEASCREATEDBEFOREHAND4HEABSTRACTTHINKINGCANONLYEMERGEALONG SIDETHEFORMATION4HECREATIVITYOFANARTISTISDEMONSTRATEDINTHEIRCAPA BILITYTO@THINKPERCEPTIVELYTHROUGHVISIONSSOUNDSMOVEMENTANDOTHER TOOLSUSEDBYHIMHER!NARTISTSINTUITIONISNOTADIRECT@TRANSCENDENTAL CONTACTWITHTHEWORLDOFIDEASBUTTAKESPLACETHROUGHTHEWORKSPRODUC TION4HEARTISTCANEXPRESSHISHERIDEASONLYBYMEANSOFTHISPROCESSMEDI ATINGBETWEENMATERIALFORMANDABSTRACTIDEAS 4OPUTITSIMPLYOURTHOUGHTSARENOTIMMEDIATELYAPPARENTTOUSBUTMUST BECHANNELEDTHROUGHSOMEVEHICLESUCHASLANGUAGEORATHEATRICALEVENT)F WEWANTTOUNDERSTANDOUROWNTHOUGHTSWHICHALSOOFFERUSTHEONLYWAY TOUNDERSTANDTHEOUTERWORLDWEMUSTSTUDYTHEVEHICLECARRYINGTHEMEAN INGS4HISISMYUNDERSTANDINGOF(ANUSZKIEWICZSPOSITION)TWASNOEX AGGERATIONWHEN+ARI3ALOSAARIREMARKEDTHIRTYYEARSAFTERTHEPRODUCTION THATITWAShAKINDOFPOSTMODERNISMBEFOREPOSTMODERNISMv 4HEINSEPARABILITYOFFORMANDCONTENTWASCONCRETELYREALIZEDIN(ANUSZ KIEWICZSMETHODOFSPONTANEOUSLYCREATEDSCENICMATERIAL)FTHECONTENT DOESNOTEXISTASA@PUREIDEAITONLYCANBEFOUNDINCONJUNCTIONWITHTHE DEVELOPMENTOFSTRUCTUREANDFORM(EEXPRESSEDTHISINTHEFOLLOWINGWAY h4HEACTORWORKSTOCREATEANIDEATHROUGHHISHERTONEANDTHEWAYOF SPEAKINGv*UHANI.IEMELØALSORECALLEDHOW(ANUSZKIEWICZAPPROACHED ACTINGFROMTHEOUTSIDEIN (EPAIDATTENTIONTOEXTERNALAPPEARANCESBUTSURPRISINGLYTHISWAS CONNECTEDTOINTERNALISSUES(EWASDISCUSSINGNAKEDNESS;ATTHE REHEARSALSOF-ISS*ULIEIN4AMPEREEN4EATTERI=(EWANTEDUSTOBE NAKEDAFTERWEHADBEENINTHEBEDBEHINDTHEDOOR(ESAID@/KAY LETSTRYTHISNAKED4HENHELOOKEDATUSANDSAIDh9OUARENOT NAKEDALTHOUGHYOUHAVENOCLOTHESONv(EWASTHINKINGITOVER ANDOVER4HENHEWRAPPED*ULIEINABEDSHEETAND)HADOLDARMY h3 T R I NDBER G v \ 4BMPTBBSJ )BMUUVOFO 4BMPTBBSJ UNDERPANTSONTHOSEVERYPITIFULONES4HENHESAIDh.OWYOUARE MUCHMORENAKEDv )NTHISINSTANCEHEWASTHINKINGINANEXTERNALWAY(ISWAYOF DIRECTINGWASFUNNY(EADVANCEDSLOWLYANDLOGICALLY/NCEHEHAD STARTEDHECONTINUEDINAMETHODICALWAYBUILDINGBRICKBYBRICK 4HEPRECEDINGSITUATIONGAVECAUSETOTHENEXTONE(ECONCLUDEDAN IDEAINRELATIONTOTHENEXTEITHERINOPPOSITIONTOITORINHARMONY WITHIT(EADVANCEDBYASKINGWHATTHENATURALMOVEMENTINTHE SITUATIONWOULDBE!NDTHENHECOULDINAVERYIRRITATINGWAYGET STUCKONSOMEVERYLITTLEDETAIL(EKEPTTINKERINGANDTINKERINGBE CAUSEHECOULDNOTlNDHISWAYOUT(EALWAYSHADTOlNDTHECORRECT PATH (ANUSZKIEWICZAPPARENTLYHADNOHOLISTICIDEAOFTHElNALRESULTWHENHE STARTEDREHEARSALS(EONLYLETABASICSCENICCREATIONEXISTLOOKEDATITAND CONSIDEREDWHATITMEANT!SARESULTTHEPERFORMANCEWASLEADBYAPROCESS OFUNPREMEDITATEDDIRECTIONS -ANYPEOPLEWORKINGINTHECREATIVElELDHAVEMENTIONEDHOWTHEIRlRST VAGUEINTENTIONSDIFFERFROMTHElNALPRODUCT&OREXAMPLEMANYAUTHORS EXPLAINHOWTHEIRCHARACTERSSTARTTOLEADTHEIROWNLIVEREGARDLESSOFTHEORIG INALINTENTIONSOFTHEIRCREATOR4HECREATIVEPROCESSISCONCEIVEDOFASSOME THINGUNPREDICTABLEALMOSTHAVINGITSOWNWILLANDTHEARTISTFOLLOWSITS COURSERATHERTHANCONDUCTSIT)TISNOTONLYTHATABETTERSHAPEANDSTRUCTURE CANBEFOUNDTHROUGHTHEPROCESSBUTTHEWHOLEIDEAORCONTENTOFTHEWORK ALSODEVELOPSANDDEEPENS 4HISKINDOFANATTITUDEMEANSTHATANARTISTISNOTCONSCIOUSLYPRODUCING MEANINGFULFORMSASPROJECTIONSOFALREADYEXISTINGIDEAS3HEISRATHERCON FRONTEDWITHDIFFERENTIMAGESENTERINGHISHERAWARENESSEITHERFROMTHEOUT SIDEWORLDORFROMTHEINTERNALMEMORYANDIMAGINATION4HEIMAGESTHAT SEEMTOAWAKENTHEMOSTSIGNIlCANTRESPONSEAREDEVELOPEDFURTHERANDNEW ASSOCIATIONSAREGENERATEDOUTOFTHEM )THINKTHATTHISCONCEPTOFARTISTICWORKHASSOMESIMILARITIESTOWHAT-ER LEAU0ONTYWRITESABOUTTHERELATIONSHIPBETWEENSPEECHANDTHOUGHT /JFNFMj \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES )F SPEECH PRESUPPOSED THOUGHT IF TALKING WERE PRIMARILY A MATTER OF MEETING THE OBJECT THROUGH A COGNITIVE INTENTION OR THROUGH A REPRESENTATIONWECOULDNOTUNDERSTANDWHYTHOUGHTTENDSTOWARDS EXPRESSIONASTOWARDSITSCOMPLETIONWHYTHEMOSTFAMILIARTHINGAP PEARSINDETERMINATEASLONGASWEHAVENOTRECALLEDITSNAMEWHYTHE THINKINGSUBJECTISINAKINDOFIGNORANCEOFHISTHOUGHTSSOLONGAS HEHASNOTFORMULATEDTHEMFORHIMSELFOREVENSPOKENANDWRITTEN THEMASISSHOWNBYTHEEXAMPLEOFSOMANYWRITERSWHOBEGINABOOK WITHOUTKNOWINGEXACTLYWHATTHEYAREGOINGTOPUTINTOIT!THOUGHT LIMITEDTOEXISTINGFORITSELFINDEPENDENTLYOFTHECONSTRAINTSOFSPEECH ANDCOMMUNICATIONWOULDNOSOONERAPPEARTHANITWOULDSINKINTO THEUNCONSCIOUSWHICHMEANSTHATITWOULDNOTEXISTEVENFORITSELF )NOTHERWORDS4HEMENTALIDEASCANNOTEXISTWITHOUTCONCRETEFORMS THROUGHWHICHTHEYAPPEARTOTHEHUMANCONSCIOUSNESS7HENWETRYTO SAYSOMETHINGWEGRASPOUROWNIDEASONLYBYFORMULATINGTHEMTHROUGH LANGUAGE/URTHOUGHTISCOMPREHENSIBLEONLYINAPERCEIVABLEFORMBEIT AWORDANIMAGEORANOTHERSIGN)TISONLYTHROUGHTHISCONCRETEEXPRES SIONTHATYOUCANlNDTHECONTENTSOFYOURIDEAS/NTHEOTHERHANDTHE SIGNSEXISTBEFOREYOURSPEECHANDTHUSALWAYSCONTAINREADYMADEMEANINGS WHICHAREIMPLICATEDINYOURUTTERING )ASSUMETHISISWHAT(ANUSZKIEWICZMEANTWHENHEHIGHLIGHTEDTHEDANGER OFBEINGSTUCKINOVERLYOBVIOUSSIGNSYSTEMSWHICHHECALLEDhTRAFlCSIGNS WITHASTRAIGHTFORWARDEQUIVALENCETOTHEIRIDEASv(EWASLOOKINGFORA FRESHWAYOFSPEAKINGNOTYETDETERMINEDBYCONVENTIONS -ERLEAU0ONTYDISTINGUISHESBETWEEN@ANAUTHENTICSPEECHWHICHISEX PRESSEDWHENFORMULATEDFORTHElRSTTIMEANDSECONDORDEREXPRESSIONOUT OFWHICHOUTCOMMONPLACESPEECHISDERIVEDTHEhTHOUGHTALREADYCONSTI TUTEDANDEXPRESSEDWHICHWECANSILENTLYRECALLTOOURSELVESv4HEWORLD HASALREADYBEEN@SPOKENTOUSALTHOUGHWEARENOLONGERAWAREOFTHEPRO CESSESTHATHAVEGENERATEDTHELANGUAGE .FSMFBV1POUZ )TWASPOSSIBLEFOR(ANUSZKIEWICZTOCREATENEWSCENICSIGNSBYRECOGNIZING THEMAMONGTHEOCCASIONALmOWOFEVENTSANDWHIMSNOTBYCONSCIOUSLY INVENTINGTHEM4HATWASAMATTERFORCOLLECTIVEDISCUSSIONSATREHEARSALS BECAUSETHEMEANINGSOFASCENICSIGNCANBEUNDERSTOODBECAUSETHEYARE h3 T R I NDBER G v \ )BMUUVOFO 4BMPTBBSJ .FSMFBV1POUZ GPPUOPUF SHARED/URTHOUGHTISNOTAMATTERFOROURINSIDEMINDBUTPARTOFOURIN TERACTIONWITHOTHERPEOPLE4HATDOESNOTOFCOURSEMEANTHATWEWOULD NOTBEABLETOTHINKIFALONEBUTTHETOOLSOFTHINKINGARECONSTITUTEDINTHE COMMUNICATIVEINTERACTIONBETWEENLIVINGSUBJECTS (OWEVERTHEVOCABULARIESOFSCENOGRAPHYARENOTASDETERMINEDANDEASILY RECOGNIZEDASEVERYDAYLANGUAGE)N(ANUSZKIEWICZSMETHODNEWTHEATRICAL SIGNSCANBEINVENTEDONLYTHROUGHEXPERIMENTATION4OMAKEITVERYSIMPLE 9OUPUTANOBJECTONSTAGEANDASKYOURSELFWHETHERITCARRIESANYINTEREST INGMEANINGINTHATCONTEXT4HISISLIKEPUTTINGINPRACTICE%RIKA&ISCHER ,ICHTESSUGGESTIONTHATSCENICSIGNSAREDERIVEDFROMCULTURALSIGNS4HEOC CASIONALEVERYDAYOBJECTSANDEVENTSAREADAPTEDTOTHEATRICALUSEWHENEVER THEYSEEMTOMAKESENSEINTHEPERFORMANCECONTEXT 4HATISWHAT(ANUSZKIEWICZDIDANDTHATISWHERETHEPROBLEMWITHSCE NOGRAPHYBEGINS)FYOUPLANTHEPERFORMANCETOOCAREFULLYYOUAREINCLINED TOUSEOLDPATTERNSBECAUSEYOUTHINKOFTHESTAGEASASYSTEMWITHPREEXIST INGSIGNS!CCORDINGTO(ANUSZKIEWICZTHEWHOLEPERFORMANCEWASBOUNDTO KEEPCHANGINGANDTHEREWASNOPERMANENTCONTENTOUTSIDETHEUNPREDIC TABLEREHEARSINGPROCESS-OREOVERTHEPERFORMANCECOULDNOTBEREPEATED INEXACTLYTHESAMEWAY)NPRACTICEITMEANSTHATYOUCANNOTTELLINADVANCE WHATTHESTAGINGISGOINGTOBELIKE 4HEREINLIESTHEREASONFORTHEREPETITIVECOLLISIONSBETWEENTHEARTISTICDESIRE FOREXPERIMENTATIONANDTHEPRACTICALITIESTHATARENECESSITATEDBYCREATINGA PUBLICPERFORMANCE4HEMODELSOFPRODUCTIONWEREDESCRIBEDBY(ANUSZ KIEWICZACCORDINGTO3ALOSAARIINTHEFOLLOWINGWAY (ANUSZKIEWICZSAIDTHATTHEREWERETWOWAYSOFDOINGTHEATRE 4HElRSTONEISTOSTARTWITHAPLANMADEINADVANCE%VERYTHINGIS ANALYZEDTHEROLESTHEMOTIVESANDEVERYDETAILOFTHESCENOGRAPHIC WORLDISDESIGNED)TCANBEMADEBYATEAMORALONEBYSOMEGENIUS !LLTHISISCARRIEDOUTATANYPRICE 4HEOTHERWORKINGMETHODTHEONEEMPLOYEDBY(ANUSZKIEWICZIS TOKEEPTHEPERFORMANCECHANGINGANDDEVELOPINGDURINGTHEREHEARS ALSFORASLONGASPOSSIBLEANDLETTHEPROCESSTOLEADYOURWORK9OU KEEPREACTINGTOEVERYTHINGTHATCOMESTOYOURMIND4HUSYOUEND \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES UPINADOMAINNOTPURELYRATIONAL"UTYOUHAVETOKEEPTHEWHOLE ENTITYMEANINGFULINORDERTONOTBECONFUSING !CCORDINGTOMYEXPERIENCESTHISDUALISMOFMETHODOLOGICALATTITUDESIS AVERYCRUCIALISSUEINTHEPRACTICEOFSCENOGRAPHYEVENTODAY(OWEVER) DOUBTWHETHERTHEREHASEVERBEENANENSEMBLETHATWASCOMPLETELYFAITHFUL TOEITHERMETHODANDSUCCEEDEDINHAVINGAPERFORMANCE 2OUGHLYSPEAKINGTHEPRODUCTIONSYSTEMINMOSTPROFESSIONALTHEATERIS BASEDONACONCEPTTHE@ESSENCEOFTHESCENOGRAPHYEXISTSBEFORETHElRST REHEARSALSINTHEFORMOFSCALEDMAQUETTESANDDRAWINGSANDSOMETIMES THESEEVENINCLUDETHEACTORSPOSITIONS!LTHOUGH)AMDEEPLYCONVINCED THATYOUREALLYNEEDAMAQUETTEINORDERTOlGUREOUTTHECONSTRUCTIONOFA SPACETHEREISADANGERTHATTHEMINIATUREMODELOFTHESTAGEWILLBEUNDER STOODASTHE@REALAPPEARANCEOFTHESCENOGRAPHYTOBEREPLICATEDEXACTLYON STAGE,IVINGPERFORMANCEASTHEFOUNDATIONOFSCENOGRAPHYISTHUSFORGOT TEN!NDTHISATTITUDEISEXACTLYWHAT(ANUSZKIEWICZOPPOSEDBYHISMETHOD INh3TRINDBERGv)THINKHISCRITIQUEAGAINSTITISSTILLVALIDTODAY /NTHEOTHERHAND(ANUSZKIEWICZSPROCESSTHINKINGISOFTENREJECTEDBE CAUSEITCAUSESLEGITIMATEFRUSTRATIONAMONGTHOSEWHOARERESPONSIBLEFOR THEPRACTICALDELIVERYOFTHEOBJECTSNEEDEDASWELLASAMONGDESIGNERSTRY INGTOCARRYOUTELABORATEVISIONS)FYOUCANNOTANTICIPATETHEDIRECTIONOF APERFORMANCEYOUHARDLYDARETOSPENDMUCHMONEYTIMEANDWORKON BUILDINGASCENOGRAPHYTHATISLIKELYTOCHANGE4HISOFTENBLOCKSTHEPER SONALAMBITIONSOFDESIGNERS(ENCETHEPROCESSTHINKINGSELDOMlTSTOTHE INSTITUTIONALTHEATERWHERETHEPRODUCTIONSARETIGHTLYSCHEDULEDTHEARTISTIC STATUSOFINDIVIDUALSCENOGRAPHERSISRELATIVELYHIGHANDWHEREACERTAINPOL ISHINGISREQUIREDFROMTHEVISUALAPPEARANCEOFEVERYPERFORMANCE -ETHODSSIMILARTOTHATOF(ANUSZKIEWICZCANBEFOUNDINMUCHEXPERIMEN TALTHEATERATRADITIONWHICHSTARTEDINTHEMIDSh3TRINDBERGvDID NOTONLYGETANENTHUSIASTICRESPONSEAMONGCONTEMPORARYTHEATERARTISTS BUTITALSOHADANINmUENCEONMANYLATER&INNISHSTAGINGS(ANUSZKIE WICZSTHINKINGWASDIFFERENTTOMAINSTREAMTHEATERINBUTITWASNOT UNSEEN4HEGENERALCULTURALATMOSPHEREWASFAVORABLEFORNEWIDEAS%VEN IFMOSTACTORSPARTICIPATINGINh3TRINDBERGvCAMEFROMTHEATERSINSMALL TOWNSWHEREYOUDIDNOTEXPECTTOSEEEXPERIMENTALPERFORMANCESNONEOF h3 T R I NDBER G v \ 4BMPTBBSJ 4BMPTBBSJ 7VPMMFBOE /JFNFMj THEMFOUND(ANUSZKIEWICZSIDEASINCOMPREHENSIBLEBECAUSEOFTHEIRNEW NESS4HELEADINGACTORSCONlRMED )THINKTHATTHEPEOPLEWEREEXTREMELYINSPIRED4HEREWASAVERYBUSY ANDSTIMULATINGATMOSPHERE)HAVETHEMEMORYTHATEVERYMORNING WEWENTTHEREWITHENTHUSIASM !SAMATTEROFFACTPEOPLEWEREVERYAMENABLEANDACCUSTOMEDTONEW IDEASnYOUSEEDURINGTHEWHOLESTHEREHADBEENSUMMERCOURSES ATTHE5NIVERSITYTHEREWEREPLENTYOFTHEMx4HEATTITUDESWERE EXTREMELYOPENANDENTHUSIASTIC (ANUSZKIEWICZSREHEARSINGMETHODREMINDSMEOFTHEPROCESSOFCREATING SPEECHWITHOUTFORMULATINGTHEEXACTSENTENCESINADVANCEnASWEOFTENDO 4HESCENICVISIONSWERECREATEDDEVELOPEDANDABANDONEDINTHESAMEWAY INWHICHWESTUTTERMAKEERRORSREPEATCORRECTANDSPECIFYOURSPEECH&I NALLYVISIONSSHOULDCRYSTALLIZEWHICHSEEMTOGIVESHAPETOOURIMAGINED EXPERIENCES4HEVISIONCANBESEENASANEXPRESSIONOFIDEASWHICHWEJUST CONSIDERASTRUTHFULWITHOUTOTHEREXPLANATIONS)NTHATWAYTHEYREPRESENTA FUNDAMENTALWAYOFTHINKINGANDUNDERSTANDINGWHICHDIFFERSFROMCONCEP TUALIZINGSPEECH5LTIMATELYh3TRINDBERGvPERFORMEDTHEACTOFMAKING THEATERACCORDINGTOTHATMETHOD h3TRINDBERGvTYPIlESTHENEWSCENOGRAPHICIDEOLOGIESTHATEXISTEDIN&IN LANDDURINGTHESANDSWEPTTHEILLUSTRATIVECOULISSESAWAY)TMUSTBE STRESSEDHOWEVERTHATALTHOUGH(ANUSZKIEWICZDElNITELYCARRIEDOUTTHE AESTHETICSOFANEMPTYBLACKSTAGEHISSTAGINGSWEREPRAISEDFORTHEIRVISUALI TY4HESCENOGRAPHYWASBYNOMEANSNEGLECTEDALTHOUGHITWASPARTLYINTER NALIZEDINTOTHEACTORSWORK4HELIGHTNINGALSOPLAYEDANIMPORTANTROLE 7VPMMF /JFNFMj )Nh3TRINDBERGvTHEREWASAVISIBLESETCONSISTINGOFSCREENSFURNITUREAND OTHEROBJECTSBUTALONETHEYDIDNOTMAKEUPASCENOGRAPHY4HISWASBE CAUSETHERELEVANTSIGNIlCATIONSWEREONLYCREATEDTHROUGHTHEACTORSPER FORMANCES4HEAPPEARANCEOFTHEOBJECTSWASNOTDECISIVEBUTTHEWAYTHEY WEREUSEDWAS4HEACTORSALSOREPRESENTEDTHElCTIVESURROUNDINGSPACEOR INSIDEIMAGERIESTHROUGHTHEIRPHYSICALEXISTENCEANDGESTURING4HELIMITS OFSCENOGRAPHYmUCTUATEDANDTHEVISUALPERCEPTIONOFSPACEMERGEDWITHA HOLISTICEXPERIENCETHATINVOLVEDALLHUMANFACULTIES \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 8! -ISS*ULIE INTHE4URKU3WEDISH4HEATER " E T W E E N ! R T I S T I C ) N T E N T I O N S A N D ( A RD 2 E A L I T Y 4HESECOND-ISS*ULIESCENOGRAPHYINMYSTUDYWASMADEATTHE4URKU 3WEDISH4HEATERª34IN4HEPERFORMANCEWASTOURINGINTHESOUTH WESTERNCOASTANDARCHIPELAGOBUTITWASALSOSEENONTHEHOMESTAGE4HE SCENOGRAPHERWAS4OVE!HLBØCKWHOHADJUSTMOVEDTOª344HElRSTTIME) ASKEDHERWHETHERSHEREMEMBEREDANYTHINGABOUTDOING-ISS*ULIESHEAN SWEREDSPONTANEOUSLYh/HYESOFCOURSE)REMEMBERITBECAUSEITWASSUCH ACRAZYPRODUCTIONv !LTHOUGH-ISS*ULIEWASTHElRSTWORKBY4OVE!HLBØCKATª34SHEWASAL READYANEXPERIENCEDSCENOGRAPHER(AVINGADEGREEFROMBOTHTHE5NIVER SITYOF)NDUSTRIAL!RTSIN(ELSINKIANDFROMTHE9ALE5NIVERSITYINTHE53 SHEHADWORKEDFORSEVERALYEARSATTHE.ATIONAL4HEATREANDATTHE4AMPERE 7ORKERS4HEATREBEFORECOMINGTOª344HETASKOFSTAGING-ISS*ULIEHOW EVERPROVEDTOBEPROBLEMATIC3HEFOUNDITDIFlCULTTOGRASPTHEINTENTIONS OFTHEDIRECTORLETALONETOCREATEASCENICWORLDTHATCORRESPONDEDTOTHEM !HLBØCKHERSELFWASNOTSATISlEDWITHTHEPERFORMANCE 7HATINTERESTEDMEMOSTABOUTTHISPRODUCTIONWASANINCOMPATIBILITYBE TWEENARTISTICAMBITIONSANDTHESCENOGRAPHICPRACTICEDETERMINEDBYTECH NICALANDLOCALCIRCUMSTANCES4HISMADEMEASKASEEMINGLYSIMPLEQUES TION(OWISTHEARTISTICDESIGNCONNECTEDTOTHEPRACTICALREALIZATION(OW ARETHEIDEASMADEVISIBLEBYMEANSOFACONCRETESET4HISCHAPTERCANBE SEENASADIGRESSIONFROMMYTHEORETICALAPPROACHBUT)THINKITISJUSTIlED BECAUSEITHIGHLIGHTSTHECOMPLEXPRACTICALPROCESSTHATEXISTSBETWEENTHEIN TENDEDIMAGERIESANDTHOSERECEIVEDINTHElNALPERFORMANCE -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ -OSTOFTHEEVIDENCEFORTHISPERFORMANCECOMESFROM!HLBØCKANDTHEDI RECTOR!NNETTE!RLANDERPERSONALLY)HAVEINTERVIEWEDBOTHOFTHEMAND THEYALSOGAVEMEPHOTOGRAPHSSKETCHESANDNOTESFROMTHEREHEARSALS,IKE h3TRINDBERGvTHEEMPHASISINTHEDOCUMENTARYMATERIALISONTHECREATION PROCESSINSTEADOFTHElNISHEDPERFORMANCE)HAVEALSOFOCUSEDHEAVILYON THEDIRECTORSROLEBECAUSETWOCLEARLYSEPARATESCENOGRAPHICCONCEPTSEXISTED FORTHISPRODUCTIONTHATOF!LHBØCKANDTHATOF!RLANDERBOTHOFFERINGIN TERESTINGVIEWPOINTS !HLBØCKSSCENOGRAPHYFOR-ISS*ULIEWASASTYLIZEDVISIONOFTHE#OUNTS KITCHENENTWINEDWITHDECORATIVETREES%VERYTHINGONSTAGEWASPAINTED DARKREDASHADEWHICHWASDESCRIBEDTHEBLOODOFANOX4HEPURPOSE OFTHECOLORWASTOREPRESENTTHEACTOFKILLINGTHEBIRDWHICHACCORDINGTO THEANALYSISOFTHEDIRECTOR!RLANDERSYMBOLICALLYDESTROYED*ULIESABILITYTO ACHIEVECOHERENCEINHERPSYCHE ¸"QQFOEJYQSPWJEFTJMMVTUSBUJPOTBOENPSFDPNQMFUFEFTDSJQUJPOT !NOTHERBASICSCENOGRAPHICIDEAWASTHATTHEATMOSPHERECOULDBECHANGED FROMTHATOFTHEKITCHENTOAMAGICWOODBYMEANSOFLIGHTNING4HEmAT DECORATIVETREESSERVINGASTHEWALLSOFTHEKITCHENCOULDBELITFROMBEHIND INORDERTOCREATETHEILLUSIONOFTHEWOODS4HEIRSTRUCTUREWASPARTLYTRANS PARENTBECAUSETHEBRANCHESWERECUTOUTOFPLYWOODANDBETWEENTHEMWAS TULLE 4HETREESHOWEVERNEVERBECAME@IMMATERIALINTHEWAYINTENDEDBUT LOOKEDMOREORLESSLIKEPLYWOODANDTISSUE4HEREASONFORTHISWASDUETO BOTHTHETECHNICALCONSTRUCTIONOFTHETREESANDTHEINSUFlCIENTLIGHTEQUIP MENT4HESEFACTORSWEREFORTHEIRPARTDETERMINEDBYTHEREQUIREMENTSAND LIMITSOFTOURING !HLBØCKTOLDMEh%VENIFWEWANTEDTOHAVEQUITECONCRETECOULISSES)WAS LEFTWITHAFEELINGTHATSHE;!RLANDER=NEVERWANTEDTOGIVEHERlNALAPPROVAL TOTHESCENOGRAPHYv "IMCjDLC 4HEDIRECTOR!NNETTE!RLANDERWASTHENATHIRDYEARSTUDENTATTHE4HEATRE !CADEMY-ISS*ULIEWASHERlRSTPRODUCTIONSTAGEDATAPROFESSIONALTHEATER 3HEHADVERYAMBITIOUSIDEASABOUTSCENICIMAGESEMBODYINGARCHETYPESIN \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES THESPIRITOF*UNGIANPSYCHOANALYSIS3HEALSOWASDISAPPOINTEDWITHTHERE SULTS7HENRECALLINGTHEPRODUCTIONINMYINTERVIEWSHEKEPTREITERATING THATSHEWASVERYYOUNGANDINEXPERIENCEDWHENDOING-ISS*ULIE -YKNOWLEDGEABOUTSCENOGRAPHYANDWHATITCANACHIEVEWASSO MINIMAL)TALSOHADTODOWITHTHELIGHTINGEQUIPMENTINTHOSE DAYSx .OWFORGIVEME4OVEBUTTHESCENOGRAPHYWASQUITETERRIBLE)RE MEMBERTHAT)EXPERIENCEDITASTOOTRADITIONAL)TBECAMEMOREAN EPOCHPLAYTHANITWASMEANTTOBE3OMEHOWITHADTHECHARACTEROF PAINTEDSCENERIES )WANTEDTOCREATEAWORLDTHATWOULDNOTONLYEXISTINTHEKITCHEN 0ARADOXICALLYITWORKEDBESTWHENTHEREWASASLITTLEOFTHATWORLD ASPOSSIBLEANDWEWEREPERFORMINGTOPEOPLEINTHESMALLTOURING VENUES !LACKOFCOMMONUNDERSTANDINGBETWEENTHEDIRECTORANDSCENOGRAPHERIS ALWAYSPAINFULESPECIALLYWHENTHEVISUALWORLDSHOULDBEANESSENTIALPART OFTHEPERFORMANCEANDTHATWASTHECASEIN-ISS*ULIE4HECOOPERATIONBE TWEEN!HLBØCKAND!RLANDERDIDNOTWORKVERYWELLANDTWODISTINCTIM AGERIESDEVELOPED/NEWASBASEDONTHESETANDTHEOTHERWASCREATEDBY STAGEACTION ¸3FGFSUPUIFRVPUFTGSPNUIFJOUFSWJFXTXJUI"IMCjDLBOE"SMBOEFSJO"QQFOEJY 3INCE!HLBØCKDIDNOTGETACLEARIDEAFROMTHEDIRECTORSHEHADTOGENERATE ASTARTINGPOINTOFHEROWN3HEFOUNDEDTHISINASCENOGRAPHYSHEHADPRE VIOUSLYMADEFORQUITEADIFFERENTPLAY4HEPREMISEOFHERDESIGNWASTHUS MOREBASEDONVISUALIDEASLINKEDTOHERPERSONALARTISTICDEVELOPMENTTHAN ONAREADINGOF-ISS*ULIE 4HESOLUTIONWASDERIVEDFROMAPLAYCALLEDh0ITSIHOVIvWHICH) HADDONEBEFOREAT4HE7ORKERS4HEATRE&ORTHISPRODUCTION)HAD MADETWOTREESGROWFROMBOTHSIDESOVERTHEPROSCENIUMOPENING 3CENOGRAPHICSOLUTIONSMAYOFTENBEDEVELOPED9OUSTARTWITHONE "SMBOEFS -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ ;SCENOGRAPHY=lNDNICEMATERIALTHENYOUGOON;WITHANOTHER=AND ALTERNATEITTHERE *UDGINGBYTHEPHOTOSTHESCENERYWITHTHETREESWASBEAUTIFULBUTITDIDNOT CORRESPONDTOTHEIDEAS!RLANDERHADABOUT-ISS*ULIE)TISALSOPOSSIBLETHAT THEHISTORYOFTHEDESIGNBY!HLBØCKWITHITSROOTSINHERPREVIOUSWORKFOR 0ITSIHOVICONTRIBUTEDTOTHETRADITIONALAPPEARANCEOFTHESCENOGRAPHY!HL BØCKBROUGHTWITHHERTHEAESTHETICSSHEHADGROWNACCUSTOMEDTOATTHE 4AMPERE7ORKERS4HEATREWHERETHEDIRECTORSBELONGEDTOANOLDERGENERA TIONnATLEASTINTHEEYESOFTHEYOUNG!RLANDER !SCENOGRAPHYEXPERIENCEDASUNSUCCESSFULBYTHESCENICARTISTSTHEMSELVES DOESNOTSEEMTOOFFERTHEMOSTFRUITFULSTARTINGPOINTFORFURTHEREXAMINA TION/NTHEOTHERHANDTHEDISSATISFACTIONOF!HLBØCKAND!RLANDERLEGITI MATESACRITICALSTUDYABOUTTHEPREMISESANDMETHODSOFPRODUCINGTHEPER FORMANCE7HATWENTWRONG7HYDIDTHEVISIBLESTAGENOTCORRESPONDTO THEARTISTICINTENTIONS4HEREISNOREASONTOBLAMENEITHER!HLBØCKNOR!R LANDERFORANYKINDOFARTISTICINCOMPETENCEBECAUSEBOTHOFTHEMHAVEHAD REMARKABLECAREERSWITHIN&INNISHTHEATER /NELESSONTOBELEARNEDISTHEFACTTHATARTISTICIDEASCANONLYBECARRIEDOUT THROUGHTHEEXISTINGPRACTICALSYSTEMSOFTHEATER4HESESYSTEMSNOTONLYIN CLUDETHECARPENTRYWORKTHECOOPERATIONTHEAVAILABLETECHNICALSKILLSAND FACILITIESBUTTHETOURINGCONDITIONSANDLOCALAUDIENCESALSOMAKEUPTHE CONTEXTOFTHELIVINGPERFORMANCE!CCORDINGTOMYOWNEXPERIENCESASA SCENOGRAPHERTHISOBVIOUSFACTHASTOOOFTENBEENFORGOTTENSOMETIMESEVEN BYMYSELF4HATISWHY)THINKTHAT-ISS*ULIEATTHE4URKU3WEDISH4HEATERIS WORTHYOFCLOSEREXAMINATION )SUGGESTTHATTHEWORKINGMETHODATª34IGNOREDTHEPRACTICEOFCARRYING OUTTHESCENOGRAPHYASWELLASTHELOCALCONDITIONSOFTHEATER4HESCENOGRA PHYFOR-ISS*ULIEWASMADEFORABSTRACTCIRCUMSTANCESWHICHNEVEREXISTED "YLOCALCONDITIONS)DONOTONLYMEANTHEPHYSICALSTRUCTUREOFAPARTICU LARSTAGEBUTALSOTHEMENTALANDCULTURALHORIZONSINWHICHTHEPLAYISTOBE PERFORMED "IMCjDLC \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES !4/52).'-)33*5,)% 4HETOURINGCONDITIONSINTHEDISTRICTOFTHE4URKU3WEDISH4HEATERWERE ANYTHINGBUTGOOD4HEREGIONALVENUESWEREMOSTLYOLDCOMMUNITYHALLSOR SCHOOLSWITHNOADEQUATEBACKSTAGEROOMS!HLBØCKRECALLEDHOWTHETOUR INGSETSANDSPOTLIGHTSOFTENHADTOBECARRIEDTHROUGHLONGNARROWPASSAGES 4HESTAGEWINGSWEREFREQUENTLYBLOCKEDWITHALLKINDOFOLDJUNKANDITWAS HARDTOlNDPLACESFORSPOTLIGHTS 4HEACTINGAREAWASMOSTLYATINYPROSCENIUMSTAGEBUTTHEDIMENSIONSOF THESPACEVARIEDALOT!NAVERAGETOURINGSTAGEMEASUREDXMETERSAND WASRAISEDABOUTONEMETERABOVETHEmOORLEVEL4HESIGHTLINESTOSUCHSTAG ESWEREOFTENQUITEBADIFTHEAUDITORIUMWASNOTSLANTEDENOUGH4HISLIM ITEDTHEACTINGSPACEANDTHEAREAOFVISIBLESCENERY!NYTHINGTHATHAPPENED ONTHESTAGEmOORLEVELCOULDONLYBESEENBYTHESPECTATORSINTHElRSTFEW ROWSANDALLIMPORTANTDETAILSHADETOBEPLACEDABOVETHEHEIGHTOFTHE ACTORSWAISTS .OTONLYWASTHEDESIGNOFATOURINGSCENOGRAPHYDElNEDBYTHINGSTHATCAN NOTBEDONEBUTTHERESTRICTIONSWERENOTTHESAMEEVERYWHERE7HILEONE STAGEWASTOOWIDEANOTHERCOULDBETOONARROW4HETOURINGSETHADTOBE STRETCHEDANDSHRUNKACCORDINGTOLOCALREQUIREMENTS3OMETIMESTHESTAGE mOORNEEDEDACOVERSOMETIMESITWASNOTVISIBLEATALL-OREOVERSETTINGUP THESCENERYANDTHEEMPTYINGTHESTAGECOULDNOTTAKETOOMUCHTIME !HLBØCKSOLVEDTHE-ISS*ULIETOURINGSCENOGRAPHYCHALLENGESBYHAVINGlVE TWODIMENSIONALDECORATIVETREESWHICHCOULDBEINSTALLEDDIFFERENTLYINRE LATIONTOEACHOTHER4HETWOBIGGESTTREESCOULDBELEFTOUTONTHESMALLEST STAGES4HISARRANGEMENTALLOWEDADAPTATIONTOTHESIZEOFTHESTAGEANDALSO TOTHERELATIVEDIMENSIONSOFIT!LACKINDEPTHORWIDTHCOULDBEOVERCOME BYMAKINGTHETREESOVERLAPEACHOTHERINVARIOUSWAYS!HLBØCKALSODECIDED TOHAVETWODIFFERENTSTAGEmOORSONEMADEOFPAINTEDFABRICWASTAKENTO TOURN£SWHENNEEDEDWHILEANOTHERCHECKPATTERNEDONEMADEOUTOFHARD BOARDWASUSEDINTHEPERFORMANCESONHOMEVENUEINORDERTOFRAMETHE SCENERYONTHESTAGEWHICHWASFARTOOLARGE -ISS*ULIEWASTHElRSTSCENOGRAPHY!HLBØCKMADEATTHE4URKU3WEDISH 4HEATERSOSHEHADNOTYETANYEXPERIENCEOFTHELOCALTOURINGVENUES3HE -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ REMARKEDTHATHERJOBWASPRIMARILYTOlGUREOUTHOWTHESETCOULDBEMADE BIGGERANDSMALLER4HEACTORSANDTECHNICIANSTHENADAPTEDTHESETTOEACH STAGEWHENTHEYlRSTWENTTHERE!CCORDINGTOMYEXPERIENCESTHISWASCOM MONPRACTICEIN&INNISHREGIONALTHEATERS4HESCENOGRAPHERDIDNOTPARTICI PATEINTHETOURINGUNLESSTHEPREMIEREWASINTHEREGION3HEOFTENHAD ONLYSECONDHANDKNOWLEDGEFROMTHEMOSTDISTANTVENUESWHICHSHEPER HAPSNEVERHADSEENINREALITY #ONSEQUENTLYATOURINGSCENOGRAPHYHASTOBEDESIGNEDINPRACTICESOTHATIT lTSINTOANYPOSSIBLESTAGEWITHINTHEGIVENLIMITS4HECOMMONWAYTODO THISISTOCONCEALTHEPARTICULARCHARACTEROFTHETEMPORARYSTAGESBYCOVERING THEMWITHBLACKCURTAINS4HISMEANSACTUALLYHAVINGATRANSPORTABLEBLACK BOXTHAT@NEUTRALIZESTHEINAPPROPRIATELOCALFEATURESANDWITHINWHICHTHE SCENOGRAPHYCANBESETUPINARELATIVELYSIMILARWAY (OWEVERINTHEPERFORMANCETHESCENOGRAPHYISNOTRECEIVEDASAVISION EMERGINGOUTOFEMPTINESS)NSPITEOFALLEFFORTSLOCALVENUESCANONLYSEL DOMBECOMPLETELYTURNEDINTOBLACKBOXES4HEIRPARTICULARCHARACTERDOES NOTVANISHEASILYINSTEADTHEREISAVERYVISIBLECONSTRUCTIONOFADOUBLESET TINGlRSTTHELOCALHOUSEISCHANGEDINTOAPROVISORYTHEATERANDWITHINTHIS THElCTIVESPACEISSTAGED 4OURINGSCENOGRAPHIESARETHUSDESIGNEDSEPARATELYFROMTHECONCRETESPAC ESWHERETHEYARESEEN4HEPROBLEMHEREISTHATYOUCANNOTTAKEADVANTAGE OFTHEPARTICULARCHARACTEROFLOCALVENUESIFYOUDONOTKNOWTHEM4HELO CALSPACEOFTHELIVINGPERFORMANCEBECOMESANOBSTACLEFORTHEDESIGNA STRUCTURETOBEHIDDENANDNOTTHESTARTINGPOINTFORITASITSHOULDBETO MYMIND 4HEINCONSISTENCYOFTHETRANSPORTABLESETANDTHEPERMANENTVENUESAREAC TUALLYAPARTOFTHECHARACTEROFATOURINGPERFORMANCE9OUCANNOTTRANSPORT THESCENOGRAPHYASACOMPLETEDVISIONRATHERTHESPATIOVISUALARRANGEMENT HASTOBEADAPTEDTOTHECHANGINGCIRCUMSTANCES4HISGENERATESASENSEOF TEMPORALITYANDMOVABILITYWHICHCOULDANDSHOULDBECREATIVE!TOURING SCENOGRAPHYISCONTINUOUSLYBEINGSLIGHTLYRESTAGEDWHICHCONTRIBUTESTOA LIVINGRELATIONSHIPWITHTHEPERFORMANCESPACE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HEDIRECTOR!NNETTE!RLANDERREMARKEDTHATONEOFTHEBESTPERFORMANCES OF-ISS*ULIETOOKPLACEONATOURN£IN-ARIEHAMNWHERETHEVENUEWASA TINYROOMANDTHEYHADTOLEAVEMOSTOFTHESETOUT3HERECALLEDTHESCENE WHERE*ULIETRIESTOTEMPT+RISTINTOFOLLOWHERAND*EANTO3WITZERLAND /NTHE;HOME=STAGETHEREWASAHUGEDISTANCEWHEN*EANWITHHIS FACEINSHAVINGFOAMTRIESTOEAVESDROPONTHEWOMENINTHEOPPOSITE CORNER"UTTHEREATTHE"L»4EATERIN-ARIEHAMNTHEYHARDLYHAD ANYROOMFORWALKING)TWASSUPERTIGHTBUTITWASGOODFORTHE PERFORMANCE 7HAT)THINKHAPPENEDIN-ARIEHAMNWASTHATTHESMALLSIZEOFTHEVENUE WASSODOMINATINGTHATTHEYWEREFORCEDTOQUICKLYMODIFYTHEPERFORMANCE TOSUITTHELOCALSPACE4HISDYNAMICRELATIONSHIPTOTHESURROUNDINGSPACE GAVENEWLIFETOTHEACTINGTOO)TCONlRMSTHATAPERFORMANCECANNOTBESET UPINNOTHINGNESSBUTPARTOFITSENERGYISDERIVEDFROMTHELIVEDENVIRON MENT /NEMOREPARADOXWASTHATWHENTHEYWEREONTHEHOMESTAGEATª34 WHICHHADBETTERTECHNICALCONDITIONSITSEEMSTHATTHESCENOGRAPHYSUF FERED!HLBØCKRECALLEDTHATTHESCENOGRAPHYDESIGNEDTOlTINASPACEOFX METERSLOOKED@FORSAKENONTHEHOMESTAGEATª34WHICHWASALMOSTTWICE ASLARGEMEASURINGXMETERS 4HESTAGINGDIDNOTlTVERYWELLONTHEHOMESTAGEBECAUSEITWASMADEAC CORDINGTOTHEDEMANDSOFREGIONALCIRCUMSTANCES.ORDIDTHEENSEMBLE HAVETIMEORMONEYTOHAVETWOVERSIONSTHESECONDCORRESPONDINGTO THEDIMENSIONSOFTHELARGESTAGEORTAKINGADVANTAGEOFTHESPATIALCONTRA DICTION 3URPRISINGLYITOFTENISMOREDIFlCULTTOADAPTAPERFORMANCETOATOOLARGE STAGETHANTOATINYONE)TISNOTONLYAQUESTIONOFMAKINGTHESETWIDER)N PLAYSLIKE-ISS*ULIETHEPROXEMICSOFACTINGAREOFTENBASEDONANINTIMACY WHICHISBROKENIFTHEDISTANCESBETWEENACTORSARETOOGREAT /NTHEOTHERHANDIFTHECONCENTRATIONOFSCENOGRAPHYISRETAINEDAVAST EXTRANEOUSAREAREMAINSAROUNDTHESET4HISEXTRASPACEDOESNOTNECESSARILY DISTURBIFYOUCANIGNOREITORIFITPROVIDESTHEPERFORMANCEWITHSOMEIN -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ "SMBOEFS "IMCjDLB TERESTINGMEANING7HEN)IMAGINETHETOURINGSETONTHEBAROQUESTAGEOF ª34WITHTHEDECORATEDPROSCENIUMOPENINGANDROYALBOXES)DONOTTHINK THATTHEDISPARITYBETWEENTHESETANDTHEATMOSPHEREOFTHEBAROQUETHEATER COULDBEHIDDENNORTURNEDINTOAFRUITFULDIALOGUE 4HESCENOGRAPHYWASNOTONLYTOOSMALLBUTITWASALSOMADEFORAVERYDIF FERENTCONTEXT)TWASMEANTFORTOURINGPURPOSESWHERETHEAPPARENTTECH NICALRESTRICTIONSOFREGIONALVENUESSERVEDASAKINDOFANEXCUSEFORTHE SENSEOFPROVISORINESSANDFORANUNAVOIDABLECLUMSINESSOFILLUSION4HEAT MOSPHEREINREGIONALVENUESISOFTENTHATOFASMALLSCALESOCIALEVENT4HE BUILDINGSAREALSOUSEDFORLOCALAMATEURPERFORMANCESWHICHTHUSSERVEASA POINTOFCOMPARISONFORTHETOURINGPLAY 4OMYMINDACERTAINNAIVETYISPARTOFTHECHARMOFATOURINGPERFORMANCE UNABLETOBOASTTECHNICALBRILLIANCY(OWEVERWHENTHETOURINGSCENOGRA PHYDONEACCORDINGTOTHEHUMBLEREGIONALCIRCUMSTANCESWASSETUPONTHE LARGEBAROQUESTAGEOFAPROFESSIONALTHEATERITWASLIKECAMPINGINALIVING ROOM4HEBUILDINGANDTHEPERFORMATIVESITUATIONNOLONGERJUSTIlEDTHE TECHNICALSHORTAGESOFSCENOGRAPHY ¸3FGFSUPUIFJMMVTUSBUJPOPGUIFa45TUBHFJO"QQFOEJY 4HEª34VENUEISTHEOLDESTTHEATERBUILDINGIN&INLANDANDTHEREFORECAR RIESSIGNIlCANCEFORTHEWHOLEOF&INNISHTHEATERHISTORY4HESTYLEOFTHEBA ROQUESTAGEGIVESRISETOEXPECTATIONSOFVISUALGRANDEURWHICHCOULDNOTBE FULlLLEDNORDELIBERATELYOPPOSEDBYTHESCENOGRAPHYOF-ISS*ULIE 4HEQUESTIONWHICHARISESIS7HYDIDTHEYHAVESOMANYPERFORMANCESOF -ISS*ULIEONTHEHOMESTAGEIFITWASPRIMARILYMADEFORTOURINGPURPOSES !FTERALLTENPERFORMANCESOUTOFEIGHTEENTOOKPLACEATª34 4HEAPPARENTANSWERISTHATTHEMOSTRECEPTIVEAUDIENCEFOR-ISS*ULIEWAS IN4URKUANDNOTINTHEREGION4HENEXTLOGICALQUESTIONIS7HYDIDTHEY THENHAVETODO-ISS*ULIEASATOURINGPLAY!HLBØCKHEAVILYCRITICIZEDTHE CHOICE 4HEMOSTTERRIBLETHINGWASTHEDECISIONTOTOURTHEPLAYINDISTRICTS WHERETHEATERISUSEDFORSOCIALINTERACTIONMEETINGPEOPLEANDWHERE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES ACOMEDYFORALLTHEFAMILYWOULDHAVEBEENBEMOREAPPROPRIATE 4HEDURATIONOFTHEPLAYMUSTALSOHAVEFELTODDIN+EMI(OUTS KARIETCWHEREYOUHAVETOTRAVELALONGDISTANCETOGOTOTHETHEATER )TMUSTHAVEBEENHARDFORTHEACTORSWHENTHEAUDITORIUMSWHERE NOTlLLED !TTHATTIMEFORSOMEREASONORANOTHERTHEREWERESEVERALSUCH MISTAKENCHOICESWHICHCAUSEDQUITEIRRITATEDFEEDBACK!NDTHE FEEDBACKWASTHATTHEAUDIENCEDIDORDIDNOTCOMETOSEETHENEXT PLAY4HEYDONTNECESSARILYREACTATONCEBUTNOBODYCOMESTOSEETHE NEXTPERFORMANCE /NEREASONFORCHOOSING-ISS*ULIEASATOURINGPLAYWASNODOUBTPRACTICAL ITWASEASYTOTRANSPORTBECAUSEITREQUIREDONLYTHREEACTORSONESCENERY ANDNOSPECIALTECHNICALTRICKS(OWEVERTHEREARECERTAINLYOTHERPLAYSTHAT AREASEASYTOSTAGEANDCORRESPONDMORETOTHEEXPECTATIONSOFREGIONALAU DIENCES !HLBØCKMADEANACCURATEOBSERVATIONTHATMANYTOURINGPLAYSLIKE-ISS*U LIEWEREACTUALLYTYPICALSTUDIODRAMAS)WONDERWHETHERTHETOURINGACTIV ITYCOMPENSATEDFORTHELACKOFASTUDIOSTAGEWHICHWASLATERESTABLISHEDIN THEBUILDINGOFª34-ANYSTUDIOPLAYSAREARTISTICALLYAMBITIOUSSTAGINGS ANDSOWAS-ISS*ULIE ,IKESTUDIOPERFORMANCESTHETOURINGPLAYSWERETECHNICALLYMODESTWITH ONLYAFEWPERSONNELANDTHUSCHEAPERTOPRODUCE!POSSIBLEFAILUREINBOX OFlCESALESWASLESSFATALSINCETHECOSTSWERESMALLERANDEVENANARTISTICDI SASTERCOULDBEFORGOTTENMOREEASILYIFTHEPREMIEREWASINTHEREGIONASIT SOMETIMESWAS4HEPOSSIBILITYTODOSUCHPERFORMANCESISOFCOURSEVITAL FORTHEDEVELOPMENTOFTHEATER4HEYAREIMPORTANTNOTONLYFORACTORSBUT ALSOFORINTRODUCINGANDACCLIMATIZINGAUDIENCESTODIFFERENTKINDSOFTHEATER )TISALSOEASYTOSEETHEIMPORTANCEOFTHETOURINGACTIVITYFORTHEª34RE GIONASTHEONLY3WEDISHSPEAKINGTHEATERIN3OUTHWESTERN&INLAND!GREAT PARTOFITSAUDIENCELIVEDINTHECOUNTRYSIDEANDINTHEARCHIPELAGONECES SITATINGLONGANDCOMPLICATEDJOURNEYS4HETOURINGPERFORMANCESPROBABLY OFFEREDTHEMTHEONLYCONTACTTOPROFESSIONALTHEATER)TWASEXACTLYFORTHIS KINDOFAUDIENCESTHATTHEREGIONALTHEATERSYSTEMWASESTABLISHED/NTHE -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ "IMCjDLB OTHERHAND!HLBØCKREMARKEDTHATREACHINGTHISSTATUSWASNOTONLYAMAT TEROFTHEATERPOLITICSBUTTHATOFECONOMICALSURVIVAL 4HEMONEYGRANTED FORTOURINGACTIVITYWASNEEDEDINORDERTORUNTHETHEATER ª34WASONEOFTHEATERSSTRIVINGFORTHESTATUSOFREGIONALTHEATER!TTHE TIMEOF-ISS*ULIEINTHEAUTUMNOFITHADNOTYETBEENGRANTEDTHIS TITLEBUTTHEREWASALIVELYDEBATEGOINGONANDNAMESWERECOLLECTEDFORAN APPEAL4HEREVIEWEROF!AMULEHTIPOINTEDOUTTHISCONNECTION $URINGTHEMOSTHEATEDDEBATEABOUTTHESTATUSOFREGIONALTHEATER THElRSTPERFORMANCEPRIMARILYMEANTFORTOURINGPURPOSESHASBEEN PRODUCEDATª344HEYHAVEAIMEDHIGHWITH-ISS*ULIEBY3TRIND BERG)TISNEITHEREASYTOCARRYOUTNORTOUNDERSTAND )TISNECESSARYTONOTEHERETHATª34HADINFACTALONGTRADITIONOFTOURING 4HEREVIEWEROF!AMULEHTIMUSTHAVEMEANTTHAT-ISS*ULIEWASTHElRSTPLAY MADEINTHECONTEXTOFTHENEWREGIONALTHEATERSYSTEM#ONSIDERINGTHISSIT UATIONANDTHEFACTTHAT-ISS*ULIEWASMOSTLYPERFORMEDIN4URKUTHEQUES TIONARISESWHETHER-ISS*ULIEWASMAINLYADDRESSEDTOTHOSEEVALUATINGTHE ARTISTICLEVELOF&INNISHTHEATERS4OWHATEXTENTWASTHEPRODUCTIONOF-ISS *ULIEBURDENEDBYANAMBITIONOFSHOWINGTHEARTISTICCOMPETENCEOFª34AS ATOURINGTHEATER7ASITPRODUCEDASADEMONSTRATIONOFARTISTICABILITY )TISHARDTOSAYWHETHERTHATWASTHECASEATLEASTCONSCIOUSLYBUTTHEREIS ONETHINGTHAT)AMCERTAINOFTHEARTISTICLEADERSATª34CERTAINLYTRIEDTHEIR BESTTOFULlLLTHEQUALIlCATIONSNECESSARYFORAREGIONALTHEATER#HOOSING -ISS*ULIEPROBABLYCORRESPONDEDTOTHEVALUESTHEYCONCEIVEDASESSENTIALFOR GOODTOURINGTHEATER "IMCjDL)FS -OREOVERBY!NNETTE!RLANDERHADDIRECTEDONLYACOUPLEOFPLAYSAT THE3WEDISH3TUDENT4HEATERIN(ELSINKIANDAT4HEATER!CADEMY3HEWAS MAKINGHERDEBUTINAPROFESSIONALTHEATERWITH-ISS*ULIEWHICHWASALSOA DEMONSTRATIONOFHERARTISTICCOMPETENCE4HEWHOLEPRODUCTIONMUSTHAVE BEENLADENWITHANAWARENESSOFOUTWARDEXPECTATIONSANDOBSERVATION4HIS WASARGUABLYNOTAVERYFRUITFULSTARTINGPOINTFORCREATIVEWORK WJFXXBTDPO¹SNFE CZTFWFSBMOFXTQBQFS BSUJDMFT *UjSBOUB 7HENTHETHEATERMANAGER'EORGE-ALVIUSOFFERED!NNETTE!RLANDERPOSI TIONOFDIRECTORHEONLYGAVEHERACHOICEBETWEEN-ISS*ULIEAND4HE"ROKEN \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES *UGBY+LEIST4HISSHOWSTHATTHEMANAGEMENTHADALREADYDECIDEDTOSTAGE APPRECIATEDCLASSICALPLAYASTHETOURINGPRODUCTION4HISCORRESPONDSTO THE6OLKSTHEATERIDEOLOGYWHICHSTRESSESTHEEDUCATIONALROLEOFTHEATER4HE CHOICEOF-ISS*ULIEASAWELLKNOWNMASTERPIECEOFDRAMAHISTORYISTOSOME EXTENTBEYONDCRITICISMSINCETHEVALUEOFTHEPLAYISUNDISPUTABLEESPECIALLY INTHE3WEDISHSPEAKINGCONTEXT 4HECHOICEOFAYOUNGINEXPERIENCEDSTUDENTTODIRECT-ISS*ULIEWASCER TAINLYAMORERISKYVENTUREALTHOUGHITWASNOTUNHEARDOFINPROFESSIONAL THEATERSATTHATTIME,OOKEDATFROMANOTHERPOINTOFVIEWHIRINGAYOUNG DIRECTORFROMTHE4HEATRE!CADEMYMIGHTREINFORCETHEIMAGEOFª34ASA MODERNTHEATERKEEPINGUPWITHTHETIMES4HE4HEATER!CADEMYHASOFTEN BEENCONSIDEREDASTHESITEOFTHE&INNISHAVANTGARDE)TISLIKELYTHATTHOSE ATª34KNEWTHAT-ISS*ULIEWASGOINGTOBEDIFFERENTFROMTRADITIONALTHEATER ANDPROBABLYNOTABOXOFlCESUCCESSBUTTHEYCONSCIOUSLYTOOKTHECHANCE 4HEYSHOWEDACONSCIOUSDISREGARDFORECONOMICRISKSANDPREJUDICES /NTHEOTHERHANDITISINTERESTINGTHATTHETHEATEROFFEREDANINEXPERIENCED DIRECTORAJOBWHICHREQUIREDALOTOFPRACTICALKNOWLEDGEABOUTTHEPARTICU LARCIRCUMSTANCESATTHETHEATER)THINKITSHOWSANAPPRECIATIONFORTHEO RETICALTHINKINGACHIEVEDTHROUGHEDUCATIONWHICHMAYBECONNECTEDTOTHE EMPHASISONTHEPROFESSIONALISMOFTHETHEATER 4HEPRODUCTIONWASPERHAPSMOREAREPRESENTATIONOFACLASSICPLAYCON NECTEDTOARTISTICAMBITIONSTHANAPERFORMANCETHATWASREALLYADDRESSEDTO THEREGION7HATSEEMSTOHAVEBEENFORGOTTENWERETHEREGIONALANDPRACTI CALCONTEXTSINWHICHTHEPERFORMANCEWASMADEANDSEEN)TISALSOPOSSIBLE THATTHESELOCALCONTEXTSWERENOTVERYFAMILIARTOTHETHEATERMANAGER'EORG -ALVIUSWHOWASA2UMANIANBYBIRTH 4(%02!#4)#%/&#!229).'/543#%./'2!0()%3 )HAVEPROPOSEDABOVETHATTHEPERFORMANCEWASACTUALLYPUTTOGETHERINDE PENDENTLYOFTHEREGIONALCONTEXTINWHICHITWASPERFORMED4HESCENOGRA PHERCOULDNOTPERSONALLYENSURETHATHERSTAGINGSWOULDWORKINTHEVARIOUS LOCATIONSNORCOULDSHEFULLYUNDERSTANDTHERESTRICTIONS(ERDESIGNWAS DONEFORNOPARTICULARPLACE -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ 4HISWASNOTDETERMINEDBY!HLBØCKPERSONALPREFERENCESBUTBYTHETIME TABLINGTHATWASCOMMONPRACTICEIN&INNISHTHEATERSATTHATTIME(OW WOULDSHEHAVEBEENABLETOVISITTHEREGIONALVENUESBEFOREDESIGNING-ISS *ULIEWHENSHEWASWORKINGONTWOSETSANDCOSTUMEDESIGNSDURINGABUSY SCHEDULETHATAUTUMN!NDHOWCOULDSHEHAVEGONETOURINGWITH-ISS*ULIE WHENSHEHADTOSTARTIMMEDIATELYONTHENEXTSCENOGRAPHY #ONSEQUENTLYTHETECHNICALSTAFFHADARELATIVELYBIGRESPONSIBILITYFORCAR RYINGOUTTHELOCALVERSIONSOFTHESCENOGRAPHY)TWASTHEYWHOINREALITY DECIDEDWHEREEXACTLYTOPLACETHETREESANDWHERETOHAVETHESPOTLIGHTS (AVINGDONETHISFORYEARSTHEYHADGAINEDALOTOFEXPERIENCEABOUTTHEPAR TICULARRESTRICTIONSANDPOSSIBILITIESBUTTHEYOFTENLACKEDFURTHERAMBITION !HLBØCKDESCRIBEDHOWTOURINGLIGHTSUSEDTOBEMADEh4HESTAGEMANAGER TOOKACOUPLEOFLAMPSWITHHIMANDHEWOULDPUTANYPLAYTOGETHERUSING THEMv )FTHATATTITUDEISCOMPAREDTO!RLANDERSLIGHTNINGPLANSADEEPINCOMPAT IBILITYBETWEENHERARTISTICAMBITIONSANDWHATWASPRACTICALLYFEASIBLECAN BEOBSERVED)FHERPLANSHADBEENFOLLOWEDITWOULDHAVEREQUIREDALARGE AMOUNTOFLAMPSWHICHWOULDHAVENEEDEDTOBElXEDINVERYPRECISEPLAC ES4HETHEATERCERTAINLYDIDNOTPOSSESSTHATMANYSPOTLIGHTSTHEYCOULDNOT BEINSTALLEDINTHERIGHTPOSITIONSINLOCALVENUESANDlNALLYTHEREWOULD NEVERHAVEBEENENOUGHTIMETODOALLTHATWORKONTHETOURS !LTHOUGH!HLBØCKWASALREADYANEXPERIENCEDANDWELLTRAINEDSCENOGRAPHER ATTHATPOINTSHEWASUSEDTODIFFERENTWORKINGMETHODSANDATTITUDESFROM HERPREVIOUSPOST"YHEROWNADMITTANCESHEHADBEENSPOILTBYTHEWARM ANDCARINGATMOSPHEREAT4AMPERE7ORKERS4HEATREWHERETHEDIRECTORS WERESKILLEDINSCENOGRAPHYANDLIGHTNINGANDWHERETHETECHNICALSTAFFHAD ACOOPERATIVEATTITUDE )NTHE4URKU3WEDISH4HEATERTHESITUATIONWASDIFFERENT4HEDIRECTOROF -ISS*ULIEWASUNDERTAKINGHERlRSTSTAGINGINAPROFESSIONALTHEATER7ORKING WITHTHECARPENTERSWASDIFlCULTANDTHETECHNICIANRESPONSIBLEFORTHELIGHTS WASCOLORBLIND!HLBØCKREMEMBEREDTHATALTHOUGHTHETHEATERHADRECENTLY SUPPLIEDANEWLIGHTNINGBOARDFORTOURINGNOBODYCOULDREALLYUSEIT3HE RECALLEDTHEREHEARSALSWHENTHELIGHTSWEREMADE "IMCjDLC \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 7EHADSPENTALLEIGHTHOURSFEEDINGTHEDIFFERENTMOMENTSIN7HEN THEDAYCAMETOANENDANDTHELIGHTNINGBOARDRANOUTOFCAPACITY WEHADONLYCOMPLETEDTHELIGHTINGFORTHElRSTMINUTESOFTHEPLAY )DIDNOTUNDERSTANDANYTHINGANYMOREANDCOULDONLYSITTHEREAND STAREINTOTHEDISTANCE)WASSOUSEDTOTHESKILLEDTECHNICIANSANDTHE DIRECTORS!UVINENAND-AJANLAHTIATTHE7ORKERS4HEATRETHAT) WASNOTPREPAREDTOSOLVEOUTHOWTHELIGHTCOULDCOMETHROUGHTHE WRINKLEDTREESNORCOULD)lGHTFORANYHOLISTICVISION 4HECENTRALSCENOGRAPHICIDEAWASTOMAKETHETREESAPPEARTRANSPARENTBY MEANSOFLIGHT4HEDECORATIVEFORMSOFTHETREESWERECUTOUTOFPLYWOOD ANDTHEREWASTULLEGLUEDONTHEHOLESBETWEENTHEBRANCHES4HEIRCHARACTER SHOULDCHANGEBYMEANSOFALIGHTCOMINGFROMBACKTHETULLEISOPAQUEIN FRONTLIGHTBUTINBACKLIGHTITBECOMESTRANSPARENT (OWEVERTHISEFFECTCAUSEDPROBLEMS!CCORDINGTOTHEDIRECTOR!RLANDERTHE REASONSFORTHISWASDUETOTHESTRUCTUREOFTHETREESWHERETHESURFACEOFTHE TULLEBETWEENTHEBRANCHESWASTOOSMALLINRELATIONTOTHATOFTHEPLYWOOD )TISLIKELYTHATTHEYCOULDNOTHAVEBEENMUCHBIGGERSINCELARGERHOLESIN THETREESWOULDHAVEMADETHEMCOLLAPSE!HLBØCKREMARKEDTHATTHETREES WEREMADEOFVERYTHINPLYWOODBECAUSETHEYWEREWORKINGWITHALOWBUD GET4HEPRINCIPLEWAShLETSUSEWHATWEHAVEv4HEREWASPROBABLYALSOAN INTENTIONTOMAKETHETRANSPORTABLESETASLIGHTASPOSSIBLE !LTHOUGHTHEFAILUREWITHTHETREESSEEMSQUITEATRIVIALERRORMADEBYTHE TEAMADEEPERDIMENSIONCANBESEEN7HAT!RLANDERACTUALLYWANTEDWASA STAGETHATLOSTITSMATERIALITYANDOFFEREDDIRECTACCESSTOANINNERVISION4HE SCENICAPPARATUSTRANSMITTINGTHEARTISTICIDEASHADTOBECOMETRANSPARENT NOTONLYCONCRETELYBUTALSOINAWAYTHATENABLEDTHECONSTRUCTEDNATUREOF THEILLUSIONTOBEHIDDEN0ARADOXICALLYTHATFAILEDBECAUSETHEPRACTICALCON STRUCTIONSWERECONSIDEREDASUNIMPORTANTWHENGENERATINGTHEVISUALIDEAS 4HESCENICAPPARATUSnBYWHICH)MEANTHESCENOGRAPHICPRACTICEOFCON STRUCTINGTHESETnBECAMEPAINFULLYVISIBLEEXACTLYBECAUSEITWASIGNOREDAT THEPERFORMANCEPLANNINGPHASE4HEVISIONSWERENOTDESIGNEDINTERMSOF THEMATERIALPOSSIBILITIESWHICHARETHEMEANSBYWHICHTHEYMUSTBElNALLY REALIZED4OPUTITTHEORETICALLYTHEARTISTICWORKTOOKPLACEONTHELEVELOF ABSTRACTSIGNIlCATIONSRATHERTHANENGAGINGWITHANDCONSTRUCTINGCONCRETE -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ "IMCjDLB "SMBOEFS "IMCjDLC SIGNS4OPUTITINPRACTICALTERMSTHEYOUNGDIRECTORDIDNOTKNOWHOWTHE SETSWEREMADEBUTSTILLHADTHERESPONSIBILITYFORTHESCENICENTITY4HEVI SUALIMAGERYSHEWANTEDCOULDNOTBECARRIEDOUTWITHTHESKILLSANDTECHNOL OGYAVAILABLE )TISHOWEVERUNFAIRTOONLYBLAMETHEINEXPERIENCEOFTHEDIRECTOR4HE ª34PRODUCTIONSYSTEMFAVOREDADISTINCTIONBETWEENDESIGNANDREALIZATION 4HEPLANNINGANDEXECUTIONOFTHEPERFORMANCESWERENOTDEVELOPEDINPAR ALLELORINCOOPERATIONWITHEACHOTHERBUTASTWOSEPARATEPHASESOFWORK 4HECARPENTERSSAWTHEIRJOBASSIMPLYMAKINGTECHNICALCONSTRUCTIONSAND ALLARTISTICWORKWASTHEDOMAINOFTHESCENOGRAPHER4OVE!HLBØCKGAVEAN ILLUMINATINGEXAMPLEOFTHIS 4HEYTHOUGHTTHATTHEPAINTINGOFTHESETWASALWAYSTHEJOBOFTHE SCENOGRAPHER+ARI*UNNIKKALAWHOMADEASETFORAMUSICALTRAV ELEDFROM+UOPIOINORDERTOPAINTHISSETBLACKDURINGNIGHTS)SAID ITWASNOTAREASONABLEDEMAND)THENSAID@/KAY)LLPAINTTHE SETBUTYOUPAINTTHEBASEFORITUNLESSYOUHAVESOMETHINGELSETODO nTHEYHADBEENFORBIDDENTOHELPMEITWASSUPPOSEDTOBEAMAT TEROFPRINCIPLE!NDWHEN)HADWONTHISlGHTTHEYSTARTEDTOASK WHETHERTHEPAINTREALLYISABASEANDNOTTHElNALVISIBLESURFACE 7HENTHETECHNICALSTAFFADOPTSTHATKINDOFATTITUDEITMEANSTHATTHEYRE FUSETOHAVEANYTHINGTODOWITH@ARTISTICWORK4HEYTHINKOFTHEMSELVESAS ONLYWORKINGMENCARRYINGOUTWHATTHESCENOGRAPHERTELLSTHEMTODO) CANUNDERSTANDTHISKNOWINGHOWLOWTHEIRTHEATERSALARIESARECOMPAREDTO THEINDUSTRIALWAGESPAIDFORCORRESPONDINGJOBS)TISANATURALCONCLUSION TODOONLYWHATTHEYAREEXACTLYPAIDFORANDNOTHINGEXTRA(OWEVERTHIS LEADSTOEVERLASTINGNEGOTIATIONSASWHATCANBECOUNTEDASANARTISTICWORK ANDWHATISPURELYTECHNICALISUNCLEAR "IMCjDLC 4HESCENOGRAPHERUSUALLYBEGINSTHEDESIGNOFASETBYMAKINGASCALEMA QUETTEWHICHISPRESENTEDTOTHEWHOLEWORKINGTEAM7HENTHEDIRECTOR ANDTHETHEATERMANAGERHAVEACCEPTEDTHEMODELTHESCENOGRAPHERHASTO GIVETHECARPENTERSTHEINSTRUCTIONS4HECOMMONRULEHEREISTHATTHESCE NOGRAPHERSAYSHOWTHESETISSUPPOSEDTOLOOKANDTHECARPENTERSARERE SPONSIBLEFORlGURINGOUTITSCONSTRUCTION)TMAYSOUNDLIKEASIMPLEISSUE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES OFDIVIDINGTHEWORKBUTINPRACTICEYOUREALIZETHATTHETECHNICALANDARTISTIC SOLUTIONSAREINTERWOVENWITHEACHOTHER9OUNEEDTOKNOWTHECONSTRUC TIONOFANELEMENTINORDERTOlGUREOUTITSAPPEARANCEINDETAIL 4HESCENOGRAPHERCONSTANTLYNEGOTIATESHISHERARTISTICIDEASWITHTHERE QUIREMENTSOFSTAGEACTIONSANDTHEPRACTICALNECESSITIESOFCARPENTRY)FTHE TECHNICALSTAFFISEXCLUDEDFROMTHESENEGOTIATIONSTHESCENOGRAPHERHASTO BEVERYSKILLEDINCARPENTRYHIMSELFHERSELF4HATSKILLISNOTINCLUDEDINSCE NOGRAPHERTRAININGNORINTHEREQUIREMENTSOFTHEPROFESSION-OSTOFUS NEEDTHEHELPOFSTAGEMANAGERSANDCARPENTERS 4HETECHNICALSTAFFHASPRACTICALKNOWHOWUNAVAILABLEINANYBOOKS4HE SCENOGRAPHEROFTENHASTOINVENTNEWKINDOFSOLUTIONSWHICHCANNOTBE DONEUSINGCOMMONSKILLSANDKNOWLEDGEABOUTCARPENTRY)HAVEFREQUENTLY REALIZEDHOWMUCHGOODADVICEYOUCANGETFROMTECHNICALSTAFF(AVINGEX TENSIVEEXPERIENCEINSPECIALTHEATRICALTRICKSTHEYCANSUGGESTCONSTRUCTIONS THATMAKETHEARTISTICIDEASPOSSIBLE4HISISALSOTHEPOINTWHENTHEIRWORK STOPSBEINGABOUTTECHNICALREALIZATIONANDBECOMESAPARTOFTHECREATIVE ARTISTICPROCESS)TISEXACTLYTHISKINDOFCOOPERATIONTHATISBLOCKEDBYTHE STRICTDIVISIONBETWEENARTISTICANDTECHNICALJOBS 4 ( % ) $ % ! 3 4 / " % 3 4! ' % $ 4HEDIRECTOR!NNETTE!RLANDERWROTEINHERREHEARSALDIARYATANAPPARENTLY DESPERATEMOMENT 7HATISTHEPOINTOFSTAGINGAPLAYLIKE-ISS*ULIEONCEAGAIN7HAT CANITSAYTODAYTHATCOULDNOTBESAIDBETTERINANOTHERWAY)CAN GIVENOANSWERTOTHATANDYETITISSTILLMEWHOHASTOTRYTODIRECT THEPLAY !STATEMENTWITHRELEVANCEANDORIGINALITYISOFTENCONCEIVEDASTHEMOST IMPORTANTISSUEOFMODERNTHEATER!CLEARLYDElNEDREASONASTOWHYAPAR TICULARPLAYHASBEENPUTONANDWHATTHEARTISTSWANTTOSAYBYITMUSTEXIST 4HISKINDOFTHINKINGPLACESTHEDIRECTORSANALYSISATTHECOREOFTHEPROCESS BECAUSEITSERVESASTHECENTRALIDEATOBESUPPORTEDANDEXPRESSEDBYALLTHE ATRICALMEANSINCLUDINGSCENOGRAPHY -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ "SMBOEFS !CCORDINGTO!RNOLD!RONSONONEELEMENTARYFEATUREOFMODERNSCENOGRA PHYISTHEEMBODIMENTOFhAFUNDAMENTALCONCEPTOFMETAPHOROFTHEPRO DUCTIONTHROUGHTHEUSEOFASINGLEORUNITSETORTHEUSEOFTRANSCENDENT MOTIFSv)TFUNCTIONShNOTASAREPRESENTATIONOFTHEWORLDBUTASAMETAPHOR FORSOMETHINGOTHERv)TISVITALFORTHESCENOGRAPHERTOGRASPTHEPRODUC TIONS@BIGIDEAANDTOGENERATEASPATIOVISUALEQUIVALENTFORIT 7ECANBEINNODOUBTABOUT!RLANDERSPROFOUNDCOMMITMENTTO-ISS*U LIE!SASTUDENTSHETRIEDTOFOLLOWTHEMETHODSSHEHADBEENTAUGHTATTHE 4HEATRE!CADEMY3HESHOWEDMEAHUGEHEAPOFPAPERSWHERESHEHADDI SCUSSEDTHEINTERPRETATIONANDSTRUCTUREOFTHEPLAYlGUREDOUTTHETHOUGHTS OFTHECHARACTERSANDSEARCHEDFORSTIMULIANDIMPULSESINDIFFERENTREADINGS 3HEHADALSODRAWNALLTHESCENESLIKESIMPLECARTOONSDURINGTHEREHEARSALS ANDTRIEDTOCONSTRUCT@CURVESOFINTENSITYAMETHODHERSUPERVISORTHETHEA TERMANAGER'EORG-ALVIUSHADINTRODUCEDTOHER7HEN)WASWITHHER !RLANDERLOOKEDATALLTHENOTESANDSIGHEDh(OWCOULD)EVERHAVEUNDER STOODTHESEv ¸-PPLBUUIFESBXJOHTGSPNSFIFBSTBMTCZ"SMBOEFSJO"QQFOEJY #'*UNGSPSYCHOANALYTICALTHEORIESWERETHEBASISFORHER@BIGIDEAFOR-ISS *ULIE!CCORDINGTO*UNGTHERUPTUREBETWEENTHECONSCIOUSMINDANDUN CONSCIOUSNESSISTHEREASONFORTHEDESTRUCTIVITYOF7ESTERNCULTURE 4HEBASICIDEAFORTHESCENOGRAPHYWASANOVERLAPPINGOFTWOSPACESTHAT OFTHEREALISTICKITCHENANDTHATOFAMYSTICALWOODWHICHREFERREDTONA TUREUNCONSCIOUSNESSANDSEXUALITY)TCANBESEENASASTATEMENTABOUTTHE SIMULTANEOUSANDENTWINEDEXISTENCEOFRATIONALEVERYDAYLIFEANDTHEMORE TRANSCENDENTALUNCONSCIOUSDIMENSIONTOLIFE4HEYCANBEHIGHLIGHTEDBY DIFFERENTLIGHTNINGBUTTHEYDONOTEXISTSEPARATELY4HEREVEALINGCAPABILITY OFLIGHTCANBESEENASEQUIVALENTTOTHEDIRECTORSGAZEPENETRATINGINTOTHE DEEPERTRUTHSBENEATHTHEAPPARENTSURFACE "SPOTPO¬ !RLANDERINTERPRETEDTHETRAGEDYOF*ULIEASACONSEQUENCEOFHERINABILITYTO ACHIEVETHE*UNGIANTRANSCENDENCETHECOMMUNIONWITHHERUNCONSCIOUS NESS"LOCKINGTHETRANSCENDENTALFUNCTIONOFHERPSYCHEWASSYMBOLIZEDBY HERBIRDSMURDERTHEBLOODOFWHICHBECAMETHELEADINGVISUALMETAPHOR "SMBOEFS \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES ONTHESET%VERYTHINGWASPAINTEDDARKREDASHADEWHICHWASDESCRIBEDAS @THEBLOODOFANOX 4HEREDCOLORSYMBOLIZEDTHAT*ULIECOULDONLYREALIZEHERTRUESEXUALBEING INTHEBLOODYCONNECTIONTOHEROWNDEATH$URINGTHEREHEARSINGPERIOD !RLANDERHADWRITTENINHERNOTEBOOK 7HYDOESSHEHAVETODIE"ECAUSESHEHASNOOTHEROPPORTUNITYTHAT WOULDALLOWHERTOEXPERIENCEARELATIONSHIPWITHREALITYORNATURETO FEELCOMMUNIONORMEANINGFULTOGETHERNESS -ORETHANANYTHINGELSETHEPLAYISABOUTTHEDEATHSTRUGGLE4OAN NIHILATEONESELFINSTEADOFLETTINGONESELFBEANNIHILATEDTOFREEONESELF THROUGHDEATHWHENNOOTHERFREEDOMISPOSSIBLE 3INCE*ULIEDOESNOTlNDAWAYTOREALIZEHERSEXUALITYONHEROWNTERMSSHE ENDSUPCOMMITTINGSUICIDERATHERTHANCONTINUINGWITHANUNSATISFACTORY LIFE(ERTRAGEDYISTHATINORDERTOLIVETHROUGHHERSEXUALITYSHEHASTODIE !RLANDERSANALYSISOFTHEPLAYCANBEUNDERSTOODASAYOUNGWOMANSSEARCH FORHEREROTICIDENTITYANDFRUSTRATIONATTHEREPRESSIONTHATPREVENTSHER FROMDElNINGHEROWNSEXUALITY )THINKTHATINSPITEOFITSSTYLIZEDAPPEARANCETHESCENOGRAPHYCANBE LINKEDTOANATURALISTNOTIONOFTHESTAGEANENVIRONMENTTHATGIVESIN FORMATIONABOUTTHEPROTAGONISTSLIFE5SUALLYATRADITIONALSETINTHISSTYLE CONTAINSREALISTICOBJECTSTHATREVEALDETAILSABOUTACHARACTERSPASTHOWEVER THISSETREPRESENTEDTHEUNCONSCIOUSCONDITIONOFHERPSYCHEWHOSEORIGINS AREFOUNDINTHESTRUCTURESOFHUMANMIND)NTHISINSTANCEITWASAUNIVER SALINNERIMAGERYTHATWASSUPPOSEDTOENHANCECOMPREHENSIONOFTHEPLAYS EVENTS &EMINISTTENDENCIESWEREIMPLIEDINTHEPERFORMANCEPROGRAMTHEPRIVATE NOTESMADEBY!RLANDERANDINSOMEREVIEWS*ULIESSUICIDEWASREPRESENTED THEREASAPROTESTAGAINSTAMALECULTURETHATSEESAWOMANSSEXUALBEINGASA DANGEROUSCOMBINATIONOFTHEWHOREANDTHE-ADONNALEAVINGNOROOMFOR THEINTERNALEXPERIENCEOFFEMALEEROTICAANDTHUSJUSTIFYINGHERSYMBOLIC ANDACTUALDEATH "SMBOEFS -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ (OWEVERTODAY!RLANDERREJECTSTHESUGGESTIONTHATSHEHADANINTENTIONAL FEMINISTICAGENDA )DONTTHINKTHEPERFORMANCEHADTHOSETENDENCIES-AYBEITIMPLIED SOMEKINDOFSEXUALFREEDOM)NHINDSIGHTYOUCOULDSAYTHATITWASA PROOFOFMYSEXUALREPRESSIONASATEENAGERx )WASTERRIBLYYOUNG)THINK)WASINTERESTEDINTHELINKBETWEEN SEXUALITYANDDEATHx)TOOKANINTERESTINTHESEXUALPOWERSTRUGGLE )REMEMBERMYTRAINOFTHOUGHTABOUTSELFDESTRUCTION*ULIEISNOTA VICTIMBUTHASCONSCIOUSLYKILLEDHERSELFxITISASICKREADINGOFTHE TEXTBUTITWASTHEPOINT)WASMAKING!LLTHISFEMINISTEMPHASIS WASCOMPULSORYSTUFFFORMEBECAUSE-ISS*ULIECANNOTBECREATED WITHOUTIT)THASBEENWRITTENASAREACTIONTOFEMINISM !RLANDERSINTERPRETATIONWASNOTFEMINISTINTHESENSETHATITSTRESSEDTHESO CIALSUBORDINATIONOFWOMEN2ATHERSHEAIMEDATREVEALINGTHEDEEPPSY CHOLOGYOFTHEREJECTIONOFFEMALESEXUALITY-ISS*ULIEWASSEENASANALLEGORY FORTHEMENTALCONDITIONOFCONTEMPORARYHUMANBEINGSWHOHAVELOSTTHEIR CONTACTWITHNATURETHEIROWNSEXUALBODIESUNCONSCIOUSNESSANDDEATH *ULIESTRAGEDYWASTHATDEATHPROVIDEDTHEONLYWAYFORHERTOFUSEWITHNA TURE)FTHEREWASASOCIALCRITIQUEITWASAIMEDATALACKOFSPIRITUALITYINOUR CULTURE 4RACESOF%ASTERNPHILOSOPHIESWHICHWEREFASHIONABLEINTHESANDS WEREPRESENTn!RLANDERHADTRAVELEDIN)NDIADURINGTHISPERIOD!NINTER ESTINTHEPSYCHOLOGYOFTHEHUMANMINDWASALSOAGENERALPHENOMENON AMONGTHEYOUNGERGENERATIONWHOOPPOSEDTHEPOLITICALLYENGAGEDTHEATER OFTHESANDS "SMBOEFS 4UFJOCPDL )FYOUAPPLYTHESEPSYCHOANALYTICALIDEASTOSTAGEPRACTICEYOUCOMETOTHINK OFTHETHEATRICALPERFORMANCEASARITETOBELIVEDTHROUGH)TISNOTSOMUCH ASTORYTOLDABOUTlCTIVEPEOPLEBUTANEVENTTHATINCARNATESTHEINVISIBLE UNKNOWNASPECTSOFPSYCHE4HISHARKSBACKTOTHEIDEASOF!RTAUDWHOWAS ASUBJECTOFCOMMONINTERESTINTHEBEGINNINGOFS!NEDITIONOFHIS WRITINGWASTRANSLATEDINTO&INNISHINWITHANESSAYBY$AN3TEINBOCK DISCUSSINGTHEIMPORTANCEOFNONVERBALLANGUAGESANDVISUALIMAGERIESIN THEATER \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HESTAGESHOULDNOTREPRESENTSOMETHINGELSEBUTBEAREALITYONITSOWN CORRESPONDINGTOANINTERNALEXPERIENCEOF@TRUTHnITISPROBABLYNOCOIN CIDENCETHAT!RLANDERLATERMOVEDINTOPERFORMANCEARTWHEREVISUALITYWAS GIVENANEWEMPHASISREPLACINGTHEDOMINANCEOFSPOKENWORD 3%%).').4/4(%5.#/.3#)/53 4HESUBJECTOF!RLANDERSPSYCHOANALYTICALINVESTIGATIONWASNOTSOMUCHTHE CHARACTEROF*ULIENORTHEAUTHORASANINVISIBLEPUPPETEERBUTTHEUNIVERSAL CONSTITUTIONOFTHEHUMANPSYCHE"ESIDESBEINGPROTAGONISTSINAPLAYTHE STAGElGURESREPRESENTEDUNIVERSALUNCONSCIOUSDIMENSIONSOFTHEHUMAN MINDnINTERMSOF*UNGIANPSYCHOANALYSISTHEYWEREARCHETYPES !RLANDERWANTEDTOSHOWAMORE@TRUELEVELOFEXISTENCE4HESCENICIMAGE RIESSHOULDNOTJUSTREPRESENTAKITCHENBUTAMETAPHYSICALNATURECONCEALED UNDERTHESURFACEOFEVERYDAYNESS)TWASASCENERYlLLEDWITHILLUSIONSTHAT LETTHESPECTATOROBSERVEUNIVERSALPSYCHICSTRUCTURESASTHEYWEREUNDERSTOOD OUTIN*UNGSTHEORIES *UNGPROPOSEDTHATALLHUMANBEINGSSHAREANARCHAICLEVELOFMINDACOLLEC TIVEUNCONSCIOUSNESSFROMWHERETHESOCALLEDARCHETYPALIMAGESCOME4HEY MANIFESTTHEMSELVESINDREAMSARTRELIGIOUSRITUALSANDLEGENDSREPEATING SAMEKINDOFPATTERNSALLOVERTHEWORLD4HEORIGINSOFARCHETYPESAREINEARLY MENTALEVOLUTIONWHERECERTAINMEANINGFULEXPERIENCESHAVEKEPTREOCCUR RING4HISMAKESTHEARCHETYPESUNIVERSALFORALLMANKINDnANDPERHAPSEVEN FORANIMALS )NTHECONTEXTOF-ISS*ULIETHEMOSTINTERESTING*UNGIANARCHETYPEISTHE FEMININEPRINCIPLEEXISTINGINTHEMALEUNCONSCIOUSNESSCALLEDAS!NIMA 4HE!NIMAISAN@INNERWOMANAPERSONIlCATIONOFALLFEMININEPSYCHOLOGI CALTENDENCIESLIKEVAGUEEMOTIONSANDFEELINGSDIVINATIONSANDPREDICTIONS IRRATIONALITYCAPABILITYOFPERSONALLOVEASENSITIVITYFORNATUREANDACONTACT TOTHEUNCONSCIOUSNESS!GOODRELATIONSHIPWITHTHE!NIMASERVESFORIN STANCEASTHESOURCEOFTHEMALESARTISTICCREATIVITYORASAPROTECTIVESPIRIT REVEALINGSUBCONSCIOUSKNOWLEDGE7HENREJECTEDTHE!NIMACANBECOME ADESTRUCTIVEFORCEWHICHISOBSERVEDINTHEARCHETYPESOF@BADWOMENLIKE WITCHESFEMMEFATALESETC -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ +VOH¬ ¬ WPO'SBO[ *UNGPAIDATTENTIONTOSYMBOLSTHEVISUALMANIFESTATIONSOFARCHETYPES! SYMBOLINTHE*UNGIANSENSEISANIMAGETHATCARRIESANUNCONSCIOUSSIGNIF ICATIONTHATISBEYONDTHERATIONALCONCEPTSARTICULATEDINNORMALLANGUAGE 4HEYCANNEVERBECOMPLETELYDElNEDOREXPLAINEDBUTWECANACCESSTHE CONTENTSOFOURUNCONSCIOUSNESSBYMEANSOFA*UNGIANSYMBOLnTHISCOME CLOSETOTHEPOETICIMAGESBY"ACHELARD !RLANDERSVISUALMODELFORTHESTAGINGWASTHEARTOF%DWARD-UNCHACON TEMPORARYOF3TRINDBERG"OTHOFTHEMAREFAMOUSFORTHEIRCOMPLICATED RELATIONSHIPSWITHWOMEN4HEWORKSOF-UNCHASWELLASTHOSEOF3TRIND BERGDEALWITHMALEJEALOUSYANDSEXUALANXIETY(EPAINTEDHISFEMALEMOD ELSWITHANAGGRESSIVEEXPRESSIVITYTHATWASALMOSTVIOLENT &ROMAFEMINISTPERSPECTIVETHEPAINTINGSOF-UNCHCANBESEENASEXPRES SIONOFHISFRUSTRATIONATNOTBEINGABLETOCONTROLANDPOSSESSAWOMANASAN OBJECTOFHISDESIRE!PPLYINGA*UNGIANANALYSISTHEYAPPEARASREPRESENTA TIONSOFTHEDESTRUCTIVEASPECTSOF!NIMA4HEYDONOTPORTRAYLIVINGWOMEN BUTFEMALElGURESPROJECTEDBYTHEMALEMIND7HATMAKESADIFFERENCEIN THEATERISTHEPRESENCEOF*ULIEASANEMBODIEDFEMALEPERSONINSTEADOFAlG UREPAINTEDONACANVAS4HESIMILARITYOFTHELIVINGACTRESSTOTHElGURESBY -UNCHSUGGESTSAWOMAN@TRAPPEDWITHINTHEVISUALREPRESENTATION4HEREIS THESUGGESTIONTHATAWOMANONLYEXISTSTHROUGHTHECULTURALMODELSCREATED BYTHEMALEMINDWHICHEXPERIENCESFEMALESEXUALITYASDANGEROUS !RLANDERSHOWEDMETHEPICTURESINTHEPROGRAMASEXAMPLESOFWHATSHE WANTEDTHEPERFORMANCETOLOOKLIKEh,OOKTHISISTHEVISUALWORLD)WOULD HAVEWANTEDTHISKINDOFTIMELESSMANANDWOMANSTUFFv +VOH 4HEREWASASEXUALLYSUGGESTIVEPHOTOWHERE*EANWASSTANDINGRIGHTBEHIND *ULIE4HEYWERESOCLOSETOEACHOTHERTHATTHEYWEREACTUALLYMERGINGINTO ONElGURE"ECAUSEOFASOFTLIGHTFROMTHESIDEONLYHALFOFTHEIRFACESWERE SEENANDTHEEDGESOFTHEPHOTOAREFADEDANDSOFTENED!PPLYINGTHE*UNG IANIDEASOFPSYCHICINTEGRITYTHISPHOTOCOULDBEINTERPRETEDASAUNIlCATION OFOPPOSITEPRINCIPLESMALEANDFEMALEMINDANDBODYCULTUREANDNATURE nAUNIlCATIONIMPOSSIBLEFOR*ULIE #BDIFMBSE YJ¬YY ¸3FGFSUPUIFQIPUPJO"QQFOEJY "SMBOEFS \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES !NOTHERPHOTOALSOSHOWED*ULIEINAVERYEROTICWAYBENDINGOVERABURN INGCANDLEWEARINGONLYUNDERWEARANDWITHHERHAIRHANGINGLOOSE4HERE WASACERTAINAMBIGUITYABOUTHERBEING(ERFACELOOKEDGENTLEANDINNO CENTBUTHERGESTURESUGGESTEDPHYSICALTENSION(ERCONCENTRATEDFOCUSON THEmAMESUGGESTEDASHAMANICTRANCELIKESTATE(ERHANDSWEREPLACEDON BOTHSIDESOFTHECANDLE9OUCOULDNOTSAYWHETHERSHEWASPROTECTINGTHE mAMEORIFWASSHEGOINGTOPUSHHERHANDSINTOIT)THINKTHATTHEPICTURE EMBODIESTHEFEMALEARCHETYPECOMBININGTHEIMAGEOFAPROTECTIVEMOTHER ANDTHATOFADEMONICWITCHWITHACCESSTOSECRETPOWERS ¸3FGFSUPUIFQIPUPJO"QQFOEJY 4HEHISTORYOFPAINTINGSHOWSUSTHATACANDLECANBEINTERPRETEDASASIGN FORMANYTHINGS)TMAYSTANDFORANINNERSPIRITUALLIGHTFORKNOWLEDGEORA NEWIDEAFOREXAMPLEINCARTOONSACANDLEORMORECOMMONLYALIGHTBULB ABOVEAlGURESHEADREPRESENTSTHEMOMENTOFINVENTINGSOMETHING)NTHE #HRISTIANRELIGIONITSYMBOLIZESDIVINITYINTHE*UNGIANCONTEXTITCOULDREFER TOANENLIGHTENINGACHIEVEDTHOUGHTHEINDIVIDUATIONPROCESS)NONEREVIEW OF-ISS*ULIETHECANDLEWASREADASAFALLOSSYMBOLWHICHNEVEROCCURREDTO ME&ORANAUDIENCEMATUREINAGECOMINGFROMREMOTEISLANDSWHERETHE ELECTRICITYHADBEENINSTALLEDONLYRECENTLYACANDLEMAYREFERTOTHEINSUFl CIENCYOFLIGHTDURINGTHEDARKNIGHTSINAUTUMN!LOGICALLYMINDEDSPECTA TORMIGHTALSOASKWHATDOYOUACTUALLYDOWITHACANDLEINTHELIGHTMID SUMMERNIGHT 4HATISOFCOURSENOTTOSAYTHATTHEVISUALSIGNIlCATIONSSHOULDBEUNAM BIGUOUSANDEASYTODECODE/NTHECONTRARY)THINKTHATTHEIRPOWEROFTEN ARISESFROMADYNAMICMOVEMENTBETWEENDIFFERENTMEANINGS4HEMAGI CALPOWEROFANIMAGEISDERIVEDFROMITSBALANCEBETWEENTHEKNOWNAND UNKNOWN)TSERVESASABRIDGECOMMUNICATINGBETWEENCONSCIOUSNESSAND UNCONSCIOUS)FWECANEXPLAINTHEIMAGETOOEASILYITREMAINSASIMPLESIGN WITHOUTSYMBOLICPOWERINTHE*UNGIANSENSE4HATSWHATHAPPENSIFWE THINKOFTHECANDLESIMPLYASATOOLOFILLUMINATION/NTHEOTHERHANDIF WEDONOTUNDERSTANDANYTHINGABOUTITITCANNOTLEADUSTOTHEUNCON SCIOUSNESSSINCETHEREISNOCONNECTIONPOINTINOURMINDS4HEREMUSTBE SOMEUNDERSTANDABLEELEMENTSWHICHSERVEASGATESTOTHEUNKNOWNREGION +BOTTPO -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ 4HEPROBLEMHEREISTHATTHEBOUNDARYBETWEENKNOWNANDUNKNOWNISNOT CONSTANT!NARCHETYPALSYMBOLMAYLOSESOMETHINGOFITSPOWERWHENBEING TOOFAMILIARANDEASYTOINTERPRET0EOPLELIVINGINDISTINCTCULTURESMAYALSO HIDEDIFFERENTKINDOFKNOWLEDGEINTHEIRUNCONSCIOUSNESS4HERECEPTIONOF APERFORMANCEUSINGSYMBOLSISESPECIALLYDEPENDENTONITSCONTEXT 4HEPSYCHOANALYTICALVIEWPOINTALSOGIVESTHEPERFORMANCEAKINDOFTHERA PEUTICASPECT4HERECOGNITIONOFARCHETYPESSHOULDCONTRIBUTETOANINCREAS INGUNDERSTANDINGOFONESELF)NORDERTOlNDTHESYMBOLSMEANINGFULAND DYNAMICTHESPECTATORSHOULDALSOSHARETHEPSYCHOLOGICALDILEMMASCON NECTEDTOTHEMINORDERTOBEANINSIDEMEMBEROFTHE@THERAPYGROUP 4HEREISREASONTOBELIEVETHATTHEREGIONALAUDIENCESHADVERYDIFFERENT MENTALHORIZONSCOMPAREDTOTHATOF!RLANDER 4HECRUCIALQUESTIONISHOW!RLANDERSVISUALIDEASWORKEDINTHEª34PER FORMANCE4HUSFAR)HAVESTUDIEDHERINTENTIONSANDANALYSISASIFTHEYWERE AWORKOFTHEIROWN#OULDTHESCENICIMAGESBEEXPERIENCEDASARCHETYPAL GENERATINGACONNECTIONTOTHEUNCONSCIOUSNESS)TISOFCOURSEIMPOSSIBLE TOPROVIDEANYEVIDENCEABOUTTHERECEPTIONOFACOMMONAUDIENCEYEARS AGO4HEREISATLEASTONEREVIEWTHATPROVIDESAPOSITIVEANSWER/NTHE OTHERHANDTHEREDCOLORWHICHWASESSENTIALTOTHEANALYSISOF!RLANDERWAS NOTMENTIONEDINANYREVIEWEXCEPTONETHATREMARKEDITWASTOODARKAND SOMBER)TISAPPARENTTHATTHEREDTONEWASMOSTLYIGNOREDASINSIGNIlCANT ALTHOUGHTHEPHOTOSSHOWTHATITSPRESENCECOULDNOTBEIGNORED !RLANDERTOLDASTORYABOUTTHEWAYTHEACTORSWORKWASREAD 4HEAUDIENCEWASSOCONSERVATIVE)REMEMBERADISCUSSIONWITH LITERARYSTUDENTSIN4URKUWHERETHEYEXPLAINEDWHATTHEYHADSEEN )THINKTHATTHEYHADONLYSEENWHATISWRITTENINLITERATUREHISTORY -ISS*ULIECOLLAPSESANDCRIESTHROUGHOUTTHESECONDACT)NTHISPRO DUCTIONSHEDIDNTANDINSTEADHADATERRIBLElGHTDESPITETHISTHEY STILLREADITTHATWAY9OUSEEWHATYOUEXPECTTOSEE +BOTTPO -FIUPOFO 4HESCENOGRAPHER!HLBØCKCONFESSEDTHATSHEDIDNOTGRASPTHEIDEASIN TENDEDBY!RLANDER3HEHIGHLIGHTEDTHEIMPORTANCEOFPUTTINGIDEASINUN DERSTANDABLEFORMh.OMATTERHOWMANYELEMENTSYOUCANlNDINAGOOD "SMBOEFS \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES TEXTYOUHAVETOMAKEAPATTERNOUTOFITTHROUGHWHICHYOUCANTELLASTORY TOTHESPECTATORv )AGREEWITHHERHERETHESKILLOFASCENOGRAPHERORDIRECTORISNOTONLYTO GENERATEANINTERESTINGREADINGOFTHEPLAYBUTALSOTOENABLETHESPECTATOR TOHAVEAMEANINGFULEXPERIENCETHROUGHTHEPROCESSOFWATCHINGTHESHOW 4HATCANOFCOURSEBEDONEINMANYWAYS4RADITIONALLYCONCEIVEDTHESCE NICARTISTANDTHEAUDIENCEINAWAYSTARTTHEIRJOURNEYSATOPPOSITEENDS4HE SCENOGRAPHERANDDIRECTORlRSTTRYTOUNDERSTANDWHATTHEYWANTTOSAYTHEN THEYlGUREOUTASTAGINGCORRESPONDINGTOIT!SPECTATORONLYSEESTHESTAGING ANDSHEISSUPPOSEDTOBELEDBYHISHERPERCEPTIONANDTOCATCHTHEIDEALY INGBEHINDTHEARTISTICPROCESS 4HEATERGETSITSENERGYFROMTHEINTERACTIONBETWEENACTORSANDLIVINGSPEC TATORSINAPHYSICALPLACETHATISINSEPARABLEFROMITSLOCALANDTEMPORALENVI RONMENT4HEIDEASDONOTWORKIFTHEYARENOTUNDERSTOODBYTHEAUDIENCE NOMATTERHOWRELEVANTANDINTERESTINGTHEYCOULDBEINOTHERCONTEXTS4HIS CANALSOBEAPPLIEDTO!RLANDERSANALYSISWHICH)FOUNDFASCINATINGAND TO!HLBØCKSSCENOGRAPHYWHICHLOOKEDVERYBEAUTIFULTOMEINTHEPHOTOS 4HEREWASHOWEVERNOINTERESTINGRELATIONSHIPBETWEENTHEMATLEASTNOTIN THEOPINIONOFTHEARTISTSTHEMSELVES4HEIRFRUSTRATIONALSOPROVESTHATLIVING THEATERCANONLYBEMADETHROUGHPERSONALINVOLVEMENTWITHTHEPRODUCTION WHICHWASLACKINGINTHISCASE )MAGESWITHSYMBOLICORPOETICFORCECANBEGENERATEDANDEXPERIENCEDONLY BYLIVINGTHROUGHTHEMNOTBYCALCULATIONS/NEOFTHEBIGGESTCHALLENGES FORANYTHEATERISTOCREATEWORKINGCONDITIONSTHATALLOWTHESCENOGRAPHERS TOLETTHEIRIMAGINATIONLEADTHEIRWORKWITHOUTNEGLECTINGTHEPRACTICALNE CESSITIES)TSEEMSTOMETHATNEITHEROFTHESECONDITIONSWASSATISFACTORYFUL lLLEDATª34IN "IMCjDLC -ISS*U L IEIN T H E4U R KU 3 W EDIS H 4H EA TER \ 9! -ISS*ULIEIN+/-TEATTERI 4O 3 E E O R . O T T O 3 E E 7HEN-ISS*ULIEWASSTAGEDAT+/-TEATTERIINTHESCENOGRAPHER-»NS (EDSTRMTURNEDTHE+INO#ABARETVENUEINTOACAFETERIA(EDSTRMHAD BEENWORKINGAT+/-EVERSINCEITSESTABLISHMENTANDHISEXPERIMENTS THEREWITHSPACEANDREDUCEDVISUALITYHADBECAMEIMPORTANTSTYLISTICHALL MARKSOF&INNISHAVANTGARDESCENOGRAPHYINTHES,AURA*ØNTTIWASTHE DIRECTORFOR-ISS*ULIE3HEHADCOWORKEDWITH(EDSTRMINSEVERALPRODUC TIONSWHERETHESCENOGRAPHYVERYMUCHDElNEDTHEWHOLEPERFORMANCE -YEVIDENCEFROMTHEPRODUCTIONISBASEDONAVIDEOTAPEOFTHEPERFORM ANCEWHICHUNFORTUNATELYHASBEENTAKENIN+OITTOAVENUEWHERE-ISS*U LIEWASLATERMOVEDANDWHERETHESCENOGRAPHYSUFFERED!SIDEFROMTHIS) HAVERELIEDONASTUDYWRITTENABOUTITBY-ERJA,IISA+ARHU4OGETHERTHESE SOURCESPROVIDERELATIVELYGOODINFORMATIONABOUTTHESTAGINGWHICHALLOWS METOCONCENTRATEMOREONAPERFORMANCEANALYSISTHANONTHEPROCESSOF MAKINGTHESCENOGRAPHYAS)DIDINTHEPREVIOUSCHAPTERS -OREOVER)INTERVIEWEDTHEDIRECTOR,AURA*ØNTTIANDTHESCENOGRAPHER -»NS(EDSTRMWHOSETHINKING)AMFAMILIARWITHFROMTHEYEARSOFMY STUDYnATTHE$EPARTMENTOF3CENOGRAPHYWHEREHEWASONEOFTHE MOSTINmUENTIALTEACHERS)ALSOWORKEDASHISASSISTANTDURINGTHESUMMER OF 4HEAUDIENCEWASGIVENSPECIALEMPHASISINTHISPRODUCTIONANDTHEREFORE) HAVEALSOUSEDREVIEWSALOTBECAUSETHEYOFFERTHEONLYEVIDENCEABOUTTHERE CEPTIONANDTHEVARIETYOFOPINIONSAMONGTHEMISALSOINTERESTING ,BSIV 4HESTUDYBY+ARHUISVERYGOODTOMYMIND)HAVETRIEDTOAVOIDMYWORK OVERLAPPINGWITHHERSANDFOCUSEDLESSONTHEGENERALPERFORMANCE2ATHER \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES )HAVECONCENTRATEDONHOWTHESCENOGRAPHYFUNCTIONS)HAVEEXAMINEDTHE SCENOGRAPHICIDEAOFPERFORMING-ISS*ULIEINACAFETERIA-YSUGGESTIONIS THATPLACINGSPECTATORSINANUNEXPECTEDPOSITIONEMPHASIZEDTHELIMITSAND POSSIBILITIESOFVISION 4HETHEATRICALVENUE+INO#ABARETWASNOTACTUALLYDECORATEDASANILLUSION ISTCAFETERIA4HEPLACEWASDElNEDONLYBYTHESPATIALARRANGEMENTOFTABLES SCATTEREDALLOVERTHESPACEANDSPECTATORSSITTINGATTHESETABLESHAVINGCOF FEEANDBREAD4HESPACEMAINTAINEDITSPROPERCHARACTERAS+INO#ABARET WHICHWAS+/-SREGULARVENUEDURINGTHATTIME 4HECONVENTIONALSCENOGRAPHICSIGNSWEREREDUCEDTOAMINIMUM4HERE WASONLYONETABLEANDACOUPLEOFCHAIRSRESERVEDFORTHEACTORS!BLACK CLOTHCOVEREDTHISTABLEANDITHADABUNCHOFmOWERSONITASAREFERENCETO -IDSUMMER %VENIFTHESPECTATORWASNOTSUPPOSEDTOSTEPINTOADETERMINEDFICTIVE WORLDTHISPOSSIBILITYWASOPENFORTHOSEWHOWANTEDTOSEEITTHISWAY)T SEEMSASIFTHESCENOGRAPHERWOULDHAVEDELIBERATELYAVOIDEDALLVISUALSIGNS ANCHORINGTHESTAGETOANYlXEDCONTEXT 4HEATMOSPHEREANDSTYLEOFTHElCTIVECAFETERIAWASHOWEVERNOTDElNED PRECISELY4HEDISPOSABLECOFFEECUPSREFERREDTOACHEAPSNACKBARBUTTHE FOLKSYCLOTHESOF*EANAND+RISTINWHOWEREIDENTIlEDASWAITERSBELONGED TOACOZYCOFFEEHOUSEWITHHOMEBAKEDBREAD7HENTHEPERFORMANCEWAS LATERMOVEDTOTHE+OITTOSTAGETHECAFETERIAFEELINGWASCHANGEDTOTHATOFA RURALFESTIVALWITHCHINACUPSANDACOPPERCOFFEEPOTSTANDINGONABIGTABLE COVEREDBYAWHITECLOTH 3OMEREVIEWERSEVENSAWTHERETHECONVENTIONALKITCHENINTHE#OUNTS HOUSE 7EAREINTHEROOMSOFTHESERVANTSOFTHEMANORITISCROWDED ALMOSTSTUFFY 4HESPECTATORSIDENTIFYTHEMSELVESWITHTHECELEBRATINGPEASANTSWHO HAVESECRETACCESSTOTHEEVENTSINTHE#OUNTSMANOR 0MMJMB 4VOERWJTU -ISS*U L IE IN +/-T EAT TER I \ *UDGINGBYTHEPHOTOSTHEREWERESOMEDRAWINGSONTHEWALLSTHATHADNOTH INGTODOWITH-ISS*ULIEBUTPROBABLYWEREPARTOFANEXHIBITIONCOINCIDEN TALLYOCCUPYINGTHEVENUEATTHESAMETIME4HEYWERENOTMENTIONEDIN ANYREVIEWORINTHESTUDYBY+ARHU4HEFACTTHATTHEYCOULDBETHEREAT LEASTINTHEDRESSREHEARSALSWHERETHEPRESSPHOTOSHAVEBEENTAKENSUGGESTS THATTHEIMPORTANCEOFTHEVISUALENVIRONMENTWASSUBORDINATETOTHEAC TION$OCUMENTATIONOFTHEPERFORMANCEDIDNOTNECESSITATEMOVINGTHEM OUTOFSIGHTASUSUALLYISTHECASEIFTHEREAREEXTRANEOUSPROPSONSTAGE -ISS*ULIEWASLATERPERFORMEDONTHE+OITTOSTAGESINCE+/-HADTOLEAVE +INO#ABARET4HESPATIALSOLUTIONWASNOTASIMPRESSIVEHERE4HEACTORS PERFORMEDINANAISLEBETWEENTHECAFETERIATABLESANDMOSTOFTHEAUDIENCES WERESITTINGINTWOCONVENTIONALAUDITORIUMSFACINGEACHOTHER&ORTHEMOST PARTTHESPECTATORSHADANUNDISTURBEDVIEWOFTHEACTORS4HEYWEREMORE LIKEGUESTSINARURAL-IDSUMMERPARTYTHANCURIOUSOUTSIDERSINACAFETE RIA)N+OITTOTHECOFFEEWASSERVEDINCHINACUPSANDTHETABLESWERECOVERED WITHWHITECLOTHSEXCEPTFORTHEACTORSTABLEWHICHREMAINEDBLACK4HAT DIFFEREDFROM+INO#ABARETPERFORMANCEWHERETHECUPSWEREDISPOSABLE ANDALLTABLECLOTHESBLACK !CCORDINGTO,AURA*ØNTTITHEPERFORMANCELOSTMUCHOFITSINTENDEDIMPACT ASARESULT)WILLCONCENTRATEINMYDISCUSSIONONTHE+INO#ABARETVERSION ¸3FGFSUPUIFQIPUPTJO"QQFOEJY 3 4! ' ) . ' 4 ( % ! 5 $ ) % . # % 5IFEJSFDUPS+jOUUJ DPVMEOPUSFNFNCFS FYBDUMZXIZUIF ESBXJOHTXFSFUIFSF !LTHOUGHTHEAUDIENCEMADEUPAVERYVISIBLEPARTOFTHESTAGINGTHEYDID NOTPARTICIPATEINTHESCENICACTIONINANYWAY4HEYRETAINEDTHEIRROLEAS SPECTATORSSERVINGASAKINDOFLIVINGSCENOGRAPHYFORTHEPERFORMANCE 4HEREBYTHESITUATIONWASVERYCLEARLYDElNEDASTHEATER CVUTIFTVQQPTFE UIBUUIFSFXBTBO FYIJCJUJPOJOUIF WFOVFBUUIFTBNF UJNF +jOUUJ )FETUSzN 7HEN)ASKEDTHESCENOGRAPHER(EDSTRMABOUTTHEREASONSFORTHESPATIAL SOLUTIONIN-ISS*ULIEHEIMMEDIATELYLINKEDITTOTHEHISTORYOF+/-WHOSE DEBUTWASINTHECAFETERIALOBBYOFTHE3WEDISH4HEATERIN(ELSINKI 4HEREBYTHEIDEAOFPLACING-ISS*ULIEINACAFETERIAALSOISAREFERENCETOTHE PARTICULARTRADITIONSOF+/- \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HEDIRECTOR,AURA*ØNTTIREMEMBEREDTHATTHEYBEGANBYREHEARSING-ISS *ULIEONACONVENTIONALPLATFORMSTAGEBUTTHEYSOONFOUNDITIMPOSSIBLEBE CAUSEITMADETHEPLAYAPPEAROUTDATED4HEYTHENCONSIDEREDTHEIDEAOF BRINGINGTHEEVENTSAMONGSTAGROUPOFPEOPLEINTOACAFETERIAWHERETHE BOUNDARYBETWEENPUBLICANDPRIVATEWASEMPHASIZED h4HECREDITGOESTO-»NSANDHISBRILLIANCEvSAID*ØNTTI3HECONTINUEDh(IS WAYOFCREATINGHOLISTICSCENOGRAPHIESWASVERYREWARDINGFORADIRECTORv!C CORDINGTO*ØNTTI(EDSTRMSSCENOGRAPHIESWEREALWAYSPLAYFUL(ECOULD COMETOREHEARSALSCARRYINGABUCKETOFCLAYORMETERSOFROPEANDSAY h(EREYOUHAVETHECOMPLETESCENOGRAPHYv*ØNTTIFOUNDTHISKINDOFATTI TUDELIBERATING)THELPEDTOGETRIDOFCONVENTIONSALLOWINGMORE@BREATHING SPACEFORTHETEXT(OWEVERSHENOTEDTHATITWASHARDTODISCUSSTHISKINDOF ASCENOGRAPHYVERBALLYBECAUSEITWASSUCHANALLENCOMPASSINGDEVISE 0LACINGAPERFORMANCEINACAFETERIAWASCERTAINLYNOTANEWIDEATO&INLAND IN(OWEVERTHECOMBINATIONOFATRAGEDYANDACASUALSITEFOREVERY DAYSOCIALIZINGANDPLEASUREWASDIFFERENTFROMTHEMORECONVENTIONALHABIT OFPERFORMINGENTERTAININGSHOWSINPUBSORCAFETERIAS!NOTHERPROVOCATIVE ASPECTWASTHESYSTEMATICCONVERSIONOFNATURALISTPREMISES -YlRSTIMPRESSIONWASTHATTHESCENOGRAPHYOF-ISS*ULIEDISCUSSEDMORE THEATRICALITYTHANTHETHEMATICOFTHEPLAYBUTONTHEOTHERHANDTHESETWO ISSUESCANBESEENTOBEINTERWOVENWITHEACHOTHER-ISS*ULIEISAPLAYTHAT ALLOWSTHINGSTOBEONLYPARTLYSEENANDTHATISEXACTLYWHATHAPPENEDIN +/- 4HESCENOGRAPHICARRANGEMENTMIXEDTOGETHERTHEACTSOFWATCHINGBEING WITHOTHERPEOPLEANDHAVINGREFRESHMENTS4HESPECTATORWASLIKEANEAVES DROPPERINACAFETERIAOVERHEARINGAPRIVATEDISCUSSIONATANEIGHBORINGTA BLE)TISASITUATIONTHATMOSTOFUSHAVEEXPERIENCEDINREALLIFE7HENTHE STRUGGLEBETWEEN*EANAND*ULIEBECAMEINTENSIlEDTHEYDIRECTEDTHEIRISSUES ANDOPINIONSTOTHEAUDIENCEASIFTHEYWERETRYINGTOWINTHEMONTOTHEIR SIDE4HESPECTATORWASPUTINTOANUNPLEASANTSITUATIONBETWEENTHEQUAR RELINGCOUPLENEITHEROFWHICHCOULDACHIEVETHETOTALSYMPATHYnAFAMILIAR SITUATIONINREALITYTOO +jOUUJ -ISS*U L IE IN +/-T EAT TER I \ 4HEAUDIENCEWASALSOPUTINACONFUSINGSITUATIONWHERETHEYDRANKAND ATEWHILETHEPROTAGONISTSSUFFERED4HESPECTATORWASTHUSSTAGEDASAN OBSERVERWHOWASINDIFFERENTENOUGHTOENJOYHISHERREFRESHMENTSDURING THETRAGEDY4HEFATEOF*ULIEWASSERVEDTOTHEAUDIENCELIKEPARTOFTHECOF FEEMENU)TCANBEREADASANIRONICRESPONSETO3TRINDBERGSASPIRATIONFOR ATIMEhWHENWEHAVEBECOMESODEVELOPEDSOENLIGHTENEDTHATWECANRE MAININDIFFERENTBEFORETHESPECTACLEOFLIFEWHICHNOWSEEMSSOBRUTALSO CYNICALSOHEARTLESSv %VENSOMEHARDBOILEDCRITICSFOUNDTHESITUATIONUNCOMFORTABLE !M)REALLYSUPPOSEDTOSITHEREDRINKINGMYCOFFEEANDEATINGMY BREADWHILETHOSEPEOPLEACTOUTGREATEMOTIONS3HOULD)PRETENDTO BEANINDIFFERENTCAFETERIAGUESTSINCETHEYALSOONLYPRETENDTOHAVE CONTACTWITHTHEAUDIENCE *UKKA+AJAVAALSOEXPRESSEDHISDISLIKEOFTHEPERFORMANCEINHISREVIEW h7HATSWRONGWITH&INNISHTHEATER%VERYTHINGHASTOBESOMETHINGEXCEP TIONALATANYPRICEv 4HESTYLEOFACTINGWASACTUALLYQUITEREALISTICNOTINTHENATURALISTSENSEBUT INTHESENSEFORMULATEDBY2ALF,»NGBACKA)TWASNOTILLUSIONISTBUTEMPHA SIZESTHEESSENTIALPSYCHOLOGICALANDSOCIALDEVELOPMENTOFTHECHARACTERSEX PRESSEDPHYSICALLYTHROUGHGESTURES4HISWASNEITHERVERYEXPERIMENTALNOR SURPRISINGINBUTRATHERANACCEPTEDSTYLE)TWASMOSTLYTHESCENOGRAPH ICSOLUTIONSTHATDETERMINEDTHERECEPTIONOFTHEPERFORMANCE )TSEEMSTHATTHEPLACINGOFTHEAUDIENCEDOMINATEDTHERECEPTIONOFEVERY THINGTHATHAPPENED4HESCENOGRAPHICSOLUTIONMUSTTHUSALSOHAVEBEEN THESTARTINGPOINTFORTHEDIRECTION)TWASNOTONLYAPARTOFTHEDIRECTIONIT SOMEHOWPRECEDEDITANDDETERMINEDITSLIMITSANDPOSSIBILITIES 4USJOECFSH Y &LMVOE ,BKBWB -lOHCBDLB ¬ ,BSIV ¬ 4HEDIRECTOR,AURA*ØNTTIWASMOSTLYINTERESTEDINTHEBASICSITUATIONOF THEPLAYTHEPLACEWHEREASMALLGROUPOFPEOPLEHADTOREVEALTHEMSELVES ANDTHESHAMEINVOLVED4HEREWASANEGOTIATIONINVOLVINGTHEBOUNDARY BETWEENTHEPUBLICGAZEOFTHEAUDIENCEANDTHEPRIVACYOF*ULIE4HENATU RALISTTRADITIONOFPEEPINGINTOTHEPROTAGONISTSINTIMATELIFEWASMADEPAIN FULLYVISIBLE)TPREVENTEDTHECONVENTIONALRECEPTIONOFTRAGEDYBYMAKING \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES THESPECTATORSAWAREOFTHEIROWNROLESASOBSERVERS5LTIMATELYITEVENQUES TIONEDTHELEGITIMACYOFBEINGASPECTATORINAPERFORMANCEBASEDONTHENAT URALISTTRADITIONOFREVEALINGTHESECRETLIFEOFTHEPROTAGONISTS 4HEPOINTOFTHESCENOGRAPHYWASTOPOSITIONTHEPERFORMANCEINACAFETE RIANOTTHEVISUALREPRESENTATIONOFAlCTIVEENVIRONMENT(OWDOESTHISlT TOTHECONVENTIONALCONCEPTSOFSCENOGRAPHYASAPERCEIVABLEENVIRONMENT (OWDOESASINGLEIDEASERVEASSCENOGRAPHY 4HISKINDOFASTAGINGCOMESCLOSETOCONCEPTUALARTWHICHINTHElRSTPLACE DOESNOTOFFERAESTHETICPLEASUREBUTENGAGESTHESPECTATORINPHILOSOPHICAL CONVERSATIONS)TCOULDBETERMEDINTELLECTUALINCOMPARISONTOMOREDECO RATIVESTYLES4HESCENOGRAPHYIN-ISS*ULIEREPRESENTEDTHEMOSTMINIMALIST ANDFUNCTIONALISTASPECTSOFMODERNISTTHEATRICALTHINKING4HEVISUALAPPEAR ANCEWASREDUCEDTOASLITTLEASPOSSIBLEINORDERTOFOCUSALLATTENTIONONAN ESSENTIALIDEA4HESCENOGRAPHYSTIMULATEDPHILOSOPHICALDISCUSSIONSONA GENERALLEVELBUTTHISPARTLYDETRACTEDFROMTHEPLEASUREOFIMMEDIATEPER CEPTION 4HISREMINDSMEOF!RNOLD!RONSONSAPPOSITEUSEOFTHEEXPRESSIONhSCE NERYAS0LATONICSHADOWSvINREFERENCETOMODERNSCENOGRAPHYONECENTRAL TASKOFWHICHISTOCOMMUNICATEANABSTRACTIDEATOTHEAUDIENCE4HISAIM SEEMSTOJUSTIFYTHELACKOFVISUALDETAILIN-ISS*ULIE4HEVISIBLESURFACES FUNCTIONWASTOMEDIATEIDEASANDHADNOPURPOSEORLEGITIMACYONITSOWN !LLEXTRADECORATIONSWOULDDISTURBTHISPRIMARYCOMMUNICATIONANDTHE IMPORTANCEOFMEANINGLESS@PURESENSEPERCEPTIONWASREJECTED /NTHEOTHERHAND)AMNOTSOSUREWHETHERTHESCENOGRAPHYIN-ISS*U LIESIMPLYDENIGRATEDTHEPERCEPTUALEXPERIENCEINFAVOROFATRANSCENDEN TALIDEA4HEARTISTICACTOFTHESCENOGRAPHERWASTOPUTTHESPECTATORINA SURPRISINGOREVENPROVOCATIVESITUATIONANDHISHEREXPERIENCEOFBEING THEREWASSUPPOSEDTOMAKEHIMHERTHINKOFTHEPLAYINANEWWAY)NTHIS SENSETHESCENOGRAPHYWASNOTACONTAINERFORIDEASCREATEDINADVANCEBUTA SOURCEFORNEWPARTLYUNPREDICTABLEIDEASEMERGINGFROMTHESPECTATORSLIV INGEXPERIENCEOFTHESPACE )NSTEADOFREmECTINGREADYMADETHOUGHTSTHESCENOGRAPHYGENERATEDTHINK INGWHICHTHENCOULDBEARTICULATEDINTOUNFORESEENIDEAS)NSTEADOFSTAND -ISS*U L IE IN +/-T EAT TER I \ "SPOTPO INGFORONEDElNABLETHOUGHTTHEUNCONVENTIONALPOSITIONOFAUDIENCEGEN ERATEDDIFFERENTOPINIONSANDARGUMENTS4HERECEPTIONOFTHEPERFORMANCE THEREFOREBECAMEAPROCESSTHATWASNEVERCOMPLETELYPREDICTABLE!NAWARE NESSOFTHESPECTATORSmUCTUATINGINTERPRETATIONSBECAMEANELEMENTOFTHE PERFORMANCEASONEREVIEWERNOTEDh,AURA*ØNTTIHASSTARTEDINHERDIRECTION FROMMANYVIEWPOINTS4HESPECTATORHASTOPICKOUTTHEPROBLEMSABOUTHU MANRELATIONSHIPSFROMTHEPERFORMANCETHATMOSTINTERESTHIMHERv )TWASCHARACTERISTICOF(EDSTRMSSCENOGRAPHIESTOATTEMPTTOSPATIALLY MODIFYTHEAUDIENCERECEPTIONINSOMEWAYTHUSHAVINGANINmUENCEONTHE RECEPTIONOFTHEWHOLEPLAY4HEREBYHEPOWERFULLYMANIPULATEDTHESPECTA TORSEXPERIENCESBUTHEALSOMADETHEMVERYCONSCIOUSOFTHEIRCONSTRUCTED RELATIONSHIPTOTHEPERFORMANCE )ATTENDED(EDSTRMSCLASSESINAUTUMNATTHE$EPARTMENTOF3CENOG RAPHY)REMEMBERTHATHESTARTEDHISlRSTLESSONBYPROVINGTOUSTHATBLACK ISWHITE(EUSEDASLIDEPROJECTORTOSHOWABLACKSQUAREONAWHITEWALL ANDASKEDUSWHATWESAWh!BLACKSQUAREONWHITEBACKGROUNDvWEAN SWERED4HENHESWITCHEDTHEPROJECTOROFFPOINTEDATTHEEMPTYWHITEWALL ANDSAIDh4HEREISYOURBLACK)DIDNOTPUTANYBLACKNESSTHEREv 7ITHTHISTRICKHEWANTEDTOSHOWUSTHATTHESHADEANDVALUEOFACOLORIS ARELATIVEMATTERNOTANABSOLUTEFACT)THINKTHATTHISANECDOTESERVESASAN EXAMPLEOFHISVISUALTHINKINGINTHESENSETHAT)AMFAMILIARWITH)TSHOWS ANINTERESTINTHELIMITSANDMARGINSOFTHEPERCEPTUALPROCESSES)WOULD LIKETOCONDENSETHISDISCUSSIONINTOASTATEMENTWHATWESEEISALWAYSCON STRUCTEDBYOURHABITSOFMAKINGSENSEOFWHATWEPERCEIVE(ENCEYOUCAN NOTBESUREWHETHERWHATYOUSEEIS@REALOUTSIDEYOUREXPERIENCE4HEREBY YOUCOULDSTUDYTHEMEANINGSEMBEDDEDINTHEVISUALCOMMUNICATIONITSELF WHICHWEOTHERWISEUNDERSTANDASANIMMEDIATEPOINTOFACCESSTOTHEOB JECTSEEN 0MMJMB )NMYOPINIONTHE-ISS*ULIESCENOGRAPHYMAKESTHECLAIMTHATOURVISIONIS NOTUNPROBLEMATICBUTISAPROCESSDETERMINEDBYMANYINTERNALANDEXTER NALPHYSICALANDPSYCHOLOGICALCIRCUMSTANCES4HENATURALISTNOTIONOFEQUAL ITYBETWEENKNOWLEDGEANDVISIBILITYWASQUESTIONEDIN-ISS*ULIEBYPLACING THESPECTATORSINALOCATIONMUCHLIKEEYEWITNESSESTOANAUTHENTICEVENT ANDTHUSPREVENTINGTHEMFROMSEEINGEVERYTHING \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HISIDEACANBEDEVELOPEDFURTHERYOUONLYSEEANDKNOWAFRACTIONOFALL AVAILABLEINFORMATIONANDCANNEVERREACHANOMNISCIENTVISION-OREOVER THEVISUALINFORMATIONYOUAREABLETOGRASPDEPENDSONYOUONYOURCUL TURALPSYCHOLOGICALANDPHYSIOLOGICALCONDITIONS (AVINGANEDUCATIONASANINTERIORARCHITECT(EDSTRMCONSIDEREDHISWORK ASACONTINUATIONOFTHEFUNCTIONALISTICTRADITIONOF+AJ&RANCK4HEGENERAL AIMOFFUNCTIONALISTICDESIGNISTHATTHEOBJECTSSHOULDBEAPPROPRIATETO THEIRPURPOSES#ONSEQUENTLY(EDSTRMKEPTASKINGWHATTHEACTORSREALLY NEEDEDONSTAGEANDHOWTHEESSENTIALIDEAOFTHEPLAYCOULDBEMADECON CRETETHROUGHPLACEANDVISUALFORM!NYBEAUTIFULDECORATIONOREXTERNAL ILLUSTRATIONTHATDOESNOTHAVEAPURPOSELESSENSTHEEFlCACYOFCOMMUNICA TION%VERYELEMENTONSTAGEHASTOBERELATEDTOTHEACTIONORINTERPRETATION OFTHEPERFORMANCE /NEFUNCTIONOFSCENOGRAPHYISTOMAKETHINGSVISIBLE)TCOULDBEARGUED THATAFUNCTIONALISTSCENOGRAPHYCREATESAMEANSFORCOMMUNICATIONWITH THELEASTPHYSICALELEMENTS)WOULDLIKETOCOMPARETWOQUOTESBY(EDSTRM AND&RANCKWHERETHEYEXPLAINTHEIRUTOPIANVISIONABOUTDESIGN!CCORDING TO&RANCKNOEXTRAMATERIALISNEEDEDFORAPERFECTLYDESIGNEDOBJECT4HIS THINKINGISEXPRESSEDINHISWRITINGABOUTATRADITIONALCONTAINEROFBUTTER 7HENPEOPLEWENTTOMAKEHAYINTHEIRSMALLlELDSFAROUTINTHE FORESTEACHOFTHEMTOOKDARKBREADANDAPIECEOFBUTTERASLUNCH)N THEHARDCRUSTOFTHEBREADTHEYCUTOUTAROUNDPIECEMAYBECMS INDIAMETERENOUGHROOMTOPUTTHEBUTTERINTHEHOLE)TPROVIDEDA COOLANDACCURATECONTAINER!FTERTHEBREADWASEATENINTHEBREAK THEBUTTERCONTAINERHADALSODISAPPEARED (EDSTRMWRITESINA4HEATER-USEUMANNUAL4HEATERIN3PACE )NANEMPTYSPACETHESETDESIGNERALWAYSHASTOSTARTFROMTHEBEGIN NINGANEWSPACEHASTOBECREATEDHEMUSTACTASANARCHITECTAND DESIGNERATWHICHPOINTTHECENTRALPROBLEMOFALLSETDESIGNERSIS ENCOUNTERED&ROMWHATMATERIALDOWEBUILDATHEATRESPACESOTHAT ITISFAVORABLEFORTHEPERFORMANCEnASPACEMUSTHAVEATMOSPHERE ORCHARACTER4HElRSTTHINGWETODEALWITHISTHEMATERIALTHENTHE ARCHITECTUREANDSPACETHENlNALLYTHECHARACTEROFTHESPACE.OTH -ISS*U L IE IN +/-T EAT TER I \ 'SBODL INGELSEISNEEDED'OODSTAGESETTINGSnBETHEYNATURALISTICORSTYLIZED nALWAYSHAVETHESEQUALITIESMATERIALSPACEANDCHARACTER7EBUILD THESPACEFORTHEPERFORMANCEx 7HATISSETDESIGNALLABOUT7HATISITREALLY7HEN)CAMETO,AHTI #ITY4HEATRE)SAID)WOULDBECONTENTIF)COULDUSETHECURTAINSAND LOBBYSPACES7ITHTHESEMEANS)COULDDOMYBITTOENSURETHATTHE PLAYSMESSAGEGOTTHROUGHTOTHEAUDIENCE 4HESCENOGRAPHYOF-ISS*ULIEEMERGEDFROMTHEUSEOFTHESPACEANDWHEN THEPERFORMANCEWASOVERTHEREWASNOTHINGLEFTBUTANAUDITORIUMlLLED WITHTHETABLESANDCHAIRS4HESCENOGRAPHICDESIGNWASNOTONLYDElNED ANDJUSTIlEDBYTHEPRACTICALUSEOFTHESPACEINESSENCETHEUSEOFTHESPACE WASTHESCENOGRAPHY 7HATWASlNALLYSTAGEDIN-ISS*ULIEWASNOTSOMUCHTHESTORYTOLDINTHE DRAMABUTTHEACTOFSEEINGTHEATER4HESPECTATORWASMADETOQUESTIONHIS HERROLEWHICHPROVIDEDHERHIMWITHANEWPERSPECTIVEANDARGUABLYPRE VENTEDTHETRADITIONALREALISTICDRAMARECEPTION )NHISVERYCRITICALREVIEW*UKKA+AJAVAPOINTEDOUTTHEIMPOSSIBILITYOF COMMUNICATING-ISS*ULIEWITHOUTTHECONVENTIONALTHEATRICALFRAMEWORK h7HATWASPROVEDWASTHATIFANYPLAYINTHISWORLDREQUIRESAPOSEDPICTURE ITIS-ISS*ULIE4HEDRAMATICSAREBASEDONTHEFACTTHATTHESPECTATORCANSEE *ULIEASWELLAS*EANAND+RISTINv (OWEVERTHE-ISS*ULIETEXTALSOCONTAINSNEGOTIATIONSBETWEENVISIBILITYAND NONVISIBILITYANDISCONNECTEDTOTHENATURALISTCONCEPTSOFKNOWINGANDEX PLAININGTHEPLAYWORLD5NA#HAUDHURIREFERSTOTHIS )FETUSzN ¬ ,BKBWB $IBVEIVSJ )NVOKINGTHEIMPRESSIONISTPAINTERSANDhTHEIRIDEAOFASYMMETRICAL ANDOPENCOMPOSITIONv3TRINDBERGBREACHESTHENATURALISTCONTRACT TOTOTALVISIBILITYINITSOWNNAMESUBSTITUTINGAPARTIALVISIBILITYOF FEREDASANINVITATIONTOTHESPECTATORSCOOPERATIVEIMAGINATIONx )NAMOVEMENTTHATISALSOTYPICALATTHELEVELOFTHEPLAYSMEANING THESPECTATORSATTENTIONISDISTRACTEDFROMITSHYPNOTIClXITYDRAWN TOWARDSTHELIMITSANDMARGINSOFTHESTAGE5PONTHESEMARGINSARE INSCRIBEDTHEIDEOLOGICALLIMITATIONSOFNATURALISM \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES )THINKTHATTHISTHEORETICALREADINGWASPUTINTOPRACTICEINTHE+/-SCE NOGRAPHY4HISPROBABLYCAUSEDPROBLEMSFORTHERECEPTIONOFTHEDRAMA WHICHWASSTAGEDASIFTHESPECTATORSWEREREALLYINTHELOCATION4HISEF FECTWHEREBYTHEAUDIENCEFORGETSTHEIROWNEXISTENCEINTHETHEATERHOUSE THROUGHANEMPHATICINVOLVEMENTWITHTHEPLAYSEVENTSISACTUALLYTHEAIM OFTHEREALISMRHETORIC(OWEVERBEINGCONCRETELYONLOCATIONSEEMSTOHAVE EMPHASIZEDTHEEXPERIENCEOFWATCHINGIN+/-ANDTHUSDISTANCEDTHE SPECTATORFROMREALISTICIDENTIlCATIONWITHTHECHARACTERS -OREOVERTHEFOCUSWASONTHEVERYACTOFSEEINGANDITSPROBLEMS)NITIALLY THECAFETERIASTAGINGIN+/-CANBEEXAMINEDVERYSIMPLYANDPRACTICALLY %ACHINDIVIDUALSPECTATORHADHISHERSPECIlCVIEWOFTHESHOW!LTHOUGH THEYCOULDFOLLOWSOMESCENESFROMANINTIMATEDISTANCEOFLESSTHANONE METERNONEOFTHEMCOULDSEEALLSCENES4HISWASBECAUSETHEACTORSWERE SOMETIMESBEHINDTHEIRBACKSOROTHERMEMBERSOFTHEAUDIENCEBLOCKEDTHE LINEOFSIGHT 7HEREACONVENTIONALTHEATERSPACEAIMSTOPROVIDEASGOODASIGHTLINEAS POSSIBLEFOREVERYBODYTHESCATTEREDSTAGINGOF-ISS*ULIEDIDTHEOPPOSITE )NSTEADOFENJOYINGTHEPLEASUREOFWATCHINGOBSERVINGTHEPERFORMANCEWAS AFRUSTRATINGEXPERIENCEBECAUSEOFTHEOBSCUREDLINESOFSIGHT"LOCKINGPARTS OFTHEPERFORMANCEACTUALLYMADETHESPECTATORAWAREOFHISHERDESIRETOSEE OTHERPEOPLESPRIVATELIVES )TCANBESAIDTHATTHESCENOGRAPHYSTAGEDTHEVERYACTOFSEEINGANDNOT SEEINGTHINGSANDASWASMENTIONEDABOVEPEERINGINTOTHEPROTAGONISTS PRIVATEWORLDISONEOFTHECENTRALISSUESFORMODERNREALISTDRAMA4HEPER FORMANCEALSOCHALLENGEDTHEPREMISESOFNATURALISTTHEATERBOTHASANEN TERPRISEOFMAKINGTHEPRIVATEAFFAIRSPUBLICANDASANASPIRATIONFORTOTAL VISIBILITY)TCANBEARGUEDTHATNOTONLYWASTHECHARACTERSPRIVACYMADEVIS IBLEBUTSOWASTHATOFSPECTATORSWHOWERENOTALLOWEDTOHIDEINTHESAFETY OFTHEDARKNESS 4HISSHOWSANINSIGHTSIMILARTOTHATOF5NA#HAUDURI3HEARGUESTHATIN -ISS*ULIEhNATURALISMPROPOSEDAWORLDOFTOTALVISIBILITYnANDTHENPER FORMEDITSLIMITSv#HAUDHURIALSOSUGGESTSTHATTHELOGICOFTOTALVISIBIL ITYhlNDSITSFANTASIESFULlLLEDvINTHEMOVEMENTOFENVIRONMENTALTHEATER THELOGICOFWHICHISSIMILARTOTHATOFCINEMATICWIDESCREENTECHNOLOGY -ISS*U L IE IN +/-T EAT TER I \ $IBVEIVSJ INTHEDESIREhFORAlELDOFEXPERIENCEORGANIZEDAROUNDHUMANANATOMY ANDLAIDOUTINSUCHAWAYASTODElNEREALITYASREADILYAVAILABLETOHUMAN SUBJECTSv 3HEPROPOSESTHATTHEENVIRONMENTALTHEATERPRACTICEISINACONTINUUMWITH NATURALISMALTHOUGHTHEIRRELATIONSHIPHASBEENDISGUISEDASADICHOTOMY h4HEPRINCIPLETHATLINKSTHESETWOSUPPOSEDLYANTITHETICALPRACTICESISWHAT )CALLTHELOGICOFTOTALVISIBILITYv -ISS*ULIEAT+/-NODOUBTBELONGEDTOTHETRADITIONOFENVIRONMENTALTHE ATERALTHOUGH#HAUDHURIFOCUSESONSTAGINGSTHATINVITETHESPECTATORINSIDE AN@AUTHENTICPLAYMILIEU4HISWASNOTTHECASEAT+/-WHERETHECAFETERIA WASIDENTIlEDASTHEPLACEFORTHETHEATRICALEVENTHOWEVERTHESPECTATORS WERESITUATEDINRELATIONTOTHEPLAYASIFTHEYWEREINALOCATIONWHERETHEY WERESUPPOSEDTOBERELIABLEWITNESSES4OTALVISIBILITYWASMADEIMPOSSIBLE BYTHISARRANGEMENTOFTHESPACETHATRAISEDTHEISSUEANDPROBLEMATICOFVIS IBILITYASANINTEGRALPARTOFBOTHENVIRONMENTALANDNATURALISTPERFORMANCES )N+/-S-ISS*ULIETHEACTOFSEEINGBECAMEPRIVATEINTHESENSETHATEACH SPECTATORHADHISHEROWNVIEWBUTSIMULTANEOUSLYTHISPRIVACYOFVISIONWAS MADEPUBLIC4HEFOCUSWASSHIFTEDTOTHERECEPTIVEANDINTERPRETATIVEPRO CESSOFTHESPECTATORINAWAYTHATISSIMILARTOAREMARKMADEBY#HAUDHURI 3HEARGUEDTHATIN-ISS*ULIEhTHENATURALISTAGENDATRANSFERSTHEFUNCTIONOF RECOGNITIONFROMTHEPROTAGONISTTOTHESPECTATORHEREDISCOVERYANDREV ELATIONAREOFPURELYHERMENEUTICORDERWITHINTHETHEATERBUTOUTSIDETHE DRAMAv 4HEGAZEOF3TRINDBERGSNATURALISTSPECTATORISATOOLOFPOWERWHICHPRO VIDESHIMHERWITHTHEPOSSIBILITYOFUNDERSTANDINGTHEBEHAVIOROFTHEPRO TAGONIST)N+/-THESPECTATORWASPREVENTEDFROMHAVINGAHOLISTICOM NISCIENTVIEWANDSHEWASMADEFEELUNCONFORMABLEABOUTTHEPRIVILEGED POSITIONOFBEINGANOBSERVER4HEPERFORMANCETHUSSTRIPPEDTHESPECTATOR OFHISHEREPISTEMOLOGICALPOWER *CJE $IBVEIVSJ $IBVEIVSJ /NTHEONEHANDTHISSCENOGRAPHYSEEMEDTOLETTHESPECTATORHAVEHISHER OWNVIEWBUTONTHEOTHERHANDITPUTHIMHERINAPOWERLESSPOSITION4HE VARIABILITYOFVISIONDIDNOTOFFERTHEFREEDOMTOCHOOSEONESVIEWPOINT %VENIFTHESPECTATORWASNOTEXPOSEDTO3TRINDBERGSSUGGESTIVEILLUSIONHIS \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES HEREXPERIENCEWASSTRICTLYLIMITEDANDGUIDED3HEWASNOTONLYBROUGHT INTOTHEMIDDLEOFTHEPLAYSEVENTSSHEWASGIVENNOPOSSIBILITYTOSTAYOUT SIDETHETHEATRICALCOMMUNITYDOMINATEDBYTHESTYLEANDIDEOLOGYOFTHE ARTISTSIN+/- &ROMTHEVIEWPOINTOFTHEPROTAGONISTTHETRAGEDYPLAYEDINAlCTIVECAF ETERIAPROBLEMATIZEDTHEPOSSIBILITYOFHAVINGACCESSTOTHEINTIMACYOFOTHER PEOPLE4HECRUCIALQUESTIONHEREWASWHETHERSHARINGPHYSICALANDMENTAL SPACEISPOSSIBLEATALLANDWHETHERWEREALLYCANKNOWSOMETHINGABOUT OTHERPEOPLE3TEPPINGINSIDETHESAMESPACECANALSOBESEENASAMETAPHOR FORTHEINTRUSIONINTOTHEMINDOFTHEPROTAGONIST#ANITREALLYBEDONE ORWILLTHESPECTATORALWAYSREMAINANOUTSIDERWHOSESUPPOSEDKNOWLEDGE ABOUTOTHERPEOPLEISARESULTOFHISHER@COLONIZINGPOWER#ANTHEINSIDE MINDBEREVEALEDWITHOUTDISGRACE ! . % . 6 ) 2 / . - % . 4! , 3 4! ' ) . ' +/-S-ISS*ULIECANBELINKEDTOATRADITIONCALLEDENVIRONMENTALTHEATER ASDElNEDBY!RNOLD!RONSONONTHEGROUNDSOFITSNONFRONTALITY!FRONTAL PERFORMANCETAKESPLACEWITHINASINGLEFRAMEOUTSIDEOFWHICHTHESPECTA TORSARESITUATED4HESPECTATORDOESNOTHAVETOTURNHISHERHEADMORETHAN DEGREESINORDERTOSEETHEWHOLESCENERY2ESPECTIVELYANONFRONTALEN VIRONMENTALSTAGINGCOMPREHENDSTHEWHOLESPACEINCLUDINGBOTHACTORSAND AUDIENCESANDITMOREORLESSNEGOTIATESWITHTHEVISIBILITYTHEYOFFERTOTHE SPECTATORS!RONSONMADETHEFOLLOWINGREMARK &RONTALPERFORMANCECREATESANESSENTIALLYONETOONERELATIONSHIP BETWEENTHEPERFORMERANDTHESPECTATORTHEREISACLEARLYDElNED BOUNDARYBETWEENTHETWO%NVIRONMENTALPERFORMANCEPLACESTHE SPECTATORATTHECENTEROFTHEEVENTSOFTENWITHNOBOUNDARYBETWEEN PERFORMERANDSPECTATOR4HEPERFORMANCEFRAMEMAYBEDISTANTAND INDISTINCTANDITBECOMESINCREASINGLYDIFlCULTTOEXCLUDEANYSPACE ORACTIONASNONPERFORMANCE 2ICHARD3CHECHNERlRSTUSEDTHETERM@ENVIRONMENTALINAND!RON SONPOINTSOUTTHATITWASATHEORETICALLYBASEDMOVEMENTWITHITSROOTSIN EXPERIMENTALTHEATERANDARTATTHEBEGINNINGOFTHETHCENTURY2ESPEC -ISS*U L IE IN +/-T EAT TER I \ "SPOTPO "SPOTPO 4DIFDIOFSYJY TIVEIDEASBECAMEPOPULARAMONGYOUNG&INNISHTHEATERPRACTITIONERSDURING SANDS !NENVIRONMENTALPERFORMANCEDOESNOTSHOWACOMPLETEPICTUREBUTTHE VISUALPERCEPTIONISFRAGMENTEDINONEWAYORANOTHER4HESTAGINGMAYEN CLOSETHEAUDIENCEINSIDETHESCENOGRAPHYALLOFWHICHCANNEVERBESEEN WITHASINGLEGLANCETHERECANBESEVERALSIMULTANEOUSSCENESTOBEOBSERVED ORTHEPERFORMANCECANBESCATTEREDINSEPARATEPLACES4HESIMPLICITYOF CONVENTIONALVIEWINGISDISTURBEDBYBLURRINGTHEBOUNDARYBETWEENPERFOR MANCEANDNONPERFORMANCEAREAS 4HEARRANGEMENTOF-ISS*ULIEIN+/-USEDA@DILUTEDVERSIONOFACON CEPTCALLEDLOCALFOCUSBY2ICHARD3CHECHNERINTRODUCEDINHISMANIFESTO3IX !XIOMSOF%NVIRONMENTAL4HEATER!MULTIFOCUSPERFORMANCEOFFERSACOHER ENTEXPERIENCEOFDIFFERENTPOINTSOFVIEWTOANUNDIVIDEDAUDIENCEINALO CALFOCUSPERFORMANCEONLYPARTOFTHEAUDIENCECANSEEORHEARSOMEEVENTS 4HOSEWHOAREEXCLUDEDFROMFOLLOWINGTHEPLAYAREEITHERSERVEDALTERNATIVE SCENESORTHEYARELEFTOUTSIDETHEPERFORMANCEFORAWHILE3CHECHNERAD MITSTHEDIFlCULTIESWITHTHISPRACTICEBUTPROPOSESTHATTHEEMPTYMOMENTS MAYSERVEASAKINDOFINDIVIDUALINTERMISSIONBENElTINGTHEINTENSITYOFTHE SHOW 4HEMOMENTSOFLOCALFOCUSAREBREAKSINTHEACTIONWHENTHEYCAN RECAPITULATEWHATHASGONEONBEFOREORSIMPLYTHINKOFTHEIROWN THOUGHTS4HESEOPENMOMENTSALLOWFORhSELECTIVEINATTENTIONv7HY SHOULDANINTERMISSIONOCCURALLATONCE)HAVEFOUNDTHATTHESE PAUSESnTHESEPOOLSOFINATTENTIONnSURPRISINGLYDRAWSPECTATORS FURTHERINTOTHEWORLDOFTHEPERFORMANCE "SPOTPO¬ 4DIFDIOFS YYYWJJYYYWJJJ 4DIFDIOFS YYYWJJJ !LOCALFOCUSEXPERIENCEDEPENDSVERYMUCHONTHEPERSONALENVIRONMENTAL ANDACCIDENTALCONDITIONSOFEACHSPECTATOR)TRESEMBLESANEVERYDAYEXPE RIENCEWHERENODRAMATURGYHASINmUENCEDSEQUENCEOFINTERESTINGEVENTS ANDWHERENOSCENOGRAPHERHASARRANGEDTHEVISUALACCESSTOTHEM)N+/-S -ISS*ULIETHETHEATRICALITYOFTHESPATIALSITUATIONWASBLOCKEDANDTHEPLAYS SEQUENCEOFEVENTSWASDISTORTED4HISDIVIDEDTHEOPINIONSOFTHEREVIEWS VERYEVENLY4HREEWRITERSOUTOFSIXFOUNDTHECAFETERIATHEATERAVERYSTIMU LATINGANDAPPROPRIATESOLUTIONFOR-ISS*ULIEWHILETWOCRITICIZEDITHEAVILY *UKKA+AJAVABELONGEDTOTHELATTERGROUP \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES (OWEXACTLYCOULD-ISS*ULIESURVIVEBEINGSCATTEREDALLOVERTHESPACE SOTHATMOSTOFTHETIMETHESPECTATORONLYSEESONEOFTHEPARTICIPANTS INASCENEx )FYOUHAVETOLISTENTO*EANROARINGBEHINDYOURBACKSTRUGGLETOSEE *ULIELYINGANDSUFFERINGONTHEmOORANDCANONLYSEETHEREDNOSEOF THESPECTATORFACINGYOUYOUSOONCOMETOWONDERHOWLONGITWILLBE BEFOREYOUCANGETAWAYFROMHERE (ILKKA%KLUNDALSODISLIKEDTHEPARTIALVISIBILITYIN+/- 4HEDISTANCEBETWEENACTORSANDSPECTATORSISONLYADOZENORSOCENTI METERSBUTTHEREISNOCONTACT4HEARTIlCIALITYOFTHESITUATIONMAKES ONEOBJECT)STARTEDTOEXPERIMENTASASPECTATOR)EXPERIMENTEDWITH WHETHERTHEINTENSITYOF*EANPLAYEDBY+ARI(AKALAWASENOUGHIF )ONLYLOOKEDAT*ULIEPLAYEDBY-ARJA,EENA+OUKIWHOWASLYING ATMYFEET)TWASNT)HADTOTURNAROUNDTOSEEWHAT*EANLOOKED LIKEATTHATMOMENT7HENAPLAYWITHTHREECHARACTERSISSPLITUPIN THISWAYITISNOTPOSSIBLEFORTHESPECTATORTOSEEANDEXPERIENCETHE TENSIONBETWEENTHECHARACTERS/NECANSAYTHATTHEEXPERIMENTHAS FAILEDATLEASTFROMTHEPERSPECTIVEOFTHESPECTATOR /NTHEOTHERHANDTHEEXISTENCEOFDIFFERENTSUBJECTIVEVIEWPOINTSGAVERISE TOSEVERALPOSITIVEREVIEWSFOREXAMPLEACCORDINGTO2IITTA7IKSTRMTHEIN TERPRETATIONOFTHEPLAYSCONTENTSWHEREDERIVEDONLYFROMPERSONALPERCEP TIONS3HECONCLUDEDh)TISUNNECESSARYEVENTOSAYTHATTHEINTIMATESOLU TIONWASFASCINATINGESPECIALLYINTHECONTEXTOF-ISS*ULIEWHICHBELONGSTO THECHAMBERPLAYSBY3TRINDBERGv +IRSI/LLILAALSOWROTE /NECANSAYTHATTHE-ISS*ULIEIN+/-DOESJUSTICETOTHEVARIABLE SOLUTIONSOFFEREDBY3TRINDBERG/PENLYSUBJECTIVEEXPERIENCESCAN BEFOUNDANDSHOULDBELOOKEDFORIN+INO#ABARET$ONTEXPECTA PROFOUNDUNIVERSALPHILOSOPHYORAPERFORMANCETHATREMAINSASA HOLISTICPICTUREINYOURCONSCIOUSNESS ,BKBWB &LMVOE 8JLTUSzN 0MMJMB -ISS*U L IE IN +/-T EAT TER I \ 2EGARDLESSOFTHEWRITERSLIKEORDISLIKEFORTHEPERFORMANCETHEREVIEWSARE PROOFOFTHEIRLOCALFOCUSEXPERIENCESTHATWEREDUETOTHEINTIMACYOFTHESUR ROUNDSANDTOTHEIRPLACEMENTINSIDETHESPACESHAREDBYACTORS7HILECON VENTIONALSTAGESAREDESIGNEDINORDERTOALLOWASGOODSIGHTLINESASPOSSIBLE THECAFETERIASTAGINGDENIEDTHEOPPORTUNITYTOSEEEVERYTHING)TWASAREVER SALOFIDEALTHEATERSPACE 4HEPARADOXHEREISTHATWHENTHESPECTATORISMOSTINTIMATELYENCLOSEDINTO THEPERFORMANCESPACESHECANNOLONGERSEEITPROPERLY)NSOMESENSETHE FRAGMENTARYANDFRUSTRATINGVIEWIN+/-WASACONSEQUENCEOFCARRYINGOUT THENATURALISTPREMISESOFSHOWINGTHEPLAYASIFITWEREREALLYHAPPENINGIN FRONTOFTHEEYESOFTHEAUDIENCE7HENYOUWITNESSANINTERMITTENTEVENTIN REALLIFEYOUHARDLYEVERCANSEEEVERYTHING)NTHISSENSETHE+/-STAGINGOF -ISS*ULIESERVEDASANOPPOSITIONTOTHENATURALISTTENETSOFTOTALVISIBILITY !SSERTINGTHEAUDIENCEINSIDETHESTAGEMAKESTHEMFOCUSONTHEIROWNEXIST ENCETHERE4HISHASTWOPARTLYCONTRADICTORYCONSEQUENCES!S!NNETTE!R LANDERHASREMARKEDBEINGPHYSICALLYPRESENTINTHEPERFORMANCESPACEOFTEN LESSENSTHESPECTATORSABILITYTOBEMENTALLYINVOLVEDTOBELIEVEINILLUSIONS ANDIDENTIFYWITHTHEPROTAGONISTS4HERECEPTIONTENDSTOBERATHERINTEL LECTUALLYTHANEMOTIONALLYORIENTED /NTHEOTHERHANDITISTHEPHYSICALPRESENCEOFTHESPECTATORONSTAGE WHICHMAKESHIMHERINCAPABLEOFACHIEVINGANOBJECTIVEVIEWOFTHEEVENT 4HEINTELLECTUALEFFORTSOFREASONINGANDANALYZINGTHEDRAMADONOTLEADTO ANYUNAMBIGUOUSCONCLUSION4HESPECTATORSSHARINGOFTHESAMESPACEWITH PROTAGONISTSMETAPHORICALLYQUESTIONSTHEEXISTENCEOFONESOLIDTRUTHABOUT THETRAGEDYOF*ULIE "SMBOEFS !SIMILARIDEACANBESEENINTHESCENOGRAPHICARRANGEMENTSUGGESTEDBY 3TRINDBERGFOR-ISS*ULIEINHISPREFACE"YOFFERINGTHESPECTATORSASEEMINGLY ACCIDENTALVIEWHEWANTEDTOBRINGTHEMINSIDETHESPHEREOFTHEPLAYWORLD !S&REDDIE2OKEMHASSHOWNTHEPARTIALVISIBILITYALSOPOINTSTOTHELIM ITSOFKNOWLEDGE4HEDIAGONALSETPROPOSEDBY3TRINDBERGISACONSCIOUS FRAMINGOFTHEVISUALlELDLEAVINGPARTOFTHESCENERYHIDDEN4HEREISACON TINUOUSNEGOTIATIONBETWEENWHATISSEENANDWHATNOTANDTHEKNOWLEDGE ABOUTTHEPLAYWORLDISMARKEDBYUNCERTAINTY 3PLFN¬ \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HEPHYSICALCLOSENESSISANOBSTACLEFORAHOLISTICVISIONBUTISALSOANINDI CATIONOFBEINGPRESENTINANAUTHENTICLOCATION7HENYOULOOKATSOME THINGFROMTHEOUTSIDEYOUHAVEAMORECONTRIVEDVIEW)TISLIKELOOKINGATA POSTCARDCOMPAREDTOVISITINGTHESITE)FYOUWANTTOHAVEHOLISTICVIEWOFA SCENEWHERETHEDETAILSAREINRATIONALRELATIONTOEACHOTHERYOUHAVETOBE OUTSIDEIT"YPOSITINGTHESPECTATORINSIDETHEPERFORMANCESPACETHE+/- STAGINGMADEHIMHERPARTOFTHEVISUALlELDWHICHISTRADITIONALLYTHEOB SERVEDSITE)TWASHISHEROWNEXISTENCETHERETHATPREVENTEDTHESPECTATOR FROMGETTINGRELIABLEINFORMATION (ERETHESIMPLEACTOFSEEINGCOMPARESMETAPHORICALLYTOAPOPULARCON CEPTOF(EISENBERGSPRINCIPLEOFUNCERTAINTYINPHYSICSACCORDINGTOWHICH THEACTOFMEASURINGPREVENTSTHEPOSSIBILITYOFATTAININGEXACTINFORMATION ABOUTALLVARIABLESINASYSTEM)TISASIFTHEPRESENCEOFTHEOBSERVERWOULD HAVEANINmUENCEONTHESYSTEMSHEOBSERVES3IMILARLYTHESPECTATORAT +/-WASMADEAWAREOFHISHERIMPACTONTHEPERFORMANCEASANESSENTIAL PARTICIPANTINIT !NNETTE!RLANDERHASFORMULATEDANIMPORTANTDISTINCTIONBETWEENTWO ALTERNATIVEWAYSOFSHARINGTHEPERFORMANCESPACEEITHERBRINGTHEPERFORM ANCEINTOTHEAUDITORIUMORPLACETHESPECTATORSONTHESTAGEINSIDETHE SCENERY)NTHELATTERCASETHESHAREDSPACEISCONCEIVEDOFASAlCTIVEMILIEU OFTHEPLAYWHERETHEAUDIENCEISINVITEDIN6ICEVERSAWHENTHEACTORSOC CUPYTHESPECTATORSSPACEITISCONCEIVEDASA@REALTHEATERROOMHOUSINGA PERFORMATIVEEVENT 4HESCENOGRAPHYAT+/-AVOIDEDALLILLUSTRATIVESIGNSSIGNIFYINGTHElCTIVE ENVIRONMENTOF-ISS*ULIE)NTHATRESPECTITBELONGSTOTHEFORMERTRADITION OFACTINGINTHE@REALSPACEOFAUDIENCE/NTHEOTHERHANDANILLUSIONOFA PLACEWASCREATEDTHATNEVEREXISTEDONTHELEVELOFEVERYDAYLIFE+INO#ABA RETWASPREVIOUSLYAMOVIETHEATERANDWASUSEDBY+/-REGULARLYATTHAT TIMEBUTITNEVERWASACAFETERIAOUTSIDETHECONTEXTOF-ISS*ULIE 4HEAUDIENCESIN+/-WEREINVITEDTOMAKEUPATHEATRICALSITUATIONWITH NOREFERENCESTOTHElCTIVEENVIRONMENTOFTHEDRAMA4HEARRANGEMENT SERVEDASASETTINGREPRESENTINGANUNCONVENTIONALTHEATERSPACEBUTITWAS ANILLUSIONITSELF4HISBRINGSTOMINDTHEANALOGY5NA#HAUDHURISDRAWS BETWEENENVIRONMENTALTHEATREUSINGTHEAUDIENCEASASEMIOTICELEMENTOF -ISS*U L IE IN +/-T EAT TER I \ "SMBOEFS THEPERFORMANCEANDANECOLOGICALATTITUDECALLEDRESOURCISM4HELATTERCON CEPTREFERSTOTHENATURALWORLDASANENDLESSSOURCEOFRAWMATERIALFORMORE ADVANCEDCULTURES)NTHESAMEWAYTHEAUDIENCEBECOMESTHESOURCEOFITS OWNTHEATRICALEXPERIENCEANDARESOURCEUSEDFORARTISTICPURPOSES )N+/-THEREWERETWOSIMULTANEOUSPERFORMANCESGOINGONONEREPRESENT INGTHESTORYOF-ISS*ULIEANDANOTHERSTAGINGTHETHEATRICALHAPPENINGITSELF %VERYONEPRESENTTHERETOOKPARTTOTHELATTERBUTONLYTHEACTORSWEREPER FORMINGTHEFORMER4HEAUDIENCEIN+/-WASHOWEVERNOTANESSENTIALEL EMENTFORTHElCTIONOFTHEPLAY4HESPECTATORWASANECESSARYnBUTPERHAPS NOTALWAYSVOLUNTARYnCOACTORPLAYINGTHEROLEOFASPECTATOR 7HENTHEPERFORMANCEWASLATERMOVEDTOTHE+OITTOSTAGEONLYPARTOFTHE AUDIENCEWERESEATEDATTABLESTHEOTHERSWERESITTINGINTWONORMALAUDITO RIUMSTALLSFACINGEACHOTHER)NTHISCASETHEREWERETWOKINDOFSPECTATORS PUBLICANDPRIVATEONES "OTHTHEAUDIENCEANDTHEPLAYERSIN-ISS*ULIEWEREUSEDFORSTAGINGTHETHEA TRICALSITUATIONANDTHISSITUATIONWASTHEMAINFOCUSOFTHEPERFORMANCE 7HEN)LOOKEDATTHEVIDEOOFTHEPERFORMANCEITOCCURREDTOMETHATAL MOSTANYINTIMATEPLAYCOULDHAVEBEENPERFORMEDINTHESAMESPACE4HE CAFETERIASOLUTIONOFCOURSEHADANEFFECTONTHEREADINGOFTHEPLAYBUTIT SEEMEDUNJUSTIlEDBYTHEANALYSISOFTHECHARACTERSANDTHEIRFATES)TSREA SONINGWASARGUABLYLINKEDTOPREVIOUSSTAGINGSOF-ISS*ULIEANDDIFFERENT THEATRICALTRADITIONS 4 ( % 2 ( % 4 / 2 ) # / & 3 4! ' % 3 0! # % 4HEREWASAGENERALENTHUSIASMFOREXPERIMENTINGWITHSTAGESPACEIN&INN ISHTHEATERDURINGTHESANDS4HEPROPOSALSFORCREATINGNEWKINDS OFAUDIENCERELATIONSHIPSWEREOFTENINmUENCEDBYIDEASOFDEMOCRACYTHAT WOULDALLOWTHESPECTATORSTOPARTICIPATEINTHEPERFORMANCES4HISTHINK INGWASPERHAPSMOSTCLEARLYEXPRESSEDBYTHEWRITINGSOFTHE3WEDISHTHE ATERMAKER0ER%DSTRMANDTHE&INNISHARCHITECTANDSCENOGRAPHER0ENTTI 0IHAWHOSEJOINTBOOK2OOMAND0ERFORMANCE2UMOCHTEATERWASFRE QUENTLYREFERENCEDBYTHEATERPRACTITIONERSINSANDS)NTHEIRVIEW $IBVEIVSJ \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES THETHEATRICALSPACEWASADETERMININGTOOLOFTHERHETORICALATTITUDEOFCOM MUNICATION )NHISBOOK7HY.OT4HEATRES-ADEFOR0EOPLE0ER%DSTRMPRESENTSHISTHE ORYALLSPATIALFORMSOFTHEATERHAVEDEVELOPEDFROMASIMPLESITUATIONWHERE PEOPLEGATHERAROUNDANINTERESTINGEVENT4OMETHISIDEAISASPATIALEQUIVA LENTTOTHE"RECHTIANSTREETSCENEWHERETHEESSENCEOFATHEATERISENACTED WHENSOMEBODYTELLSOTHERPEOPLEONTHESTREETABOUTARECENTACCIDENT%D STRMFURTHERPROPOSESTHATTHEDIFFERENTBASICFORMSOFTHEATERhWERECREATED BYTHESHAPEOFTHEBORDERLINEANACTORPUTSBETWEENHIMSELFANDHISAUDIENCE WHICHINTURNDEPENDSONTHESTYLEOFLANGUAGEANDEXPRESSIONHECHOOSESv 4HEORGANIZATIONOFSPACEISTHUSSEENASTHECREATIONOFACOMMUNICATIVE MEDIUMTHATDElNESTHEPOSITIONSOFSENDERANDRECEIVER%DSTRMPARTICU LARLYDISTINGUISHESBETWEENTHESOCALLEDMONOLOGUEORPICTURESTAGEANDTHE FORMOFANARENA4HECRUCIALQUESTIONHEREISWHETHERTHEPERFORMERSSPEAK TOAPASSIVEAUDIENCEORWHETHERTHESPECTATORSAREINCLUDEDINTHECOMMU NICATIONASACTIVEPARTICIPANTS!CCORDINGTO%DSTRMTHEARENAISADEMOCRAT ICARRANGEMENTWHEREEVERYBODYHASANEQUALOPPORTUNITYTOACTANDSPEAK WHEREASTHECONVENTIONALFRONTALSTAGEISMEANTFORAUTHORITARIANMONOLOGUES ANDPICTURETHEATERS 7HATKINDOFASPEECHSITUATIONWASCREATEDBYTHESCATTEREDCAFETERIASTAG INGOF-ISS*ULIE)TWASNEITHERANARENANORAMONOLOGUEORPICTURESTAGE 4HINKINGINTERMSOFACURIOUSCROWDGATHERINGAROUNDANEVENTASTHEGERM OFTHEATERITCOULDBESAIDTHATTHECAFETERIAMAKESUPTHESPATIALSITUATION BEFORETHISSPONTANEOUSGATHERING7HENTHESPECTATORSENTEREDTHECAFETERIA THEREWASNOTHINGSPECIlCONWHICHTOFOCUSONESATTENTION7HENTHEACTORS STARTEDTHEPLAYTHESPECTATORSHADTOMAKEANEFFORTINORDERTOHAVEABET TERLOOKATWHATWASGOINGON4HETEMPTATIONTOSTANDUPTURNAROUNDOR CHANGEPLACEEXISTEDBUTTHISCOULDNOTBEDONEBECAUSETHEIMPLICITRULESOF THEATERBEHAVIORPROHIBITEDTHIS)THINKTHATTHESPATIALSITUATIONIN-ISS*ULIE PRESENTEDTHEMOMENTWHENADESIRETOSEEANEVENTISSTIMULATEDBUTCANNOT BECOMPLETELYSATIATED )NTHESCATTEREDSTAGINGAT+/-THESPECTATORSPERSONALVIEWPOINTSEXISTED ASARESULTOFDIFFERENTLIMITATIONS!LTHOUGHNOTONESINGLEAUDIENCEMEMBER -ISS*U L IE IN +/-T EAT TER I \ &ETUSzN &ETUSzN HADACCESSTOALLTHESCENESTHECOMPILATIONOFTHEPERCEPTIONSOFALLSPEC TATORSCOVEREDTHEWHOLESPACE&ROMTHEVIEWPOINTOFTHEPROTAGONISTSTHE COMMUNITYOFTHEAUDIENCEWASLIKEONEBIGEYETOGETHERTHEYWERECAPABLE OFPERCEIVINGEVERYTHINGONSTAGE *ULIEHADNOPLACEWHERESHECOULDHIDEFROMALLTHEGAZESBUTNOINDIVIDUAL VIEWOFHERCOULDBECOMPLETE4HISISINFACTTHEPAINFULNESSOFPUBLICEX POSURE!NYPUBLICREVELATIONOFTHEPRIVATEMINDISDISTORTEDBECAUSEOFTHE LIMITSOFEVERYINDIVIDUALPERSPECTIVE(OWEVERYOUCANNOTESCAPETHEEYESOF OTHERPEOPLEWHODElNEYOURBEINGONTHEBASISOFTHEIRPARTIALKNOWLEDGE (EREINALSOLIESTHEDIFFERENCEBETWEENTHESPATIALRHETORICOF+/-ANDTHAT OF3TRINDBERG4HEREISNODOUBTTHATTHEYSHAREACOMMONIDEAABOUTAUDI ENCEANDACTORSOCCUPYINGTHESAMESPACEEVENIFITWASCARRIEDOUTCONCRETELY IN+/-ANDEXPRESSEDONLYABSTRACTLYANDIMPLICITLYBY3TRINDBERG4HEVI SUALACCESSTOTHEPLAYWASHOWEVERCONSTRUCTEDINVERYOPPOSITIONALWAYS )NTHE+/-STAGINGWHATYOUSAWWASAMATTEROFPERSONALLUCKANDCOIN CIDENCE(OWEVERTHECREATIONOFTHESESPATIALCIRCUMSTANCESWASARATHER MANIPULATIVECONSTRUCTIONANDTHISWASNOTHIDDEN/NTHECONTRARYTHE SPECTATORSTRYINGTOHAVEABETTERLOOKWEREPROBABLYVERYAWAREOFTHEEXIST ENCEOFASCENOGRAPHERWHOHADPLACEDTHEMINPROBLEMATICPOSITIONSON PURPOSE7ITHTHESPATIALDESIGNHEUSEDAVISIBLEPOWERTOLIMITTHEGAZEOF THESPECTATORSBUTHECOULDNOTEXACTLYANTICIPATEWHATEACHOFTHEMWASGO INGTOSEE)NSTEADOFAPLANNEDPERCEPTIONTHEREWEREAVARIETYOFUNPREDICT ABLEFRAMEDPOINTSOFPERCEPTION 4USJOECFSH 2ESPECTIVELYAPLAYWORLDBUILTACCORDINGTO3TRINDBERGSSCENICINSTRUCTIONS APPEARSTOBEOCCASIONALLYFRAMEDBUTINFACTEVERYTHINGISVERYCAREFULLY PLANNED&OREXAMPLE3TRINDBERGDESCRIBESTHESCENEWHERE*EANCHANGESHIS COATINTHEFOLLOWINGWAYh'OESFURTHEROVERTOTHERIGHTONEOFHISARMS CANBESEENASHECHANGESHISCOATv)NORDERTOCARRYTHISSCENEOUTTHERE MUSTBEACORNERINTHESETWHICHFRAMES*EANPARTLYOUTOFTHELINEOFVI SION)TISNOTENOUGHTOHAVEASITEWHERETHEACTORCANHIDEBUTTHEBOUND ARYBETWEENVISIBILITYANDINVISIBILITYMUSTBESTRINGENT/THERWISE*EANS ARMCOULDNOTBEFRAMEDSODISTINCTIVELY4HISISONLYPOSSIBLEINAFRONTAL AND@NARROWSTAGINGWHEREALLSPECTATORSHAVEAPPROXIMATELYTHESAMEVIEW OFTHESCENERY \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES !SCATTEREDSTAGINGWILLBELOOKEDATFROMALLANGLESANDDIRECTIONS4HERE CANBENOTHEATRICALSECRETSHIDDENINTHEBACKOFTHESET)NSCENOGRAPHIC TERMSITMEANSTHATYOUCANRARELYCREATEANYSUGGESTIVEILLUSIONS(ENCETHE SCENICVISIONDOESNOTCONSCIOUSLY@LIEBUTITNEVERTELLSTHEWHOLETRUTHTO ANYINDIVIDUALSPECTATOR )NTHISSENSETHERHETORICOFVISIBILITYINNATURALISMANDENVIRONMENTALISM ARECONTRADICTORY)NNATURALISMEVERYBODYINTHEAUDIENCESEESTHESAME LIMITEDVIEWWHICHCONCEALSITSMARGINS)NASCATTEREDSTAGINGNOBODYSEES EVERYTHINGANDTHEYALLKNOWIT(OWEVERNOWHEREONTHESTAGEISCOM PLETELYINVISIBLETOEVERYBODY 7HENYOUAREREALLYINSIDEASPACEYOUCANONLYPERCEIVETHEDETAILSTHATARE WITHINYOURREACH9OUHAVEADIRECTEXPERIENCEBUTYOUCANNOTSEETHEDE TAILSINLOGICALRELATIONTOEACHOTHERORINRELATIONTOTHELARGERCONTEXT5N DERSTANDINGTHESERELATIONSHIPSWASONECENTRALAIMSOFNATURALISMPROPOSED BY3TRINDBERG 7HATWEWANTTOSEEAREJUSTTHEWIRESTHEMACHINERY7EWANTTO INVESTIGATETHEBOXWITHTHEFALSEBOTTOMTOUCHTHEMAGICRINGIN ORDERTOlNDTHESUTUREANDLOOKINTOTHECARDSTODISCOVERHOWTHEY AREMARKED 4HE3TRINDBERGIANVISIONSHOULDSERVEASASOURCEOFDEEPERKNOWLEDGE4HE ACCIDENTALNATUREOFTHELINEOFSIGHTIN+/-DENIEDTHISPOSSIBILITY4HERE THELIMITSOFEMPIRICALKNOWLEDGEDONOTAPPEARASPREVIOUSLYGIVENANDPER MANENTBUTASDEPENDINGONPARTICULARANDCHANGINGCONDITIONS%VENIF) PERSONALLYDONOTSEESOMETHINGSOMEBODYELSEWILLANDMOREOVERTHEREIS SOMETHINGTHATPREVENTSMEFROMPERCEIVINGIT)MIGHTEVENTRYTOREMOVE THEOBSTACLESMOVETOANOTHERPLACEINORDERTOHAVEABETTERLOOKORASK OTHERSTOTELLMEWHATTHEYSAW )NORDERTOKNOWMORETHESPECTATORCOULDACTUALLYTURNTOASKOTHERMEM BERSOFTHEAUDIENCEANDASARESULTTHERECEPTIONANDINTERPRETATIONOFTHE PLAYBECOMESACOLLECTIVEPROCESS4HISISINACCORDANCEWITHTHEIDEOLOGYOF +/-THATEMPHASIZESDEMOCRACYANDTOGETHERNESSANDALSOFACILITATESTHE CREATIONOFACOMMUNITYTHATYOUHAVETOINTERACTWITHWHENSEEINGAPER FORMANCE -ISS*U L IE IN +/-T EAT TER I \ 4USJOECFSH YWJ /NTHEOTHERHANDTHE+/-PERFORMANCEEMPHASIZEDTHENOTIONTHATASA SPECTATORYOURVIEWISALWAYSDIFFERENTFROMTHATEXPERIENCEDBYYOURNEIGH BOR7HENTHEPERFORMANCEISSEENFROMDIFFERENTPERSONALVIEWSITISLIKE CREATINGSMALLTHEATRICALSPACESTHATARETEMPORALANDINDIVIDUAL4HESPATIAL RELATIONSHIPBETWEENEACHSPECTATORANDACTORISFORMEDANDRENEWEDCON STANTLY4HECONCEPTOFTHEATRICALSPACETHEREFOREBECOMESAHUMANINTERACT IONRATHERTHANAPHYSICALPLACE )THINKTHATTHEINTERESTINEXPERIMENTATIONWITHSHAREDSPACEHASDIMIN ISHEDINTHERECENTPAST4HEENVIRONMENTALTHEATERMOVEMENTFROMTHE PERSPECTIVEOFTODAYALREADYSEEMSOUTDATED(OWEVER)DONOTTHINKTHAT WEHAVESIMPLYRETURNEDTOFRONTALITYASITWASCONCEIVEDINOPPOSITIONTO ENVIRONMENTALISM2ATHERTHEINTERACTIVEANDCONSTRUCTEDCHARACTEROFTHEA TERHASBECOMESOOBVIOUSTOUSTHATITDOESNOTHAVETOBEEMPHASIZEDBYA SPECIALMANIPULATIONOFSPATIALRECEPTION4HEATERMAKERSANDAUDIENCESARE AWAREOFTHECOMPLEXITYRELATIVITYANDSUBJECTIVITYOFSPATIALPROBLEMATIC 4HEEMERGENCEOF@SMALLPERSONALSTAGESACTUALLYHAPPENSINANYPERFORM ANCEBECAUSEEACHSPECTATORRECEIVESTHEPLAYINHISHEROWNWAY 3 0!4 ) ! , ) $ % / , / ' ) % 3 (ENRI,EFEBVREHASSUGGESTEDTHATSPATIALCODESCANBEUNDERSTOODONLYIN RELATIONTOPARTICULARSPATIALPRACTICESWITHINTHESOCIETY4HEMEANINGSOF THESPACEAREmEXIBLEANDTHEYAREFORMEDBYINTERPRETATIONSOFSOCIALPOWER RELATIONSANDVALUES!CCORDINGTO,EFEBVRETHEREISATRIADCONSISTINGOF SPATIALPRACTICESREPRESENTATIONSORCONCEPTUALIZATIONSOFSPACEANDREPRE SENTATIONALORDIRECTLYLIVEDSPACES4HETHEATERISANESPECIALLYCOMPLICATED CASESINCEALLTHEDIMENSIONSAREINVOLVEDHERE4HEATERISASOCIALPRACTICE ANDAREPRESENTATIONALSPACEBECAUSEOFBEINGASIGN4HESCENICDESIGNFOR ITSPARTISACONCEPTUALIZATIONOFSPACE "SPOTPO 7HATKINDOFSOCIALPRACTICESWEREPRESENTINTHECAFETERIASTAGINGOF-ISS *ULIE7HATKINDOFMEANINGSDOTHEYCONTRIBUTETOTHEREADINGOFSCENOG RAPHY -FGFCWSF ¬4BBSJLBOHBT ¬ 8JMFT¬ 4HEONLYTHINGSTHATWERETOTALLYDISCERNABLEWERETHETWOCOMMONPLACE SPATIALPRACTICESCOMBINEDIN+INO#ABARETTHATOFACAFETERIAANDTHATOFA \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES THEATERVENUE4HISELICITSSEVERALMEANINGSFROMTHEDIALOGUEBETWEENTHESE SPATIALPRACTICESANDBETWEENTHEMANDTHE#OUNTSKITCHENWHERETHEPLAY WASSUPPOSEDTOTAKEPLACE !THEATERANDACAFETERIAHAVEALOTINCOMMON"OTHAREPUBLICPLACESAF lLIATEDWITHLEISURETIMEENTERTAINMENTANDSOCIALRELATIONS/FCOURSETHE DIFFERENCEBETWEENTHEMISTHATTHETHEATERISASITEFORWATCHINGlCTIVECHAR ACTERSWHEREASTHECAFETERIASERVESASAPLACEFOREATINGDRINKINGMEETING FRIENDSANDMAKINGNEWACQUAINTANCES !LTHOUGHYOUARENOTSUPPOSEDTOSTAREATSTRANGERSINACAFETERIALOOKINGAT PASSERSBYISPARTOFTHEFASCINATIONOFSITTINGTHERE9OUAREALSOAWARETHAT YOUMIGHTBEANOBJECTOFINTERESTYOURSELF2ESPECTIVELYPEOPLEGOTOTHE THEATERNOTONLYTOSEEPERFORMANCESBUTALSOBECAUSEOFTHESOCIALASPECT 4HECOFFEESERVEDDURINGTHEINTERVALPLAYSANIMPORTANTROLEFORMANYSPEC TATORS9OUCANALSOSEEAMOREMETAPHORICALCOMPARISONTHEREENJOYINGA THEATERPERFORMANCEISMUCHLIKEENJOYINGREFRESHMENTS /NEIMPORTANTDIFFERENCEBETWEENTHEORIGINAL3TRINDBERGIANKITCHENANDA CAFETERIAISTHEDEGREEOFPUBLICEXPOSURE)NTHE#OUNTSMANORTHEKITCHEN WASAROOMHIDDENFROMTHEEYESOFTHEHIGHSOCIETYWHOLIVEDINANOTHER PARTOFTHEHOUSE/NTHEOTHERHANDTHESERVANTSWORKINGINTHEKITCHEN THEREALLOWEDNOPRIVACY!CAFETERIAISARELATIVELYOPENPLACEMOREORLESS CONDUCIVETOPEOPLEWATCHINGANDTHEWAITERSTHEREAREINDEPENDENTINDI VIDUALSWHOHAVETHEIRPRIVATELIVESANDHOMESELSEWHERE !CAFETERIADOESNOTREPRESENTTHESOCIALPOWERSYSTEMSPRESENTINTHEKITCH ENRATHERITSTRESSESTHEFREECHOICEOFPEOPLEINHABITINGITMOREORLESSACCI DENTALLY3INCEITISANOPENPUBLICPLACEITISNOTSUCHABIGDEALIF*EANAND *ULIEARESEENTOGETHERTHERE4HEGOSSIPINGCROWDFORCINGTHEMTOESCAPE TO*EANSROOMWASLEFTOUTOFTHE+/-PERFORMANCE*EANAND*ULIELEFTTHE STAGEQUITEVOLUNTARILYEMBRACINGEACHOTHERANDTOTALLYAWAREOFWHATWAS GOINGTOHAPPEN4HECAFETERIASPACEDIDNOTIMPOSETHEFATALFORCEOFTHE #OUNTSKITCHEN 4HEHISTORYOFURBANCAFETERIASGOESBACKTOTHEMIDDLEOFTHCENTURY WHENNEWTYPESOFPLACESTHATBLURREDTHEBOUNDARYBETWEENTHEPUBLICAND PRIVATESPHEREEMERGEDLIKECOFFEEHOUSESTERRACESBOULEVARDSANDDEPART -ISS*U L IE IN +/-T EAT TER I \ MENTSTORES4HEYOFFEREDANOPPORTUNITYTOMOVEOUTSIDETHEHOMEAND EVENTOBEmANEURSPARTICULARLYFORMIDDLECLASSWOMEN)NTHISSENSETHE CAFETERIAENVIRONMENTGAVE*ULIEANEWDIMENSIONASAMODERNWOMANASSO CIATEDWITHTHEURBANSOCIETY4HENOBLEWORLDOFTHE#OUNTSHOUSESEEMED TOTALLYFORGOTTEN#OMINGTOTHECAFETERIADIDNOTMEANTHAT*ULIELOWERED HERSELFBUTITOFFERED*ULIEAND*EANEQUALPOSITIONING4HEIRRELATIONSHIPWAS THATOFTWOPEOPLEWHORATHERACCIDENTALLYWEREDRIVENTOHAVEANAFFAIR 4HESPATIALMILIEUIN+INO#ABARETWASNOTVISUALLYCHARACTERIZEDASAPAR TICULARTYPEOFCOFFEEHOUSE/NTHEOTHERHANDTHISSIMPLICITYCOULDSUGGEST ANINFORMALCAFETERIAVISITEDBYYOUNGINTELLECTUALSANDSTUDENTSWHODONOT CAREFORDECORATIONS4HEIMPRESSIONWASSTRENGTHENEDBYTHECHEAPDISPO SABLECOFFEECUPS!CCORDINGTO,AURA*ØNTTITHEREASONFORTHISWASTHATTHEY HADNODISHWASHINGFACILITY4HESAMEKINDOFCUPSWASALSOUSEDINTHE +/-LOBBYDURINGTHEINTERMISSIONOFALLPERFORMANCESANDASARESULTTHEY REFERREDMOREGENERALLYTO+/-SBROADERAUDIENCEASPOTENTIALCUSTOMERSOF THElCTIVECAFETERIA 4HECAFETERIACOULDBEUNDERSTOODASTHE+/-SPACEDISCERNIBLEBYAN AVOIDANCEOFRIGIDFESTIVITY&OREXAMPLEITWASCUSTOMARYFORACTORSTHERETO WORKATTHECOATCHECKANDSELLCOFFEEINTHELOBBY)TWASNOTONLYAPRACTICAL NECESSITYBUTALSOADECLARATIONOFTHEIRDEMOCRATICANDINFORMALATTITUDES !SMENTIONEDABOVEONEREFERENCEPOINTFORTHESTAGINGOF-ISS*ULIEWASTHE HISTORYOF+/-ASAGROUPWHOSTARTEDITSACTIVITYASACAFETERIATHEATER 7HENTHEPERFORMANCEWASLATERMOVEDTOTHE+OITTOSTAGEITGAINEDAPOLITI CALDIMENSIONBECAUSETHEVENUEWASHISTORICALLYLINKEDTOTHELABORMOVE MENTANDINTHESITWASOCCUPIEDBYTHEEXTREMELEFT4HISWASNOTA CONSCIOUSAGENDAMOTIVATEDMOVEBUTRATHERAPRACTICALNECESSITY2EGARD LESSITGREATLYINmUENCEDTHERECEPTIONOFTHEAUDIENCESTHATWEREAWAREOF +OITTOSAND+/-SPOLITICALREPUTATIONS 4BBSJLBOHBT &ROMTHEBEGINNING+/-TEATTERIWASTHEMOSTWELLKNOWNGROUPCOM MITTEDTOTHENEWLEFTISTIDEOLOGIESINTHELATESANDS#ANTHISPO LITICALENGAGEMENTBELINKEDTOTHEUSEOFSTAGESPACE#ANSCENOGRAPHYBE POLITICAL +jOUUJ ,BSIV \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES !CCORDINGTO-ERJA,IISA+ARHUWHOHASWRITTENTHEHISTORYOF +/- STRONGINTERPRETATIVESTATEMENTSABOUTTHEPLAYANDANAVOIDANCEOFILLUSTRA TIONDElNEDTHEIRPERFORMANCES4HEVISUALLYREDUCEDSTYLEASYSTEMATIC AVOIDANCEOFNATURALISMANDSPATIALEXPERIMENTATIONSWEREALSOCHARACTERISTIC OFTHESCENOGRAPHIESIN+/-MOSTLYCREATEDBY-»NS(EDSTRM +/-SREJECTIONOFREALISTICILLUSTRATIONSWASNOTONLYAMATTEROFSTYLEBUT ALSOACALLFORAFUNDAMENTALLYDIFFERENTCONCEPTOFTHEATRICALCOMMUNICA TION!CCORDINGTO7"7ORTHENTHEANTITHESISTOREALISMISUSUALLYFOUND INPOLITICALTHEATERTHATOPENLYMAKESSTATEMENTS4HISISOPPOSITIONALTO THERHETORICOFREALISMTHEHALLMARKOFWHICHISNOTVERISIMILITUDEBUThTHE FRAMINGMACHINERYTHATSEEMSTOMAKESUCHLIFELIKENESSAPPEARv4HEREALIS TICSCENECLAIMSTOOFFERTHESPECTATORAFREEDOMOFJUDGMENTBYDENYINGITS OWNRHETORICITY 4HETHEATRICALPRACTICEOF+/-DETERMINEDBYITSIDEOLOGYALSOAPPEARED INITSSCENOGRAPHICSTYLEWHICHBECAMEA+/-HALLMARK,IKEOTHERTHEATER GROUPSATTHETURNOFSANDSTHEARTISTSIN+/-WANTEDTOOFFERAN ALTERNATIVETOTHECONSERVATIVEREPERTOIREOFMAINSTREAMTHEATERADDRESSEDTO MIDDLEANDUPPERCLASSAUDIENCES4HESPATIALPRACTICESOFBOURGEOISTHEATER WEREIDENTIlEDWITHLARGEINSTITUTIONALHOUSESWITHCONVENTIONALPROSCENIUM STAGESTHATSEPARATEDTHEAUDIENCEFROMTHEPERFORMANCE &OR+/-THEATERWASATOOLFORINFLUENCINGATTITUDESANDCHANGINGTHE WORLD.OTONLYDIDTHEYSTAGEOPENLYPOLITICALPLAYSAT+/-BUTTHEYALSO SOUGHTTOATTRACTNEWAUDIENCESWHOWERENOTTRADITIONALTHEATERGOERS4HIS WASMADEPOSSIBLEBYBRINGINGTHEPERFORMANCESTOSITESWHERETHISAUDIENCE ALREADYWASTOPLACESOFWORKSCHOOLSANDINSTITUTIONS3INCETHEYHADTO CARRYTHEIRSETSANDPROPSINTOPLACESWITHOUTTECHNICALEXPERTISEORFACILITIES THESCENOGRAPHIESHADTOBEVERYSIMPLEBUTSTILLCOMMUNICATETHEIRIDEAEF FECTIVELY 4HE+/-SCENOGRAPHIESDEVELOPEDINCONJUNCTIONWITHITSTRADITIONOFAS PIRINGTOBEEMPHATICALLYDIFFERENTFROMMAINSTREAMMODELSOFPRODUCTION !LTHOUGH+/-HADAPERMANENTVENUEOFITSOWNFROMONWARDTHE SCENOGRAPHIESMAINTAINEDTHEIRREDUCEDANDFUNCTIONALSTYLEHOWEVERTHEY WEREMORECONCERNEDWITHSPATIALEXPERIMENTS4HISSCENOGRAPHICATTITUDE HADBECOMEASIGNFORTHEVALUESCONNECTEDTO+/- -ISS*U L IE IN +/-T EAT TER I \ ,BSIV¬ 8PSUIFO ¬ ,BSIV¬ ¬ "YTHES+/-PERFORMANCESHADAREPUTATIONFORTURNINGCONVENTIONAL TRADITIONSUPSIDEDOWNANDCREATINGNEWINTERPRETATIONSANDAPPROACHESTO CLASSICALTEXTS4HEBREAKINGDOWNOFTRADITIONSISPROBLEMATIC!NAWARE NESSOFCONVENTIONALTRADITIONSISANESSENTIALPARTOFCHALLENGINGTHEM!N EXPERIMENTALPERFORMANCEISRADICALONLYCOMPAREDTOWHATISEXPECTEDON THEBASISOFPREVIOUSTRADITIONS7HENTHEEXPERIMENTSFORMATRADITIONOF THEIROWNTHEIRPROVOCATIVEPOWERISDIMINISHED)NSTEADOFAMAZINGTHEAU DIENCEWITHBROKENEXPECTATIONSTHEABILITYTOCHOOSEREPRESENTATIVEMODES ANDSTYLESISMADEAPPARENT)NSTEADOFBASINGTHEATRICALCOMMUNICATIONON ATOTALLYNEWFOUNDATIONTHEEXPERIMENTSAREDIFFERENTPARADIGMSTHATCREATE NEWCONVENTIONS -ISS*ULIEWASPRODUCEDINWHENTHEHEYDAYOFTHELEFTISTGROUPMOVE MENTWASOVERAND+/-WASINANECONOMICCRISIS4HEREWASALSOACHANGE INTHEPOLITICALATMOSPHEREANDAGENERALREVALUATIONOFLEFTISTIDEOLOGIES 4HERADICALPOLITICSOFTHESAPPEAREDASTOOSIMPLEANDONESIDEDTOTHE NEWGENERATION-ERJA,IISA+ARHUWRITESTHATATTHEENDOFS+/-SPO LITICALMANIFESTOSWERECONSIDEREDTIREDANDANINTERESTINCLASSICALPLAYSWITH MOREPSYCHOLOGICALDEPTHINHUMANCHARACTERIZATIONINCREASED4HEPRODUC TIONOF-ISS*ULIEWASONEEXAMPLEOFTHISDEVELOPMENT +ARHUWRITESTHATAT+/-THECOLLAPSEOF*ULIEWASAPERSONALTRAGEDYCAUSED BYHERLOSSOFDIGNITYANDHERDISAPPOINTMENTWITHPEOPLEINGENERAL4HE INTERPRETATIONOF-ISS*ULIEWASTHUSBASEDMOREONINDIVIDUALANDHUMAN TRAITSANDFAILURESTHANONANANALYSISABOUTSOCIALFORCESORGENDERSTRUGGLES 4HEDIRECTOR*ØNTTIREMARKEDTHATTHEACTRESSPLAYING*ULIE-ARJA,EENA +OUKIWASVERYFARFROMANUPPERCLASSCHARACTERANDHERREPRESENTATIONOF THEROLEUNDERMINEDCLASSDISTINCTIONS)NHERPERFORMANCETHETRAGEDYWAS DUE*ULIESINNOCENCEANDIGNORANCE *ULIEWASASKINGFORLOVEBUTSHEWASREJECTED)TWASHERLONGINGFOREROTI CISMTHATMADE*ULIEFALLFOR*EAN4HISWASAMISTAKEBECAUSE*ULIEDIDNOT REALIZETHAT*EANWASTAKINGADVANTAGEOFHERUNTILITWASTOOLATEANDTHIS HURTHERSODEEPLYTHATSHEWASWILLINGTOCOMMITSUICIDE ,BSIV ,BSIV ¬ +jOUUJ *ULIESSUICIDEBECAMESOMEHOWUNNECESSARY4HEREWASNOSOCIALEVOLU TIONTHATWOULDLEADTOABRIGHTERFUTUREANDGIVE*ULIESSADFATEAPURPOSE .ORWASTHEREAMETAPHYSICALDESTINYGUIDINGTHEEVENTS(ERDISAPPOINT \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES MENTANDDEATHWERECAUSEDBYUNHAPPYCOINCIDENCESANDHUMANMISTAKES 7HEN)SAWTHEPERFORMANCEONVIDEO)WASNOTSUREWHETHER)WOULDEVEN HAVEUNDERSTOODTHAT*ULIEWASGOINGTOCOMMITASUICIDEUNLESS)WASFA MILIARWITHTHEPLAY0IA)NGSTRMALSONOTEDTHATTHEPERFORMANCEGAVETHE IMPRESSIONTHAT*ULIECOULDHAVEMADEANOTHERCHOICEh(ER3TRINDBERGIAN DESTRUCTIONBECOMESSUDDENLYANDISONLYONEPOSSIBILITYAMONGMANYONE BEGINSTOHOPEv )THINKTHATTHETRAGEDYOFHERSTORYWASEXACTLYTHELACKOFAlNALCAUSEFOR ANDCONSEQUENCEOFHERDEATH3HECOULDHAVESURVIVEDBUTSHEJUSTDIDNOT 4HEREWERENOhWIRESMACHINERIESORFALSEBOTTOMSvTOBEREVEALEDASPRO POSEDBY3TRINDBERGINTHEPREFACE #OMPAREDTO+/-SEARLYPOLITICALMANIFESTATIONS-ISS*ULIEWASANEXPRES SIONOFAMOREMULTILEVELEDANDRELATIVISTICVIEWOFTHEWORLD4HEMULTIPLICI TYOFDIFFERENTVIEWPOINTSOFFEREDBYTHESPATIALORDERSTRESSEDTHELACKOFANY IDEOLOGYASASOLIDANDONLYTRUTH4HEARRANGEMENTCANBESEEASANATTEMPT TORETURNTOAPOSITIONWHEREYOUHAVENOTBEENABLETOMAKEUPYOURMIND 4HEREISNOABSOLUTEVIEWANDNODElNITESTATEMENT%VENTHESCENOGRAPHY WASSOMEHOWULTIMATELYMADEBYTHESPECTATORSPRESENCE4HESCENOGRAPHER ANDDIRECTOR@RETIREDFROMTHEROLEOFGIVINGREADYMADEVISIONSORDElNITE INTERPRETATIONS#OINCIDENTALLY-ISS*ULIEWASTHELASTSCENOGRAPHY(ED STRMMADEAT+/-SEEMINGLYINDICATINGTHEENDOFATRADITION &ROMTHEVIEWPOINTOFANOUTSIDERINAHIDDENPESSIMISMANDDISAP POINTMENTCONCERNINGTHEORIGINALIDEOLOGYOF+/-CANBESEEN4HEBELIEF INSOCIALADVANCEMENTANDTHEATERSCAPABILITYOFCHANGINGTHEWORLDWASNOT VALIDANYMORE4HECOMMONLYSHAREDSPACEWHOSEOPTIMISTICIDEOLOGYONCE UNITED+/-AUDIENCESHADBECOMEAPLACEOFWITNESSINGINDIVIDUALTRA GEDIESWITHNOHEIGHTENEDPURPOSES4HEJOYFULLYSHAREDSPACEOF-ISS*ULIE TURNSINTOACRUELMACHINETHATFACILITATESAMEANINGLESSTRAGEDY4HESPECTA TORSHAVETHEIRCOFFEEPARTYWHILEHELPLESSLYWITNESSING*ULIESSUICIDE *OHTUSzN 4USJOECFSHYWJ -ISS*U L IE IN +/-T EAT TER I \ :! -ISS*ULIE ATTHE.ATIONAL4HEATRE 4H E A T E R ) N S I D E T H E - I N D -ISS*ULIEWASSTAGEDINTHESMALLSTUDIOOF7ILLENSAUNAATTHE&INNISH.A TIONAL4HEATREIN4HESCENOGRAPHYBY+ARI*UNNIKKALAMADEAVERY STRONGIMPRESSIONAND)WOULDCALLITSSTYLEEXPRESSIONISTICORSURREALIST 4HEWALLSOFTHEKITCHENWEREICYLOOKINGSCREENSWITHCONTORTEDIRREGULAR SHAPES3TRONGLIGHTINGEFFECTSALTEREDTHESTAGESAPPEARANCE ¸-PPLBUUIFJMMVTUSBUJPOJO"QQFOEJY -YFOCUSFORTHISSCENOGRAPHYISONVISIONWHICHISUSEDASAMAJORTOOLFOR THEATRICALCOMMUNICATION4HISISPOSSIBLEFORTHE.ATIONAL4HEATREPRODUC TIONBECAUSEOFTHEHIGHQUALITYVISUALEVIDENCEOFTHEPERFORMANCE4HEPER FORMANCEHASBEENRECORDEDONVIDEOTAPEANDTHEREAREVERYGOODPHOTOSOF THESCENOGRAPHY)ALSOINTERVIEWED*UNNIKKALAANDTHEDIRECTOR/LLI4OLA *UNNIKKALAHADSTUDIEDATTHE$EPARTMENTOF3CENOGRAPHYINTHE5NIVERSITY OF)NDUSTRIAL!RTSDURINGTHES"YHEHADALREADYMADEAPROMINENT CAREERIN&INNISHTHEATERSWORKINGFEXINTHE4URKU3WEDISH4HEATER+UO PIO#ITY4HEATERAND,ILLA4EATERN4OGETHERWITHTHEDIRECTOR/LLI4OLATHEY AREANESTABLISHEDTEAMOFTENUSINGVISUALITYASACENTRALMODEOFCOMMUNI CATION*UNNIKKALADESCRIBEDTHEIRCOOPERATIONINOURDISCUSSIONIN +VOOJLLBMB /LLI4OLAISADIRECTORWHOVERYWILLINGLYINTERFERESWITHTHEVISUAL ASPECTS7EAREUSEDTODOINGVERYEXACTWORKTOGETHERINTHISAREAx )WOULDSAYTHATWEAREANETERNALWORKINGTEAM%SPECIALLYRECENTLY /LLIHASBEENWRITINGTHESCRIPTSANDPURPOSELYCREATESREALLYDIFlCULT VISIONS4HENWESOLVETHEMTOGETHER7EHAVEINVESTEDINIT;VISUAL ITY=FROMTHEVERYBEGINNINGITISATERRIBLYIMPORTANTPART \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES )THINKTHATIN7ILLENSAUNATHEVISUALPERCEPTIONWASONEOFTHEnMAYBE EVENTHEMOSTIMPORTANTnBASICSTARTINGPOINTSOFTHEPERFORMANCE4HESCE NOGRAPHYANDOTHERNONVERBALCHANNELSCOMMUNICATEDTHEESSENTIALPARTS OFTHETRAGEDY4HESTAGEIMAGERYWASSUPPORTEDBYMUSICCOMPOSEDFORTHE PERFORMANCEBY0EKKA,AITINENWHOWASTHETHIRDMEMBEROFTHISLONG STANDINGARTISTICTEAM4HEREWASALSOADANCINGGROUPWHOSEPERFORMANCE WASCHOREOGRAPHEDBY!NU0ANULA 4HEEFFECTIVENESSOFTHENONVERBALCOMMUNICATIONISBASEDONITSCAPA BILITYTOEXPRESSEMOTIONALEXPERIENCESWHICHISHARDTOPUTINTOPRECISE WORDS!CCORDINGTO*UNNIKKALAHISAIMWASTOCREATEhANINNERIMAGEA STATEOFMINDv4HE&INNISHWORDMIELENTILAWHICHMEANSASTATEOFMIND ORMOODCANALSOBEREADASSPACEOFMIND4HELATTERPARTOFTHEWORDTILA ALSOREFERSTOACONCRETESPACEASWELLASTOANABSTRACTSTATEOFAFFAIRS4HE FUNCTIONOFTHESCENICAPPARATUSWASTOMAKEASUBJECTIVEWORLDVISIBLETOTHE AUDIENCE4HEDREAMSFEARSANDTRAUMASOF*ULIEWERENOTONLYACTEDOUTBUT THEYWEREALSOREPRESENTEDTHROUGHSCENOGRAPHY 4HEPRODUCTIONOF-ISS*ULIEPROVEDPROBLEMATIC4HEVERYlRSTTHING*UN NIKKALATOLDMEWASTHATITWASAWORKHEWOULDRATHERFORGET(EFELTITWAS AFAILUREBECAUSETHEACTINGGREWINASEPARATEDIRECTIONTOTHEAUDIOVISUAL ELEMENTSOFTHEPERFORMANCE)TISLEGITIMATETOASKWHY)WANTTOSTUDYA SCENOGRAPHYTHATTHEARTISTWASHIMSELFDISCONTENTWITH-YANSWERISTHAT DESPITE*UNNIKKALASPROPOSITIONOFFAILURETHEPRODUCTIONSERVESASANEXAM PLEOFAGREATSCENICVISIONWORKINGASPRIMARYMEANSOFCOMMUNICATION ! 3 0! # % / & - ) . $ 4HEMOSTVISIBLEELEMENTOFTHESCENOGRAPHYWASTHEKITCHENBACKWALLCON STRUCTEDOFPARTLYTRANSPARENT@ICYSCREENS4HEYWEREMADEOFIRREGULARLY SHAPEDPOLYSTYRENESHEETSFASTENEDONMETALLICCONSTRUCTIONS4HEIRSURFACES WEREPAINTEDANDSANDEDDOWNBYTURNSSOTHATTHEYLOOKEDLIKEICYWINDOWS 4HELOOKSOFTHESETCOULDBEALTEREDVERYMUCHBYLIGHTING&OREXAMPLE THEMETALLICCONSTRUCTIONSBECAMEVISIBLEONLYINBACKLIGHTRESEMBLINGTHEN TREEBRANCHES +VOOJLLBMB -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ /NEPRACTICALREASONFORTHEmATNESSANDTHEPARTIALTRANSPARENCYOFTHESET WASTHESHAPEOFTHESTUDIO7ILLENSAUNA)TSLOWCEILINGANDTHEmOORPLAN WHICHWASTHESHAPEOFANELONGATEDRECTANGLERESTRICTEDTHEOPTIONS)N-ISS *ULIETHEAUDITORIUMWASSITUATEDONONEOFTHELONGSIDESOFTHEROOM!SRE SULTTHESTAGEWASVERYWIDEBUTLACKEDDEPTH4HEFREESTANDINGPOLYSTYRENE SCREENSCOULDBEPLACEDONSTAGESOTHATTHEYSLIGHTLYOVERLAPPEDEACHOTHER ANDTHUSCREATEDANILLUSIONOFDEPTH4HEmOORPLANKSTHATGOTNARROWERAS THEYREACHEDTHEBACKWALLEMPHASIZEDTHIS !LTHOUGHTHEFURNITUREONSTAGEMADEREFERENCETOARUSTICKITCHENITWAS HARDTOREADTHESCENOGRAPHYASAREPRESENTATIONOFACONCRETEENVIRONMENT FAMILIARTOUS)TSEEMEDTOMAKESEVERALASSOCIATIONSANDALLUSIONSNONE OFWHICHCOULDBESEENASDElNITEANDPERMANENT9OUCOULDSEEAMAGIC ALWOODANANCIENTCAVEAHAUNTEDHOUSEANICEBERGAMOUNTAINOFGLASS THEBASEMENTOFANOLDHOUSEWITHWINDOWSCOVEREDBYANCIENTDIRTAND COBWEBS)NCERTAINLIGHTING)EVENSAWTWOPAIRSOFHUGESTARINGEYES4HE WORLDSEENONSTAGENEVERSHOWEDITSELFASSOMETHINGSTABLEANDOPENTOPRE CISEANALYSES /NAREALISTICLEVELTHESTAGESPACECOULDBEREADASAKITCHENPLACEDINACAV ERNOUSBASEMENTINTHE#OUNTSHOUSE4HEBACKGROUNDWITHTHESURROUND INGGARDENSUGGESTEDACEMETERY7ECOULDTHINKOFITASAWORLDRULEDBY THEGHOSTSOF*ULIESNOBLEANCESTORSIMPRESSINGTHEIRREGIMEONTHELIVING INHABITANTS)NTHEREVIEWSTHESCREENSWEREMOSTLYINTERPRETEDASICONICREP RESENTATIONSOFICEORGLASS 4HEDIRECTOR/LLI4OLAANDTHESCENOGRAPHER+ARI*UNNIKKALAHAVE PLACEDTHEEVENTSINSIDEACOLDGREENGLASSMOUNTAIN 7HATARETHOSEICELOOKINGGLASSWALLSTHROUGHWHICHTHELIGHTSHINES GLOWINGBUTDISTORTED )NSTEADOF-IDSUMMERNIGHTTHECONSTRUCTIONMADEOFTRANSPARENT REINFORCEDPLASTICBRINGSTOMINDTHECASTLEOFTHE3NOW1UEENFROMA FAIRYTALEBY!NDERSEN 4VOERWJTU 3JUPMBIUJ &LMVOE )FMFOJVT 4HESCENOGRAPHYWITHITSGLASSANDMIRRORPLATESISFARFROMTHE NATURALISTICREALISMOF3TRINDBERG \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES /THERWISETHEREVIEWERSHADVERYCONTRADICTORYOPINIONSABOUTALMOSTEV ERYTHING4HEDIRECTIONWASPRAISEDFORANINTERESTINGINTERPRETATIONASWELL ASACCUSEDOFLACKOFIT 4HESCENOGRAPHYATTRACTEDTHEATTENTIONOFMOSTREVIEWERSFROMTHEVERYBE GINNING3OMEOFTHEMENJOYEDTHEVISUALANDAURALWORLDOTHERSFOUNDIT DISTURBINGANDSTRANGEANDCRITICIZEDITFORBEINGTOODISTINCTFROMTHEREST OFTHEPRODUCTION !LREADYTHEOPENINGOFTHEPLAYISASHOCK 4HESCENOGRAPHYBY+ARI*UNNIKKALAISSTARTLINGWHENYOUSTEPINSIDE 7ILLENSAUNA )NTHEBEGINNINGTHESPECTATORCONSIDERSTHEVIEWCREATEDBY4OLA ANDTHESCENOGRAPHERASSTRANGEBUTALONGWITHTHEPERFORMANCETHE lGURESlNDTHEIRPLACESANDTHEICYSCENERYWITHITSMIRRORSBY+ARI *UNNIKKALAUNDERLINESASWELLTHEBROKENIDENTITYOF*ULIEASANIGHT MARISHCIRCLEOFLIFE !NDWHYISALLTHISDONEINAMILIEUWHICHRESEMBLESOFTHESETOFTHE FAIRYTALE3LEEPING"EAUTYWITHITSPLASTICSPRAYPAINTEDWALLS 4HESCENOGRAPHYCOULDNOTBEPASSEDANDITSREPRESENTATIONSNOTED4HE SPECTATORSHADTOSTOPTOEXAMINEITMORECLOSELYANDLOOKFORTHESIGNIl CATIONS4HISWASPROBABLYONEREASONFORITSSTRONGIMPRESSION)NSTEADOF ACCURATESIGNSTHEREWASAMASSOFINDElNABLECONNOTATIONSANDASSOCIATIONS GIVINGCAUSEFORWONDER4HEMEANINGSOFTHESETCOULDNOTBElNALLY@lG UREDOUTBUTTHESPECTATORHADTOKEEPLOOKINGATTHEMGRAPPLEWITHTHEM ANDTHENLOOKAGAIN 4HISPROCESSWENTONANDTHEREWERENOlNALINTERPRETATIONSTOBEFOUND 4HISWASOPPOSITETOCOMMONPLACEEXPERIENCESOFEVERYDAYLIFEWHEREWE AREUSEDTOMOREORLESSAUTOMATICALLYUNDERSTANDINGWHATWESEE(EREVI SIONBECAMEAPROBLEM 4VOERWJTU 4HEWONDERCAUSEDBYTHESCENOGRAPHYCOULDBEEXPERIENCEDASDISTURBING BECAUSEITHADTHEPOWERTODRAWTHEFOCUSAWAYFROMTHEACTING/NTHE -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ 3JUPMBIUJ 4UlIMIBNNBS 4JJLBMB OTHERHANDITCOULDBEUNDERSTOODASENABLINGACREATIVESTATEOFMINDFACILI TATINGNEWWAYSOFSEEINGTHEPLAY)NBOTHCASESTHEPERCEPTIONOFSCENOGRA PHYHADADOMINATINGROLEINTHERECEPTION 4HEDIRECTOR/LLI4OLAEXPLAINEDTHEINTENDEDFUNCTIONOFTHESCENOGRAPHY !SFARAS)REMEMBERTHEBASICIDEABEHINDTHESCENOGRAPHYWASTHE REPRESENTATIONOFTHEMANYLAYERSOFTHEHUMANMINDTHESECRETHID DENANDPARTLYUNCONSCIOUSWORLDx7EENVISIONEDASCENICSOLUTION THATWASTRANSPARENTSOTHATSOMETIMESYOUCOULDSEETHROUGHITnAND THENINOTHERINSTANCESITWOULDBEOPAQUE4HESAMEELEMENTWOULD HAVETHEABILITYTOCONCEALANDREVEALnWEHADPREVIOUSLYUSEDVEILS FORTHISPURPOSE4HISTIMEWEAIMEDFORSTRONGVISUALIMPACTWHERE THEAPPEARANCEOFTHEHUMANBEINGWOULDBESLIGHTLYCONTORTEDLIKE INADISTORTINGMIRRORANDWETHOUGHTTHATBENTPLASTICWOULDCREATE THATKINDOFDISTORTEDANDEXAGGERATEDEFFECT 7EALSOHOPEDTHATTHISPARTLYSURREALISTICVISIONOFTHEUNCONSCIOUS WOULDINSPIRETHEACTORSTODEVELOPTHEIREXPRESSIONINAMOREPAS SIONATEINTENSEANDSTRONGERDIRECTIONSOTHATTHEYWOULDABANDON REALISMASTHETRADITIONALSTYLECONNECTEDTOCHAMBERPLAYS (OWEVERWEDIDNTQUITESUCCEEDWITHTHIS 4HEMOSTAPPARENTINTERPRETATIONOFTHE7ILLENSAUNASCENOGRAPHYISTHATITIS THEWORLDASSEENTHROUGHTHEEYESOF*ULIE(ERTRAGEDYWASNOTRECEIVEDASA COURSEOFEVENTSSEENFROMOUTSIDEBUTASANEMOTIONALLYCHARGEDEXPERIENCE OFLIVINGINSIDEAFROZENDISTORTEDWORLD4HEREBYTHEEMPHASISOFTHEVISUAL COMMUNICATIONWASONTHOSEUNRELIABLEFEELINGSWHICH3TRINDBERGWANTED THESPECTATORTOSUPPRESSINFAVOROFRATIONALOBSERVATIONh"UTPERHAPSA TIMEWILLARRIVExWHENWEHAVECLOSEDUPTHOSELOWERUNRELIABLEINSTRU MENTSOFTHOUGHTWHICHWECALLFEELINGSv 5PMB 4USJOECFSH 7HAT)lNDIMPORTANTINTHE7ILLENSAUNASCENOGRAPHYISTHEINHERENTNO TIONTHATFEELINGSANDEMOTIONSARENOTSOMETHINGSUPERmUOUSBUTTHEYARE INEXTRICABLYLINKEDTOALLOURMENTALPROCESSES!LLPERCEPTIONANDUNDER STANDINGOFTHEWORLDISMOREORLESSAFFECTEDBYTHEM)N7ILLENSAUNATHEY WEREPRESENTEDASTHEPRIMARYCONDITIONFOREXPERIENCINGTHEWORLDANDACT Y \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES INGINIT4HEEMOTIONALEXPERIENCEWASTHEENVIRONMENTWHERETHEPLAY TOOKPLACE 4HISAPPROACHCORRESPONDSTOANEXPRESSIONOFTENUSEDBYSCENOGRAPHERSAND DIRECTORSAPERFORMANCETAKESPLACEINSIDETHEHEADOFTHEPROTAGONIST(ERE THElCTIVEPROTAGONISTSSUBJECTIVEPSYCHEISMADEVISIBLEBYSHOWINGTHE WORLDINTHEWAYTHATSHESEESIT3HARINGHISHERMENTALCONDITIONISBASED ONOURCAPABILITYTOEXPERIENCEMOODANDFEELINGINAVISUALPERCEPTION!N INTERNALCONDITIONTENDSTOCHANGEOURORIENTATIONINTHEOUTSIDEWORLD )WILLTAKEASIMPLEEXAMPLEOFTHISINTHEVERBALlELD7EUSEDTOSAYIN &INNISHTHATWHENSOMEBODYISANGRYSHE@SEESRED/FCOURSETHECOLORSOF OURSURROUNDINGSDONOTCHANGEBUTOURINSIDEFEELINGSEEMSTOCORRESPOND TOTHEEXPERIENCEOFSEEINGTHEREDCOLOR!SCENOGRAPHERCANUSETHISPHE NOMENONINTHEREVERSEWAY%XPOSURETOACERTAINSHADEOFREDLIGHTMAKES USFEELRESTLESSOREVENAGGRESSIVEFORNOPARTICULARREASON7EDONOTONLYRE SPONDTOTHEREPRESENTATIONSOFPLACESBUTTHEMOODSOFSEEINGBOTHDEPEND ONANDINmUENCETHEEMOTIONALSTATEOFTHESPECTATOR 4OBRIEmYEXPLAINTHESCENOGRAPHYSBASICIDEATHETRAGEDYTOOKPLACEWITHIN *ULIESINTERNALEXPERIENTIALWORLDANDHERIMPRESSIONSOFTHEEXTERNALWORLD WERECONVEYEDTOTHEAUDIENCETHROUGHTHEPERCEPTIONOFTHEHARDNESSAND COLDNESSOFTHESETSSIMULATEDICESURFACE)NSTEADOFANOUTWARDANALYSISTHE SPECTATORWASSUPPOSEDTOSHARE*ULIESSOLITUDELOVELESSNESSANDFEELINGSOF REJECTION5NDERSTANDINGTHEPLAYWASMADEPOSSIBLEONLYTHROUGHANINTER NALIZATIONOFHERMENTALSTATE 4HISCANBESEENASANEXTENSIONOF-AURICE-ERLEAU0ONTYSPHILOSOPHYAC CORDINGTOWHOMOUREMBODIEDWAYOFINHABITINGTHEWORLDPRECEDESOUR CONCEPTUALIZINGABSTRACTTHINKING-ISS*ULIEWASPRESENTEDHEREASANEX PERIENCEPRIMARILYDETERMINEDBYAVISUALPERCEPTION"YMANIPULATINGTHE MOODOFTHESPECTATORSVISIONSHEWASDIRECTEDTORECEIVEANDINTERPRETTHE PERFORMANCEINAWAYINTENDED 4HESUGGESTIVEMANIPULATIONOFTHEVISIONISATWOFOLDQUESTIONTHATALSO CONCERNSTHEETHICSOFSCENOGRAPHY)FSENSEPERCEPTIONREALLYPRECEDESRA TIONALTHOUGHTITISAVERYEFFECTIVEWAYOFRULINGOTHERPEOPLE7ECANNOT ESCAPETHEEMOTIONALINmUENCEOFASUGGESTIVESENSEPERCEPTIONIFWEARE -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ DEPENDANTONTHISPRIMARYEXPERIENCEINORDERTODEVELOPMOREADVANCED THINKING /NTHEOTHERHANDTHECAPABILITYTOLIVETHROUGHVISIONSANDOTHEREXPERI ENCESWITHOUTlRSTANALYZINGTHEMISVITALWHENTAKINGINAWORKOFARTAND ITULTIMATELYMAKESITPOSSIBLEFORUSTOIDENTIFYWITHOTHERPEOPLESEXPERI ENCES4OLAGAVEANILLUMINATINGEXAMPLEOFTHISWHENRECALLINGSOMETHING ELSEHEWORKEDONWITH*UNNIKKALAINTHISINSTANCETHEYSUCCESSFULLYCARRIED OUTADEVISEVERYSIMILARTOTHATOF-ISS*ULIE ,UCKILY+ARIAND)SUCCEEDEDWITHOURAIMSINVARIOUSOTHERSTAGINGS ATTHATTIMEx/NEWASh-EPHISTOvATTHE.ATIONAL4HEATRESHORTLY AFTER-ISS*ULIEANDANOTHERPRECEDINGITWASh/NE&LEW/VERTHE #UCKOOS.ESTvIN+UOPIO7EUSEDTRANSPARENTWIRE;AKINDOFSCREEN NORMALLYUSEDBYTHEPAPERINDUSTRYBUTFREQUENTLYADOPTEDFOR THEATRICALPURPOSESMYSPECIlCATION=+ARIAND)CREATEDAWORLD WHICHSHOWEDTHEREALITYANDSIMULTANEOUSLYSHOWEDHOWTHE)NDIAN WHOWASTHECENTRALCHARACTERINOURADAPTATIONSAWTHEMENTAL HOSPITAL7EUSEDTHETRANSPARENTWALLSWHICHENABLEDUSTOSHOWHIS NIGHTMARISHVISIONSASIDETHE@REALITY)HADONEOFMYBESTREVIEWS WHEN/LAVI6EISTØJØANINSTITUTIONIN&INNISHTHEATREWROTETHATTHE PERFORMANCEDEALTWITHTHEISSUEMENTALHEALTHINAWAYTHATWASTOO SHOCKING ,IKETHEPRODUCTIONIN+UOPIOTHESCENOGRAPHYIN7ILLENSAUNAWASUSEDTO MAKEUSMORECAPABLEOFSEEINGTHEWORLDFROMOTHERPEOPLESPERSPECTIVES 4HECHARACTERSEMOTIONALPROBLEMSAREPRESENTEDASSOMETHINGTHATCANONLY BEUNDERSTOODTHROUGHPERSONALINVOLVEMENT4HISWASINOPPOSITIONTOTHE PRACTICEOFOBSERVINGTHEMFROMADISTANCEANDDRAWINGRATIONALCONCLU SIONS(ERETHEEXPERIENCESWEREDISCUSSEDBYMEANSOFOTHEREXPERIENCES 5PMB /NTHEOTHERHANDTHESUBJECTIVEANDCONSTRUCTIVENATUREOFTHEVISIONWAS VERYAPPARENT4HESCENOGRAPHYDIDNOTHIDEITSARTIlCIALITYWITHTHEILLU SIONOFANOBJECTIVEEXISTINGREALITYBUTMADEAVERYSTRONGSTATEMENTPOINT INGTOTHESCENOGRAPHERASTHEARTISTRESPONSIBLEFORTHEVISION4HEAUDIENCE WASSUPPOSEDTOKNOWTHATEVERYTHINGTHEYSAWWASASUBJECTIVESUGGESTION ABOUTHOWTHESUBJECTIVEMINDOF*ULIEMIGHTSEETHEWORLD)NTHISSENSETHE INTENSITYOFTHESCENOGRAPHICEXPERIENCECONTRIBUTEDTOANAWARENESSOFSEV \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES ERALPOTENTIALVIEWSANDTOTHEPOSSIBILITYADIALOGUEBETWEENTHEM4HAT) THINKWASILLUSTRATEDBYTHEVERYDIFFUSEOPINIONSEXPRESSEDINTHEREVIEWS ! 4 2 ! . 3 0! 2 % . 4 3 # % . / ' 2 ! 0 ( 9 4HESCENOGRAPHYOF*UNNIKKALAWASDISTINGUISHEDBYANINTERPLAYBETWEEN TRANSPARENCYANDOPAQUENESSWHICHWASUSEDBYHIMTOGOODEFFECTINMANY PRODUCTIONSBEFOREANDAFTER-ISS*ULIE 4HEIDEABEHINDTRANSPARENCYTHATWECANREVEALANDHIDETHESCENERY BYMEANSOFLIGHTSISWHAT)HAVEBEENENGAGINGWITHALOT"UTTHERE ISNOTHINGNEWINIT/FCOURSEALONGWITHCONTEMPORARYLIGHTING TECHNIQUETHEPURPOSEOFTRANSPARENCYHASCHANGEDSOMEWHAT4HERE AREMANYMOREPOSSIBILITIESFORVARIATIONSANDTHESETRANSITIONAL FORMSCANBEUSED )NSPITEOFTHEPHYSICALCONCRETENESSOFTHISTRANSPARENCY)THINKITCANBE ANALYZEDMOREMETAPHORICALLYTOO4HESCREENSSERVEDASASURFACEWHOSE OPENEDORCLOSEDNATUREDETERMINEDTHEVIEWOFTHESPECTATORSREVEALINGAND CONCEALINGTHESTRUCTURESBEHINDTHEM4HESURFACEALSOBECAMETRANSPAR ENTINTHESENSETHATTHEIRREALISTICMATERIALITY@DISAPPEAREDANDTHESPECTATOR WASSUPPOSEDTOSEETHEILLUSIONS4HESCENOGRAPHICSIGNIlCATIONSWERENOT LINKEDTOSTABLEPROPERTIESOFTHESCREENSBUTDEPENDEDONTHESHIFTINGASSO CIATIONSANDINNERIMAGERIESTHEYEVOKED ,IGHTWASTHEMEANSBYWHICHTHEVISIBILITYOFTHESETWASREGULATED3OME TIMESTHESCREENSREPRESENTEDTHEOPAQUEWALLSOFTHESHABBYKITCHENSOME TIMESTHEYREVEALEDAMYSTERIOUSUNKNOWNWORLDBEHINDTHEM4HEYFORMED AKINDOFAMEMBRANEBETWEENANOUTERREALITYANDINTERNALEXPERIENCESOF IT4HEOPAQUESURFACEWOULDOCCASIONALLYBECOMETRANSPARENTANDREVEALA HIDDENUNKNOWNSPHEREASIFLETTINGTHEAUDIENCESEEINTOTHEMYSTERIESOF MIND (ERETHESCENOGRAPHYBROUGHTUPTHEQUESTIONOFOURABILITYTOSEEINTHE MOREPROFOUNDSENSEOFTHEWORD4HEVAGUEINDETERMINACYOFVISIONCHAL LENGEDTRUSTINOUREYESBUTONTHEOTHERHANDITHINTEDATOURCAPABILITIESOF +VOOJLLBMB -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ SEEINGMORETHANISAPPARENT4HESCENOGRAPHYSEEMEDTOOSCILLATEBETWEEN DIFFERENTLEVELSOFCONSCIOUSNESSANDVARIOUSMODESOFSEEINGTHINGS "ESIDESTHESCREENSTHEREWASAWOODENmOORANDFURNITURE4OMETHEIR GENUINEAPPEARANCEANDOPAQUENESSMADETHEMSEEMLIKEAQUOTATIONFROM ANATURALISTICSET4HEYCOULDHAVEBEENUSEDINANYREALISTICSCENERYREPRE SENTINGARUSTICMILIEU)NCOMPARISONTOTHETRANSPARENTBACKGROUNDSCREENS THEYWERESOLIDANDOPAQUE4HISGENERATEDASPOOKYATMOSPHERE)NTHE PHOTOSTHEFURNITURELOOKEDLIKETOYS!LLTHEPIECESOFFURNITUREHADTHE SAMEMONOCHROMATICREDDISHBROWNCOATWHICHCOMPLIMENTEDTHEBLUEHUE THATDOMINATEDTHESCREENSWHENTHEYWEREILLUMINATED4HECONTRADICTION OFCOLORSMADETHEOBJECTSSTICKOUTFROMTHEBACKGROUNDASIFTHEYDIDNOT REALLYBELONGTOIT 4HEAUDIENCESATTENTIONWASPARTICULARLYDRAWNTOTHEBIGTRIPLEMIRROR WHICHWASMOREAPPROPRIATEFORABEDROOMTHANAKITCHEN)TSTOODALMOST INTHEMIDDLEOFTHESTAGE)TSFRAMEWASMADEOFTHESAMEKINDOFREDDISH BROWNWOODASTHERESTOFFURNITURETHUSASSOCIATINGITWITHTHEM4HEMIR RORBECAMEANIMPORTANTDETAILNOTONLYBECAUSEOFITSAPPARENTSYMBOLICAL VALUEASAMEDIUMOFSEEINGONESELFBUTALSOBECAUSEITCOULDGIVEANUN DISTORTEDVIEW4HEREmECTIONSANDSHADOWSONTHESCREENSWEREVAGUEAND MESSYBUTINTHEMIRRORTHEPICTUREWASCLEAR 4HESOBERIMAGEINTHEMIRRORSHOWEDTHEWORLDINTHEWAYWEAREUSEDTO SEEINGIT4HEREFOREITCANBESEENASASYMBOLFORNATURALISTREPRESENTATION INTHATITPROVIDESANEXACTCOPYOFTHEOUTERAPPEARANCEOFANOBJECT4HE MIRRORWASAPOINTOFCOMPARISONFORTHESUBJECTIVEVIEWOFTHESTAGE)TIS AMECHANICALVEHICLEREPRODUCINGTHEVIEWASITIS4HEVIEWINTHEMIRROR SHOWEDANEXTERNALVIEWINOPPOSITIONTOINTERNALSUBJECTIVEPERCEPTION 7HEREASTHESCENOGRAPHYSHOWEDHOW*ULIEWASEXPERIENCINGEVENTSINTER NALLYTHEMIRRORWASAREMINDEROFTHEEXISTENCEOFACOMMONWORLDWHERE PEOPLEONLYSEEEACHOTHERSOUTERAPPEARANCE/NTHEOTHERHANDTHEMIRROR STOODALMOSTINTHEMIDDLEOFTHEEXPRESSIONISTICSCENERY4HE@OBJECTIVEVI SIONWASTHUSSURROUNDEDnANDSUBORDINATEDnBYASUBJECTIVEONEREFERRING TOOURCOMPREHENSIONOFTHEEXISTENCEOFTHINGS@ASTHEYARE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES *UNNIKKALAREMARKEDWHENLOOKINGATTHEVIDEOOFTHEPERFORMANCE +* 4HEMIRRORISLIKEAHOLE ,' 9ESONECANIMAGINETHATITISPOSSIBLETOWALKTHROUGHIT 7ASTHATTHEIDEA +* )NAWAYYES4HATSWHYWEPUTAREALMIRRORTHERESOIT WOULDBEASSMOOTHASPOSSIBLE;ANDNOTACHEAPREmECTING PLASTICSHEETWHICHWOULDGIVEADISTORTEDREmECTION MYSPECIlCATION= 4HEIDEAOFTHEMIRRORASAHOLEALSOREFERREDTOANOPPORTUNITYTOEXITTHE DISTORTEDWORLDOFSHADOWYVISIONSANDENTERASOBERONE)NFAIRYTALESAND FANTASYBOOKSAMIRRORORPAINTINGISOFTENUSEDASAWINDOWINTOATRANSCEN DENTALWORLDBUTHERETHEMIRRORWASLIKEADOOROUTOFTHEHALLUCINATIONS INTOADECENTCOMMONWORLDWHERETHINGSAPPEARASTHEY@REALLYARE/RTO BEPRECISETHEYAPPEARTOUSINAWAYTHATWEBELIEVECORRESPONDSTOTHEIR @REALEXISTENCE (OWEVERSINCEWEKNOWTHATONECANNOTSTEPINSIDEAMIRRORTHESENOR MALCONDITIONSOFPERCEPTIONWEREBEYONDREACHINTHEWORLDOF-ISS*ULIE 4HETRANSPARENCYOFTHESCREENSALSOREFERREDTOTHEINABILITYTOEXITTHROUGH THEMDESPITETHEPOSSIBILITYOFSEEINGTHROUGHTHEM!TRANSPARENTPRISON WALLMAKESTHECAPTIVITYESPECIALLYPAINFULSINCEYOUCANSEEFREEDOMBUT YOUHAVENOACTUALMEANSOFESCAPE 4HEIDEAOFCAPTIVITYWASMENTIONEDINSEVERALREVIEWSANDWASALSOVISUALLY COMMUNICATEDINTHEPOSTERDRAWNBY*UNNIKKALA 4HEMOUNTAINMADEOFGLASSlNALLYCAPTURESTHEMINSIDEITSELF -ISS*ULIEANDTHEPRISONERSOFTHEPAST4HETITLEOFTHEREVIEW )MPRISONEDBYACAGEWITHOUTACAGE4HETITLEOFTHEREVIEW 4HREEEROTICDANCINGSCENESINTHEPLAYPERFORMEDBYAGROUPOFFOURDANC ERSMADEASIGNIlCANTIMPACTONTHEAUDIENCE/NEOFTHESCENESOPENEDTHE PLAYAPPARENTLYREFERRINGTOTHEPEASANTSCELEBRATING-IDSUMMEROUTDOORS 7HEN*EANAND*ULIELATERWENTOUTFORTHEIRSECONDDANCETOGETHERTHE -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ +VOOJLLBMB 4VOERWJTU ,BKBOUP 4UlIMIBNNBS GROUPAPPEAREDAGAIN4HEYWERELITFROMTHEBACKWITHGREENISHANDYELLOW LIGHTSWHICHREVEALEDTHETREESHAPEDCONSTRUCTIONSOFTHESCREENS4HEREWAS ANILLUSIONOFANOCTURNALMYSTERIOUSGARDEN4HEREWEREALSOSPOTLIGHTSUN DERTHEmOORANDTHELIGHTCAMETHROUGHTHECHINKSBETWEENTHEPLANKS 4HEDANCERSWHOSEEMEDTOREPRESENTTHEUNCONTROLLABLEEROTICFORCESOFTHE -IDSUMMERNIGHTMOSTLYPERFORMEDBEHINDTHESCREENS/NLYDURING*EAN AND*ULIESHIDDENINTERCOURSEDIDTHEYCOMETOTHEFRONTOFTHESTAGEINA WILDEROTICDANCE)TWASASIFTHEREJECTEDPASSIONSWEREPENETRATINGTHROUGH THEBORDERLINEOFCONTROL4HEEXPRESSIVELIGHTINGTHATCAMETHROUGHTHE mOORINDICATEDTHEEXISTENCEOFTHEFORBIDDENDEMONICINSTINCTS@BELOWUS ¸ 3 FGFSUPUIFQIPUPJO"QQFOEJY 4HESTAGESATMOSPHERECHANGEDTOTALLYAFTER*EANAND*ULIESLOVEAFFAIR WASCONSUMMATED!COLDBLUELIGHTDOMINATEDWHICHWASSUGGESTIVEOF ICEMOUNTAINSORnTOMYMINDnANCIENTCAVES4HEMOMENTWHEN*EAN KILLEDTHELITTLEBIRDWASUNDERLINEDBYAQUICKREDLIGHTINGEFFECT7HEN THE#OUNTCALLED*EANMYSTERIOUSlGURESEMERGEDFROMBEHINDTHESCREENS 4HEYWEREDANCERSWEARINGBLACKTHCENTURYMALECOSTUMESANDWHITE MASKSONTHEIRFACES4HEYWERELIKEMESSENGERSFROMTHE5NDERWORLD) ALSOFELTTHEREWASAREFERENCETO*ULIESNOBLEANCESTORSHAUNTINGHERLIFE!L THOUGHTHE#OUNTNEVERENTEREDTHEKITCHENHEWASREPRESENTEDTHROUGH THESElGURESWHOESSENTIALLYRULEDOVERTHEHOUSE )INTERPRETEDTHECHANGINGAPPEARANCEOFTHESCREENSDUETODIFFERENTLIGHT INGASPARALLELINGSHIFTINGEMOTIONSANDMOODS-UCHLIKETHEHUMANMIND KEEPSCHANGINGANDADAPTINGTODIFFERENTROLESTHESCREENSREmECTEDANDRE ACTEDTOTHECIRCUMSTANCESOFTHESURROUNDINGWORLD4HESCREENSIN-ISS*U LIEWEREACTUALLYNOTTHOUGHTOFASARTISTICOBJECTSTHEMSELVESBUTASMATERIAL TOBEUSEDFORCREATINGDIFFERENTVISIONSBYMEANSOFLIGHTING4HESETWASNOT CONCEIVEDOFASAPHYSICALENVIRONMENTBUTASAREmECTIVESTRUCTUREMAKING THEDIFFERENTILLUMINATIONSPOSSIBLE )TCOULDBESAIDTHATTHECONCRETESTAGEELEMENTSWEREAKINDOF@DEADMA TERIALTOBEBROUGHTTOLIFEBYMEANSOFLIGHT)TWASALSOTHELIGHTINGWHICH ULTIMATELYGOVERNEDTHEWAYOFSEEINGTHESCENERY)TMADETHINGSVISIBLEAND \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES INVISIBLEITFOCUSEDTHEATTENTIONFRAMEDTHEVISIONANDGAVEITTHElNALCOL ORINGANDATMOSPHERE 4HESCENOGRAPHYANDLIGHTINGWEREANINSEPARABLECONTINUUMBOTHPRECON DITIONINGEACHOTHER4HESAMEISALSOTRUEFOREVERYDAYPHENOMENA4OPUT ITSIMPLYLIGHTMAKESUSABLETOSEE/BJECTSAREVISIBLEONLYWHENILLUMINAT ED/NTHEOTHERHANDLIGHTITSELFCANNOTBEPERCEIVEDWITHOUTTHESURFACES REmECTINGITANDWECANNOTSTAREDIRECTLYINTOASOURCEOFLIGHTWITHOUTBEING DAZZLED5NDERSTANDINGTHISINTERACTIONHASBEENONEOFTHEMOSTIMPORTANT ISSUESINTHEDEVELOPMENTOFMODERNSCENOGRAPHY 4HEREmECTIONSOFLIGHTCANBEREGULATEDBYTHEDEGREEOFTHESURFACESTRANS PARENCY"YUSINGTRANSPARENTSCENICMATERIALSWECANCONSTRUCTASTAGEWHERE THEVISIONISCREATEDBYMEANSOFITSMOSTPRIMARYELEMENTTHEINTERACTIONOF LIGHTANDSURFACE4HATMAKESVISIONAVERYDYNAMICANDCHANGEABLEPROCESS -OREOVERITISNOTAPROJECTIONOFAPERMANENTSPACEBUTANIMAGEEXISTING ONLYINTHETRANSIENTPERCEPTIONOFTHEDISAPPEARINGLIGHTRAYS)TISPOSSIBLE TOMAKEAMETAPHORICALCOMPARISONWITH3TRINDBERGSIDEAOFTHEHUMAN HAVINGNONUCLEUSOFITSOWNHEARGUEDTHATITCOMESINTOBEINGTHROUGHIN TERACTIONWITHOTHERPEOPLEANDINmUENCESFROMTHEOUTSIDEWORLD 3 # % . / ' 2 ! 0 ( 9 ! . $ 3 4 2 ) . $ " % 2 ' ) ! . 0! ) . 4 ) . ' *UNNIKKALAWORKEDONTHESCREENSFOR-ISS*ULIELITTLEBYLITTLETRYINGTOCARRY OUTHISPERSONALVISIONOFTHEPLAY7HENDOINGTHEWORKHIMSELFHECOULD REACTTOTHEDEVELOPMENTOFTHEPERFORMANCEINREHEARSALS +* 7EWORKEDONITFORQUITEALONGTIME7ESANDEDITDOWNAND PUTPAINTONITINTURNS ,' $IDYOUPARTICIPATEINTHEWORKYOURSELF +* 9ES)DID4HATKINDOFJOBISHARDTODELEGATETOANYONE4HATS WHYLITTLEBYLITTLE)CAREFULLYANDCONTINUOUSLYWORKEDONIT WHILETHELIGHTSWEREBEINGDONE !LTHOUGHTECHNICALLYMORECOMPLICATEDTHISPROCESSCAMECLOSETOTHATOFA PAINTERCREATINGVISIONSCORRESPONDINGTOHISHERINNERIMAGES*UNNIKKALA DIDNOTREMEMBERHAVINGANYSPECIALIMPULSESORSTIMULATIONFROMVISUAL -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ +VOOJLLBMB ARTSBUTTOMEHISSCENOGRAPHYISSIMILARTOEXPRESSIONISTICPAINTING/LLI 4OLANOTEDTHATTHEYWEREINmUENCEDBYTHEWORKSOF%DWARD-UNCH)N TERESTINGLYTHE-ISS*ULIESCENOGRAPHYALSOREMINDSMEOF3TRINDBERGSPAINT INGSONEOFHISLESSERKNOWNACTIVITIES 3TRINDBERGWASINTERESTEDEXCLUSIVELYINLANDSCAPESMOSTLYSEAVIEWSWHICH HEPAINTEDWITHSUCHINTENSITYTHATTHEYALMOSTTURNEDINTOANABSTRACTMIX TUREOFCOLORSANDBRUSHSTROKES(EOFTENREPEATEDTHESAMECOMPOSITION WHERETHESTRUCTURESOFCLOUDSWAVESANDROCKSLIVEDTHEIROWNLIFEAPPEAR INGASOBSCURElGURES&OREXAMPLEHISSELFPORTRAITCANBEDISCERNEDASPART OFONELANDSCAPEWHENTURNINGTHEPICTUREUPSIDEDOWN !RTHISTORIANSANDCRITIQUESHAVEPUT3TRINDBERGSPAINTINGINDIVERSECATEGO RIESDURINGDIFFERENTTIMES!TlRSTINTHESHEWASDElNEDASANIMPRES SIONISTBUTLATERMOVEDTOTHECAMPOFEXPRESSIONISTS)NTHES3TRINDBERG WASSEENASTHEPREDECESSOROFTHESPONTANEOUSPAINTINGOFABSTRACTEXPRES SIONISM4ODAYHISVISUALARTWORKSHAVEBEENCONNECTEDTOHISINTERESTINOC CULTISMANDQUASISCIENTIlCROMANTICEXPERIMENTS ¸ - PPLBU4USJOECFSH±TQBJOUJOHJO"QQFOEJY 0AINTINGANDWRITINGSERVEDDISTINCTFUNCTIONSFOR3TRINDBERG(ARRY'#ARL SONSUGGESTSTHATPAINTINGOFFERED3TRINDBERGTHEPOSSIBILITYTOLETHISEMO TIONSANDIMAGINATIONAFREEIMMEDIATEmOWWHEREASWRITINGWASTHETOOL FORAMOREEXACTANALYTICALDESCRIPTION7HEN3TRINDBERGWAS@LOOSINGHIM SELF INHISPAINTINGSTHROUGHTHESHADOWYZONESOFIRRATIONALANDINTUITIVE THINKINGHEALSOFOUNDADEEPERLEVELOFHISOWNMIND4HEAMBIGUITYOF THEHAZYVISUALFORMSLEDHIMINTOTHEREALMSOFHISUNCONSCIOUSNESS 4IMEANDTIMEAGAINhSIMMIGv;HAZY=WASTHEKINDOFWORDHE CHOSETOREPRESENTHISRESPONSETOTHESHADOWYZONEOFEXPRESSIONWHERE THEIMAGINATIONWASALLOWEDFREEmIGHT )FETUSzN ¬ $BSMTPO $BSMTPO !CCORDINGTO#ARLSONTHEREWASANEWDEVELOPMENTIN3TRINDBERGSTHINK INGATTHEBEGINNINGOFSONLYACOUPLEOFYEARSAFTERWRITING-ISS*ULIE IN"EFORETHATTIME3TRINDBERGHADTHOUGHTOFIMAGINATIONASAPASSIVE ANDMECHANICALPARTOFTHEMINDONLYRECEIVINGANDTRANSMITTINGPERCEP TIONS.OWHEUNDERSTOODTHECREATIVEPOTENTIALOFTHEIMAGINATIONHAVINGA \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES NEWCOLLABORATIVERELATIONSHIPTOTHEARTIST!NARTISTWASNOLONGERSUPPOSED TOOBSERVEANDOBJECTIVELYDESCRIBETHEEXISTINGWORLDBUTSHEWASNOWCA PABLEOFCREATINGWORLDSOFHISHEROWNINAWAYPARALLELTONATUREITSELF #ARLSONWRITES 3TRINDBERGWASLEARNINGTOREADTHE"OOKOF.ATUREINANEWWAY )NSTEADOFJUSTEXAMININGNATURALSURROUNDINGSASABACKGROUNDFOR ACTIONHEWASATTEMPTINGTOUNDERSTANDTHEESSENCEOF.ATURESCRE ATIVITYANDTHERESULTSPROVIDEEXAMPLESOFHOWHEANTICIPATEDFUTURE TRENDSINART 4HEINSIGHTTHATIMAGESARENOTMERELYPROJECTIONSOFTHEOUTSIDEWORLDBUT MAYEMERGEOUTOFTHEMENTALAPPARATUSOFTHEARTISTISCONNECTEDTOTHE EMERGENCYOFSUBJECTIVEVISION!CCORDINGTO*ONATHAN#RARYTHISHAPPENED INTHEARTISTICANDSCIENTIlClELDSBEFORETHEMIDDLEOFTHETHCENTURY 4HEPOINTISTHATPERCEPTIONISNOTANEMPIRICISTDOCUMENTATIONOFREALITY BUTANACTCONSTRUCTEDBYTHEEMBODIEDBEINGANDPOSITIONOFTHEPERCEIV ER4HISIDEACANBEIMPLICITLYFOUNDINTHETHEATRICALSPACEOF-ISS*ULIEAS WORKEDOUTBY3TRINDBERGINTHEPLAYTEXTANDPREFACE )THINKTHATITWASUNAVOIDABLETHAT3TRINDBERGSNATURALISTTENDENCIESCON CLUDEDTHATVISIONWASSUBJECTIVE7HENTRYINGTOSHOWTHEWORLDASUNDER STANDABLEANDEXPLICABLEHEMUSTHAVERUNINTOTHECRITIQUESOFEMPIRICIST PERCEPTION!S"ERT/3TATESHASPROPOSEDTHEDIFFERENCEBETWEENNATURAL ISMANDEXPRESSIONISMISACTUALLYACONTINUUMWHERETHEMOSTINTENSIVEOB SERVATIONOFOUTWARDREALITYSHIFTSFOCUSTOTHEPROCESSOFPERCEPTION4HE LOGICOFEXPRESSIONISMCANBEUNDERSTOODASNATURALISMTURNEDINSIDEOUT 4HEINSIDEMINDBECOMESTHESTAGEWHERETHEOUTSIDEWORLDAPPEARSWHERE ASINREALISMTHATWHICHISEXPERIENCEDINTERNALLYISINTRODUCEDTHROUGHEX TERNALAPPEARANCES )TISTHEINTERNALIMAGERYTHATBECOMESMEANINGFULINTHESUBJECTIVEVI SIONCHARACTERISTICOFBOTHTHESCENOGRAPHYIN7ILLENSAUNAAND3TRINDBERGS THINKING4HEOUTSIDEWORLDONLYSERVESASAKINDOFSCREENWHEREYOUCAN REmECTONTHEPERSONALANDCREATIVEEXPERIENCESOFYOURLIFE!SIMILARKINDOF LOGICWASVISIBLEINTHEUSEOFTHETRANSPARENTWALLSIN*UNNIKKALASSCENOGRA PHYFOR-ISS*ULIE -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ $BSMTPO $BSMTPO $SBSZ 3PLFN¬ 4UBUFT¬ 3TRINDBERGALSOWROTEALOTABOUT@SEEINGDIFFERENTlGURESINOCCASIONALOB JECTSLIKEPILLOWSWALNUTSORCRUMPLEDHANDKERCHIEFS4HESESOCALLED @CHANCEIMAGESARELINKEDTOAQUESTIONABOUTOURCAPABILITYOFSEEING SOMETHINGTHATDOESNOTACTUALLYEXIST&ROMAMETAPHYSICALPOINTOFVIEW ASCHOOLOFTHOUGHT3TRINDBERGWASFAMILIARWITHMESSAGESFROMANOTHER LEVELOFEXISTENCEWEREPRESENT&ORAPSYCHOLOGISTTHESE@CHANCEIMAGESARE MUCHLIKEA2ORSCHACHTESTREmECTINGTHEUNCONSCIOUSMINDOFTHEINTER PRETERHIMSELFHERSELF !CCORDINGTO-AGNUS&LORIN@ACHANCEIMAGEHASTHEARBITRARYQUALITYOFA LINGUISTICSIGNBECAUSETHEICONICSIGNIlCATIONSSEEMTOALTER "UTASSOONASLIGHTISSHEDUPONSOMETHINGDARKSOMETHINGELSEOB SCUREISDISCOVEREDWAITINGJUSTAROUNDTHECORNER4HUSTHESOURCE OFFASCINATIONISNOTTHEMANICSEARCHFORTRUTHBUTTHENEVERENDING MOVEMENTONTOTHENEXTSTRANGESIGNANDTHENTHENEXTANDSOON &ORMETHISMOVEMENTHASMORETODOWITHLANGUAGETHANWITH OCCULTISMANDTHELIKE)TTOUCHESUPONTHEUNCERTAINRELATIONSHIP BETWEENSIGNANDSENSEORMEANINGANDTHEEFFECTOFTHISUNCERTAINTY !RTICULATINGANINTERPRETATIONHOLDSOUTTHEPROMISEOFMEANINGTHAT ISALWAYSBOTHFAILEDANDRENEWEDASITSFULlLLMENTISCONTINUALLY DEFERRED ,IKEWISETHESCENOGRAPHYIN7ILLENSAUNACOULDNOTBEINTERPRETEDACCORD INGTOANYEXACTSIGNSYSTEM)TCOULDOFCOURSEBEASSOCIATEDWITHDIFFERENT THINGSTHATEXPLAINEDTHEMEANINGSOFTHESETANDOBJECTS4HESCREENSRE SEMBLINGICEWERESIGNSOFPHYSICALCOLDNESSWHICHCOULDBEENHANCEDBYTHE REALMOFTHEPSYCHEASAMETAPHORFORFROZENEMOTIONSANDMENTALSOLITUDE 2EGARDLESSTHISDECODINGOFTHESCENICSIGNIlCATIONSSEEMSTOUNDERMINETHE ACTUALVISUALEXPERIENCEOFTHESCENOGRAPHY)FITWEREJUSTAMATTEROFUN DERSTANDINGTHEMEANINGSOFCERTAINSIGNSWHYWOULDWENEEDANELABORATE VISUALIMAGEATALL4HESCENOGRAPHYCARRIEDMEANINGSTHATRELIEDONBEING SENSED 4USJOECFSH 'MPSJO 'MPSJO !SIMILARATTITUDECANBEFOUNDINMODERNPAINTINGTHECONTENTSOFWHICH CANBEGRASPEDTHROUGH@PUREPERCEPTION4HEREISACASEFORTHEEXISTENCEOF ANINDEPENDENTLANGUAGEFORVISUALPERCEPTIONOFFORMSCOLORSSTRUCTURES \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES COMPOSITIONSANDVOLUMES#OMMUNICATIONTRANSMITTEDTHROUGHTHISLAN GUAGECANNOTBETRANSLATEDINTOOTHERSIGNSYSTEMSLIKESPOKENORWRITTEN WORDS4HECAPABILITYOFUSINGVISUALLANGUAGEHASOFTENBEENSEENASAMAT TERFORINDIVIDUALSENSITIVITYALTHOUGHTHEREHAVEBEENEFFORTSTOlGUREOUT VISUALGRAMMATICISMFOREXAMPLEINTHETHEORIESOF+ANDINSKY !NOSTALGIACANBESEENTOEXISTFORTHEVISIONOFACHILDWHOSEESTHEWORLD FORTHElRSTTIMEWHENTHINGSDONOTYETHAVENAMES4HISKINDOFASPIRA TIONCANBETRACEDTOTHETHINKINGOFMANYMODERNARTISTSANDTHEORETICIANS FOREXAMPLEIN*ULIA+RISTEVASCONCEPTOFSEMIOTICWHICHMEANSTHEPRELIN GUALUNDIFFERENTIATEDEXPERIENCETHATWASLOSTALONGSIDETHELEARNINGOF LANGUAGE (OWEVERWEKNOWTHATITISVERYHARDOREVENIMPOSSIBLETOPERCEIVEANOB JECTWITHOUTGIVINGITANYSIGNIlCATIONSORREPRESENTATIONALDIMENSIONS0ER HAPSTHERESTILLISAMOMENTWHENWEARELOOKINGFORTHEMEANINGANDWAVER BETWEENSEVERALPOSSIBLEINTERPRETATIONS)FTHATPROCESSISACTIVATEDBYAVI SUALIMAGEnORBYANYFORMOFARTISTICCOMMUNICATIONnWEAREBROUGHTINTO ASTATEOFUNCERTAINTYWHICHREMINDSUSOFTHEBOUNDARYBETWEENUNDIFFEREN TIATEDEXPERIENCEANDDElNEDSIGNIlCANCES !SARESULTTHEWORKOFARTLEAVESMANYISSUESUNEXPLAINEDANDMANYGAPS UNlLLEDBRINGINGOURBRAINSBACKTOUNKNOWNREGIONS)THINKTHATTHEVI SUALDIMENSIONINMODERNSCENOGRAPHYISOFTENSOMEHOWCONNECTEDTOTHESE KINDSOFEFFORTSWHICHAIMATGIVINGSHAPETOTHEINVISIBLEMYSTERIESOFTHE HUMANMINDBYMEANSOFSTRONGIMAGESTHATESCAPETHEDElNITENATUREOF SPOKENLANGUAGE(EREIMMEDIATEVISIONCANSERVEASAMEANSOFCOMMUNI CATIONBASEDONSOMEVERYPROFOUNDOREVENCONSTITUTIVEEXPERIENCES 3#%./'2!0(963!#4).' !CCORDINGTO*UNNIKKALATHEYHADPROBLEMSWITHTHEACTORSWHOSEWORK BECAMETOOSEPARATEFROMTHEAUDIOVISUALFRAMEWORKOFTHEPERFORMANCE 7HEN)LOOKEDATTHEPERFORMANCEONVIDEO)HADTHEFEELING)WASWATCHING ANEARLYREHEARSALWHERETHEACTORSHADNOTYETFOUNDAPROPERWAYOFOCCUPY INGTHESPACE)NSOMEREVIEWSTHEACTRESS-ARJUKKA(ALTTUNENWHOPLAYED *ULIEWASACCUSEDOFINTERPRETINGTHEHEROINEASWEAKSCAREDHELPLESSFRA -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ GILEBLOODLESSANDSUBORDINATEDTO*EAN4HATWASQUITETHEOPPOSITETO4OLAS ANALYSISOFTHEROLE /URINTERPRETATIONEMPHASIZEDTHESTRENGTHOF-ISS*ULIEFOREX AMPLESHEDARESTOPLAYTHISGAME)TWASNOTASIDESTEPMADEBYA FRAGILENOBLEGIRLBUTANACTOFAWOMANWHOISNTYETAWAREOFALLHER MENTALRESOURCES )TISPOSSIBLETHATTHECONTRADICTORYREADINGSOF*ULIESROLEWEREDUETOTHE OBVIOUSDISPARITYBETWEENTHEACTINGANDSCENOGRAPHYIN-ISS*ULIE)TWAS ALSOVISIBLEINTHEPROBLEMSSURROUNDINGTHECOSTUMEDESIGNWHICHWASALSO MADEBY*UNNIKKALA4HECOSTUMESCANBESEENASINTERMEDIATINGSIGNSYSTEM BETWEENTHESETANDACTORS4HEYAREPARTOFTHEVISUALENTITYOFTHESTAGEBUT ALSOANINTEGRALELEMENTOFTHEACTORSWORK4HECLOTHESCONTINUEANDSUP PORTTHEGESTURESOFACTORSWHOTHENCANINmUENCEANDCOMMENTTHEHOLISTIC STAGEVISION !CCORDINGTO*UNNIKKALATHEYHADDIFlCULTIESWITHTHEDRESSESANDTHERESULT DIDNOTSATISFYHIM ,' 9OUALSOMADETHECOSTUMES +* 9ES)DIDBUTTHEYWEREAFAILUREx7ETHENGATHEREDSOME CLOTHESFROMTHESTOREANDMADESOMETHINGOUTOFTHEMAND SOMENEWONESWERESEWN)DONTREMEMBEREXACTLYBUTITWAS ACOMPLICATEDPROCESS ;!BOUTTHEBLUEDRESSOF*ULIE=)HAVENOIDEAHOWWEENDED UPWITHTHIS4HEREMUSTHAVEBEENSOMEKINDOFCOMPROMISE BETWEENTHEORIGINALTHOUGHTANDTHEWISHESOF-ARJUKKAx %VENFROMTHECHOICEOFTHETISSUESEVERYTHINGWENTWRONG 5PMB +VOOJLLBMB 4HEACTORSlNALLOOKSWEREALMOSTCONTEMPORARYASIFTHECHARACTERSWERE RELEASEDFROMALLHISTORICITY4HECOSTUMESREFERREDTOAKINDOFUNIVERSALPAST BECAUSETHEACTRESSESWEREWEARINGLONGSKIRTSBUTTHESEWERENOTCONNECTED TOANYDElNITEHISTORICALPERIOD4HEIROUTlTCOULDACTUALLYHAVEBEENWORN ONTHESTREETINWITHOUTATTRACTINGTOOMUCHATTENTION4HEHAIRSTYLES ESPECIALLYLOOKEDLIKESTYLESTHATTHEACTRESSESSPORTEDINTHEIRPRIVATELIVES 0ERSONALLY)HADDIFlCULTYINSEEINGANYPARTICULARSIGNIlCANCEINTHECLOTH \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES ING)TSEEMEDASIFTHEARTISTICTEAMCOULDNOTDECIDEWHICHSTYLETHEYSHOULD CHOOSE4HEYAPPARENTLYENDEDWITHACOMPROMISEWHEREALLSTRONGSTATE MENTSWEREGIVENUP 4HEMEANINGLESSNESSOFTHECOSTUMESHADANINmUENCEONTHESCENOGRAPHIC ENTITYSINCETHECHARACTERSDIDNOTWORKWELLVISUALLYWITHTHEIRENVIRON MENT4HECONNECTIONBETWEENTHEACTORSBODIESANDTHESETWASBROKEN 4HISWASPARTICULARLYTRUEOF*ULIESBLUEDRESSINWHICHSHELOOKEDLIKEA SCHOOLGIRL3HEAPPEAREDTOOEVERYDAYTOBECOMEPARTOFTHEEXPRESSIONIST ENVIRONMENT)TDIDNOTOFFERUPANYCLUESFORAREALISTICALLYORIENTEDPSY CHOLOGICALINTERPRETATIONEITHER(ERWHITELACEDRESSVISUALLYMATCHEDWITH THEICYSCENOGRAPHYBUTREPRESENTED*ULIEASANINNOCENTVIRGINSTRESSINGTHE PROBLEMATICFRAGILITYINHERCHARACTER 4OMETHEIMBALANCEBETWEENSCENOGRAPHYANDACTINGWASAPPARENTALSOIN THEDOCUMENTARYMATERIALOF-ISS*ULIE7HEN)LOOKEDATTHEPHOTOSSHOW INGTHECOMPLETEDSCENERYTHEYWERELIKEGREATPAINTINGS4HEACTORSCOULD BESEENASSECONDARYPARTSOFTHEPICTURESLIKESMALLlGURESINALANDSCAPE THATCOMPLETEDTHEIMAGEBUTWERENOTEXPECTEDTOHAVELEADINGROLES)T WASINTHEVIDEOTHATTHEPROBLEMSlRSTBECAMEAPPARENTTOMEBECAUSE)RE CEIVEDITASATHEATERPERFORMANCEWHEREYOUMAINLYFOLLOWTHEACTORS 4OPUTITSIMPLYTHEPOWEROFTHEACTINGWASNOTEQUALTOTHESTANDARDOF THESCENOGRAPHYBUTWASRATHER@SWALLOWEDUPBYIT4HUSTHEPERFORMANCE WASOFFBALANCEANDTHEACTRESSPLAYING*ULIEMIGHTBERECEIVEDASWEAKAND ANEMICCOMPAREDTOTHEVISUALBACKGROUNDALTHOUGHTHATWASNOTINTENDED *UNNIKKALADISCUSSEDTHESEPROBLEMS )TISQUITETRUEYOUCANALMOSTDOAPLAYLIKE-ISS*ULIEWITHMERELY THEACTORSANDITDOESNOTNEEDANYEXTRAACCOMPANIMENTS)TWOULD PROBABLYBEBETTERIFITWASONLYMADEBYTHEACTORSWORK/NTHE OTHERHANDIFTHEACTINGISSTRONGENOUGHTHEVISUALITYDOESNOTDIS TURBITEITHER (OWEVER)THINKITWASNOTONLYTHEVOLUMEOFEXPRESSIONBUTALSOITSQUAL ITY4HESTYLEOFTHESCENOGRAPHYAT7ILLENSAUNACOULDBECLASSIlEDASEXPRES SIONISTWHEREASTHEACTORSSTUCKTOAREALISTICSTYLE)TSEEMEDTHATIN7ILLEN +VOOJLLBMB -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ SAUNATHEYBOTHFUNCTIONEDONTHEIROWNTERMSANDASARESULTNODIALOGUE ORCONTINUUMEVOLVEDBETWEENTHEM 3OMEHOWTHESPECTATORHADTO@SWITCHTHECOMMUNICATIVECHANNELWHEN LOOKINGATTHEACTORSORATTHESETRESPECTIVELYANDTRYTOREADTHEEMBEDDED MEANINGS4HISCOULDBEEXPERIENCEDASDISTURBING7HENYOUCHOSETOFOCUS EITHERONTHEREALISTICACTINGORONTHEEXPRESSIONISTICSCENOGRAPHYTHEOTHER ONEAPPEAREDFORMALISTICORINSIGNIlCANTBECAUSEITCOULDNOTBERECEIVEDIN ITSPROPERTERMS4HEDIRECTOR4OLADISCUSSEDTHEPROBLEM 4HEMOSTTRAUMATICTHINGTHEREFORMEWASTHATWEFAILEDINSPITEOF HAVINGALLTHEELEMENTSWENEEDED/URTEAMWASEXTREMELYMOTI VATEDANDEXCITEDABOUTTHISWORKTHEREWASNODISTRUSTANDALLTHE ACTORSlTTEDTHEIRROLESANDWEREPROFESSIONALLYQUALIlEDx 4HE@CHEMISTRYJUSTDIDNTWORKAS)USEDTOSAYx 7HENWEHADCOMEHALFWAYINTHEREHEARSINGPERIOD)REALIZEDTHAT THISPERFORMANCEWASNEVERGOINGTOBEWHAT)WISHEDnTHEACTORSFELT THEYSUCCEEDEDTHEPERFORMANCESOLDVERYWELLTHEREVIEWSWERENOT VERYSPECIALx(OWEVERITLOSTITSSIGNIlCANCEFORMEx 4HEACTORSINTERPRETATIONDIDNOTRESPONDTOTHEINTERPRETATIONBYTHE SCENOGRAPHERANDME4HATSWHYTHEMEANINGSINTHESCENOGRAPHY WERELIMITEDTOTHEOUTERAPPEARANCEOFTHEPLASTICWALLS 4OMYMINDTHISPLAYISBASEDONSEXUALTEASINGANDMEASURINGEACH OTHERSSTRENGTHx*ULIECHALLENGESASENSUALMANWITHSTRONGSEXUAL NEEDSAMANWHOISSEXUALLYVERYACTIVEANDDANGEROUS*ULIEISPLAY INGWITHlREANDSHEGOESTOOFARBECAUSESHETHINKSTHATSHEISSAFE ANDDOESNTEXPECTHISRESPONSE)WISHEDTHATTHERECOULDHAVEBEEN MOREPAINFULNESSANDREALPASSIONONSTAGEBUTTHEACTORSPERFORMED ITVERYANALYTICALLYANDINTELLECTUALLYLIKEACLASSICCHAMBERPLAYAND THESCENOGRAPHYWASNOTDEVISEDFORTHAT 4HEACTORSDIDNOTBRINGTHESCENOGRAPHYALIVE!FTERWARDSWE CONSIDEREDWHETHERWESHOULDHAVEUSEDOTHERKINDSOFMATERIALS ANDSTRUCTURESWHETHEROURSTARTINGPOINTWASTOOCONSTRUCTEDWHEN \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES WEBELIEVEDTHATWECOULDCREATECONTENTSBYMEANSOFTHEDISTORTED WALLSx "UTMOSTOFTHEACTINGWASREHEARSEDWITHOUTSCENOGRAPHYTHEWALLS DIDNOTCHANGEANYTHINGTHEDAMAGEWASALREADYDONEBEFORETHE SCENOGRAPHYWASSETUPONSTAGE 4HEREALISTICANDEXPRESSIONISTTHEATRICALGENRESASSIGNDIFFERENTROLESAND FUNCTIONSTOSCENOGRAPHYINRELATIONTOACTING4HEAIMOFEXPRESSIONISTSCE NOGRAPHYISTOEVOKEADIRECTEMOTIONALRESPONSEFROMTHESPECTATOR4HIS ISDIFFERENTFROMTHECONVENTIONSOFREALISTICTHEATERWHERETHESCENOGRAPHY SHOULDOFFERTOOLSFORPSYCHOLOGICALANALYSISBUTTHEREPRESENTATIONOFTHE EMOTIONALEXPERIENCESISTHEACTORSJOB 4HEEMOTIONALRESPONSEOFTHESPECTATORINREALISTICTHEATERDEVELOPSGRADU ALLYTHROUGHHISHEREMPATHETICINVOLVEMENTWITHTHEACTORSPERFORMANCE)T ISASLOWANDREmECTIVEPROCESSCOMPAREDTOTHEPERCEPTIONOFEXPRESSIONIST SCENERYWHICHIMMEDIATELYCALLSFORTHTHEPERSONALFEELINGSOFTHESPECTATOR )NSTEADOFFOLLOWINGTHEPLOTWHICHATTHEENDPRODUCESCATHARTICEMOTIONS FROMTHEVERYBEGINNINGTHESPECTATOROFANEXPRESSIONISTPERFORMANCEISEN CLOSEDWITHINANEMOTIONALLYCHARGEDATMOSPHERE)TCOULDBESAIDTHATTHE LINEARSEQUENCEOFEVENTSINTIMEBECOMESAUBIQUITOUSSPATIALEXPERIENCE)T ISNOWONDERTHATACTORSANDAUDIENCESUSEDTOREALISMFEELCONFUSEDWHEN THEYlNDTHEMSELVESINSIDETHEPRIVATEMINDOFTHEPROTAGONIST4HATWHICH THEREALISTICACTORSHAVEREVEALEDSTEPBYSTEPISSUDDENLYEXHIBITEDALLAT ONCEONTHEWALLSOFTHESCENERY !CCORDINGTO&REDDIE2OKEMINREALISMTHEPROTAGONISTSPRIVATEEXPERIENCES ARECOMMUNICATEDTOTHEAUDIENCETHROUGHAPROCESSWHERETHESPECTATOR IDENTIlESWITHTHEHEROSSTRUGGLE 4HETHEATRICALEVENTCONSISTSOFAPROCESSOFDISCOVERYBYTHElCTIONAL CHARACTEROFHISTRUEIDENTITYANAGNORISISWHICHTHESPECTATORDISCOV ERINGSOMETHINGABOUTHISOWNIDENTITYEXPERIENCESASACATHARSIS 4HESPECTATORHOWEVERHASTOWITHDRAWFROMHISHERCATHARTICIDENTIlCA TIONANDTHEPROTAGONISTISTURNEDINTOASCAPEGOATCOMMITTINGARITUALSUI -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ 5PMB 3PLFN CIDE7EDONOTONLYHAVETOIDENTIFYWITHTHEPROTAGONISTSBUTWEHAVETO FREEOURSELVESFROMTHEMANDSEETHEIRFATESASREmECTIONSOFOUROWNPSYCHE /NLYTHROUGHTHATPROCESSCANTHEATERCONTRIBUTETOSELFUNDERSTANDINGCON STRUCTIONOFIDENTITYANDEVENSERVEASAKINDOFTHERAPY 4HEARTISTICGOALOFATHEATRICALPERFORMANCEnREALISTICOREXPRESSIONISTICnIS THEGENERATIONOFACATHARTICPROCESSINTHESPECTATORBUTTHETOOLSFORITVARY 4HETRADITIONOFEXPRESSIONISMDIFFERSFROMREALISMBYMAKINGTHEINSIDE MINDOFTHEPROTAGONISTDIRECTLYVISIBLEWHILEAREALISTICSTAGESHOWSHISHER EXTERNALLIVINGCONDITIONS(OWEVERINBOTHCASESTHEMAINCONTENTOFTHE PERFORMANCEISTHEREVEALINGOFTHEINTIMATEPSYCHOLOGICALSTRUCTUREOFTHE HERO 7ITHINTHECONVENTIONSOFREALISMTHESPECTATORISALSOSUPPOSEDLYALLOWED THEFREEDOMOFCHOOSINGHISHERATTITUDETOWATCHINGSINCETHEPERFORMANCE APPEARSASAPIECECUTOUTOF@REALLIFE)NNATURALISMTHEAUTHOR@DISAPPEARS ASANANONYMOUSINVISIBLEMEDIATORTRANSMITTINGAVIEWOFOUTERREALITYTO THEAUDIENCE4HEILLUSIONOFREALITYISBASEDONTHISPRESUMEDOBJECTIVITY HIDINGITSCONSTRUCTIVITY 3EEMINGLYINCONTRASTTOTHATTRADITIONEXPRESSIONISTTHEATEROPENLYDElNES THEMOODINWHICHTHESPECTATORSHOULDSEETHEPLAYEVENTS/FTENANEX TREMESTATEMENTISMADEABOUTTHEWORLDWHICHGIVESASPECIlCTONETOEV ERYTHINGTHATHAPPENS)TISLIKESEEINGTHEPERFORMANCETHROUGHCOLOREDAND DISTORTINGSUNGLASSES (OWEVERINSPITEOFTHISAPPARENTREFUSALOFREALISMEXPRESSIONISMINSOME SENSEDEVELOPSILLUSIONISTRHETORICTOITSPEAK4HEREISNOCLAIMFORAVERISI MILITUDEWITHTHE@REALWORLDBUTFOREQUIVALENCETOTHEMOSTINTIMATEREALM OFPRIVATEVISION4HEIDENTIlCATIONWITHTHEPROTAGONISTTAKESPLACEBYSEE INGTHEWORLDTHROUGHHISHEREYES4HESPECTATORSHOULDNOTOBSERVEHISHER BEHAVIORINORDERTORECOGNIZEUNDERSTANDORREJECTITBUTSPONTANEOUSLY SHAREHISHERWAYOFLIVINGTHROUGHTHEEVENTS3OMEHOWTHESPECTATORISPUT INSIDETHEPROTAGONISTSPSYCHE 3PLFN 4UBUFT 8PSUIFO 4HEINTERNALPSYCHOLOGICALPROCESSESOFTHEHEROARENOTANOBJECTOFANALY SISBUTTHEYARETHEPRIMARYCONDITIONSOFSEEINGTHEPLAY)TCANEVENBESAID THATTHEDRAMATAKESPLACEINAWORLDCONSTRUCTEDBYTHESECONDITIONS4HE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES INTERNALMINDOFTHEPROTAGONISTnASUNDERSTOODBYTHETHEATERPRACTITION ERSnISTHEACTUALENVIRONMENTOFTHEPERFORMANCE4HESUBJECTIVEMOOD INWHICHTHEWORLDAPPEARSTO*ULIEISSHOWNASIFITWERETHEONLYEXIST INGREALITYWITHINTHELIMITSOFTHEPERFORMANCE)NORDERTOWITHDRAWFROM THECATHARTICIDENTIlCATIONTHESPECTATORHASTOBEDISTANCEDFROMTHEWHOLE PERFORMANCEWHICHDECREASESHISHERINVOLVEMENTINTHEPLAYSEVENTS4HE SCENOGRAPHYSIMULTANEOUSLYENTANGLEDTHEAUDIENCEINTOTHESURREALISTATMO SPHEREANDALIENATEDTHEMTOAPOSITIONOUTSIDETHESCENICILLUSION )NSOMESENSETHEINTERNALANDEXTERNALSTATESOFTHEPROTAGONISTSHADBEEN REVERSEDIN7ILLENSAUNAWHENCOMPAREDTOTHETRADITIONALREPRESENTATIONSOF ANATURALISTICDRAMA7HATUSUALLYISCONCEALEDBENEATHTHEREALISTICSURFACE OFTHEPLAYEVENTSWASEXHIBITEDINTHESCENERY-OREOVERTHEINTERNALSTATE BECOMESTHEENVIRONMENTOFTHETRAGEDY)TDOESNOTNECESSARILYMEANTHAT EVERYTHINGISJUSTIMAGINEDBUTTHATUNDERSTANDINGANENVIRONMENTDEPENDS ONTHEPERCEIVINGSUBJECT)TISONLYTHROUGHTHISREPRESENTATIONTHATITBE COMESMEANINGFULFORTHESUBJECT)NTHISSENSETHEWORLDEXISTSFORUSONLY INOURPERCEPTIONSOFITANDISCREATEDBYOURMOODOFSEEING4HATINFACT ISAVERYPHENOMENOLOGICALATTITUDE 4HESCENOGRAPHYWASAMAJORTOOLOFCOMMUNICATINGTHECONTENTSOFTHE DRAMABECAUSEITCONSTRUCTEDANEXPERIENCETHATDElNEDTHEWAYINWHICH THEPLAYWORLDSHOULDEXISTFORTHESPECTATOR(ERE*ULIEONCEAGAINBECAME AVICTIMOFHERENVIRONMENTBUTTHISTIMETHESURROUNDINGSWERETHEPROD UCTOFHEROWNPSYCHEASITWASUNDERSTOODBYTHETHEATERMAKERS(ERPRIS ONEXISTEDINHEROWNMINDTHROUGHWHICHTHEOUTERWORLDAPPEAREDASA PRISONMADEOFICE4HESCENOGRAPHYDIDNOTSOMUCHINCARNATEAPROJECTION OFHERFEELINGSBUTHERWAYOFPERCEIVINGCONSTRUCTEDATRAGICWORLDWITHNO EXIT4HERECOULDBENOOTHERWORLDFOR*ULIEBECAUSESHECOULDNOTSTEPOUT OFHERMIND 4HESUBJECTIVEVISIONOF*ULIEWASNOTLIMITEDTOHERINSIDEEXPERIENCESBUT OTHERPEOPLEn*EAN+RISTINANDTHEAUDIENCEnHADTOSHAREITTOO4HECON DITIONOF*ULIESPSYCHEBECAMETHESTRUCTUREOFTHESOCIALWORLDAROUNDHER )NTHEENDSCENEOFTHEORIGINALPLAYTEXT*ULIEHASHALLUCINATIONSWHERETHE KITCHENAPPEARSONLYASACLOUDOFSMOKE -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ *ULIE;%CSTATICALLY=)AMASLEEPALREADYnTHEREISNOTHINGINTHEWHOLE ROOMBUTALOTOFSMOKEnANDYOULOOKLIKEASTOVEnTHATLOOKSLIKEA BLACKMANINAHIGHHATnANDYOUREYESGLOWLIKECOALSWHENTHElRE ISGOINGOUTnANDYOURFACEISALUMPOFWHITEASHES 4HEPLAYTEXTSHOWEDTHISASAPRIVATEINSIDEEXPERIENCEONLYEXPERIENCED BY*ULIE)N7ILLENSAUNAASHADOWYATMOSPHERETHATCOULDNOTRATIONALLYBE COMPREHENDEDBYANYBODYSURROUNDEDALLTHECHARACTERSWHEREAS3TRIND BERGSHOWEDTHEREALISTICKITCHENANDLETTHESUBJECTIVEVISIONBEONLYFELT ANDEXPRESSEDBYTHEACTRESS(OWEVERTHESTAGINGAT7ILLENSAUNAMADETHE INSIDEHALLUCINATIONSTOTALLYVISIBLEANDLEFTTHEOBJECTIVEREALITYUNSEEN 4HEVIEWSEENTHROUGHTHEEYESOF*ULIEWASNOTLIMITEDTOHERHALLUCINATING MINDBUTRATHERGREWINTOANIRRATIONALPOWERTHATRULEDOVERHERENVIRON MENT4HINKINGPSYCHOLOGICALLYHERTRAUMASDIDNOTONLYDISTORTHERPRI VATEEXPERIENCESBUTTHEYHADANINmUENCEONEVERYBODYLIVINGINTHESAME WORLD)TISNOTONLYTHESOCIALSITUATIONTHATCONSTRUCTED*ULIESPSYCHEBUT HERPSYCHEHASMODIlEDTHESOCIALSITUATIONS*EANAND+RISTINWHOLIVEDIN THESAMESPHEREWEREALSOIMPRISONEDINTHEICEBERGPRODUCEDBYHERMIND )NTHISSENSETHEINCOMPATIBILITYOFACTINGANDSCENOGRAPHYCOULDBESEENAS INTERESTINGBUTTHISWASNOTTHEINTENTIONOFTHEARTISTSNORUNDERSTOODIN THISWAYBYANYOFTHEREVIEWERS4HEPROTAGONISTSWERELIKENORMALPEOPLE INHABITINGAHAUNTEDHOUSEWITHOUTPAYINGANYATTENTIONTOTHEIRQUEEREN VIRONMENTASIFTHEYHADGROWNTOACCEPTITASSOMETHINGNATURAL&ORTHEM THEDISTORTIONSOF*ULIESHOMEnWHATEVERTHEIRCAUSEWASnHADBECOMETHE ONLYPOSSIBLEWAYOFLIVING 4HEINCOMPREHENSIBILITYOFPARTSOFTHEPERFORMANCECOULDBESEENASAMET APHORFORTHEIMPOSSIBILITYOFCOMPLETELYUNDERSTANDINGANOTHERPERSONSEX PERIENCE!LTHOUGHTHESUBJECTIVEWORLDWASSHOWNFROMTHEINSIDETHROUGH THEEYESOFTHEPROTAGONISTTHESPECTATORSAWITFROMTHEOUTSIDE3HESHARED THE@HALLUCINATIVEVISIONSOF*ULIEBUTSHECOULDALSOSEETHEMASREPRESENTA TIONSOFTHEINTERNALMOODOFANOTHERPERSON4HEREBYTHERECEPTIONWASWA VERINGBETWEENINDIVIDUALANDSHAREDPRIVATEANDPUBLICVISIONS 4USJOECFSH 4HESPATIALBOUNDARYBETWEENTHESTAGEANDAUDITORIUMWASBLURREDINTHE SCENOGRAPHYBYAZIGZAGPATTERNEDCUTTINGOFFTHEFRONTEDGEOFTHEmOORAND \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES TABLE*UNNIKKALAEXPLAINEDTHERELATIONBETWEENTHEPERFORMANCESPACEAND THESPACEOFTHEAUDIENCE 7ETRIEDTOMAKEITAPPEARASIFITWASBROKENSOTHEREWASNOCLEAR BOUNDARY BETWEEN THE STAGE AND AUDITORIUM7E PRESUMED THAT THROUGHTHISSOLUTIONIT;THESTAGESPACE=SOMEHOWCONTINUESFOREVER ¸ - PPLBUUIFQIPUPTJO"QQFOEJY 4HEBORDERLINEBETWEENTHEAUDIENCEANDTHEPLAYWORLDWASREPRESENTED ASANARBITRARYANDALMOSTVIOLENTLYDRAWNLINE4HEZIGZAGFRAMINGOFTHE SCENERYREMINDSOFTHETECHNIQUESOFPHOTOGRAPHYORlLM4HEVISIONISLIKE APIECECUTOUTREALITYBUTSIMULTANEOUSLYTHESPECTATORISMADEAWAREOFTHIS ACTOFCUTTINGANDTAKINGTHEIMAGEOUTOFITSCONTEXT !LTHOUGHTHEBROKENBOUNDARYIMPLIEDTHECONTINUITYOFTHESTAGEWORLDIT ALSOPOINTEDTOITSOWNEXISTENCEASTHEINEVITABLEBOUNDARYBETWEENlCTION ANDNONlCTIONINSIDEANDOUTSIDE4HEIMPOSSIBILITYOFEVERCOMPLETELY JOININGTHEMENTALWORLDOFOTHERPEOPLEWASALSOCONCRETIZED4HESPECTATOR WASPLACEDSIMULTANEOUSLYINSIDEANDOUTSIDE*ULIESMIND +VOOJLLBMB -ISS*U L IEAT T H E. AT I ON AL 4H EATRE \ 21! -ISS*ULIEAT1TEATTERI "ACKTO3TRINDBERG 4HEMOSTRECENTPERFORMANCEOF-ISS*ULIEINCLUDEDINMYSTUDYWASPER FORMEDATTHE1TEATTERIIN(ELSINKIANDHADAREVIVALPREMIEREIN 4HEPRODUCTIONSSCENOGRAPHERWAS+ATARIINA+IRJAVAINENWHOONLYRECENTLY HASBECOMEONEOFTHEMOSTSUCCESSFULYOUNGTHEATERPROFESSIONALS4RAINED ASASCULPTORSHEENDEDUPCREATINGSCENOGRAPHIESFORTHE3TUDENTS4HEATER IN(ELSINKIINTHEEARLYS3HElRSTSTARTEDHERSCENOGRAPHYSTUDIESAT THE5NIVERSITYOF!RTAND$ESIGNINANDGRADUATEDIN4ODATESHE HASWORKEDINMANYTHEATERSINCLUDINGBOTHINDEPENDENTGROUPSANDTHE BIGGESTINSTITUTIONSIN&INLANDSUCHASTHE.ATIONAL4HEATREANDTHE#ITY 4HEATREOF(ELSINKI -ISS*ULIEWASTHElRSTCOLLABORATIONBETWEEN+IRJAVAINENANDDIRECTOR+A TARIINA,AHTI,AHTIBELONGSTOANOLDERGENERATIONANDHERWORKISKNOWN FORITSCREATIVEUSEOFVISUALITY+IRJAVAINENDESCRIBEDTHEIRJOINTVENTUREAS ECONOMICALINTHESENSETHATTHEYONLYHADAFEWMEETINGS2EGARDLESSAVERY GOODMUTUALUNDERSTANDINGEVOLVEDBETWEENTHEMANDhTHINGSJUSTHAP PENEDANDOPENEDUPFOREVERYBODYSIMULTANEOUSLYv 7HEN)SAWTHEPERFORMANCEOF-ISS*ULIEAT1TEATTERI)WASSTRUCKBYITS APPARENTTRADITIONALNATUREANDLOYALTYTOTHEORIGINALTEXTOF3TRINDBERG!T lRSTGLANCETHESCENOGRAPHYMADEBY+IRJAVAINENSEEMEDQUITEREALISTIC)T CLOSELYRESEMBLEDTHE#OUNTSKITCHENDESCRIBEDINTHEPLAYWRIGHTSINSTRUC TIONS(OWEVERCLOSEREXAMINATIONREVEALEDTHATTHESETWASBURDENEDWITH DETAILSCONTRADICTINGEACHOTHERANDTHEPLAYTEXTWHICHWASNOTREMARKABLY DIFFERENTFROMTHEORIGINALLINESOF3TRINDBERG ,JSKBWBJOFO 4HESCENOGRAPHYIN1TEATTERIHASASPECIALPOSITIONINMYWORKBECAUSEIT ISTHEONLYPERFORMANCEOF-ISS*ULIETHAT)HAVEPERSONALLYSEENLIVEWHILE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES WORKINGONMYSTUDY!SARESULT)KNOWTHISSCENOGRAPHYBETTERTHANTHE OTHERONESBECAUSEOFMYlRSTHANDEXPERIENCE/NTHEOTHERHANDMYTHINK INGHASBEENDETERMINEDANDRESTRICTEDBYMYSUBJECTIVERECEPTION)ALSOFEEL MYTHOROUGHENJOYMENTOFTHEPERFORMANCEIN1TEATTERIPOSESAPROBLEM &IRSTLY)AMAFRAIDOFDOINGTHEOTHERSCENOGRAPHIESFROMWHICH)HAVEHAD MOREDISTANCEANINJUSTICE)HAVENOTBEENABLETOLIVETHROUGHTHEARTISTIC EXPERIENCEOFFEREDBYTHEPERFORMANCESh3TRINDBERGvª34+/-TEATTERI OR7ILLENSAUNA!LLMYKNOWLEDGEABOUTTHESEPRODUCTIONSHASDEPENDEDON OTHERPEOPLETHETHEATERMAKERSTHEREVIEWERSANDTHOSEWHOHAVEHELDTHE CAMERASWHENDOCUMENTINGTHEPERFORMANCE7HAT)DElNITELYLACKEDFOR THESEPRODUCTIONSWASTHEOPPORTUNITYTOPERCEIVETHEMYSTERIOUSTHEATRICAL ENERGIESWHICHCANBESENSEDONLYINTHELIVETEMPORALANDEMBODIEDIN TERACTIONBETWEENACTORSANDAUDIENCES)COULDONLYEXPERIENCETHEMIN1 TEATTERIANDTHATISWHYMYPERSONALRECEPTIONISEMPHASIZEDINTHISCHAPTER MORETHANINTHEOTHERONES 3ECONDLYTHEARTISTIC@GOODNESSOFTHESCENOGRAPHYOF1TEATTERIS-ISS*ULIE ISAVERYRELATIVETHINGRELIANTONMYPERSONALOPINIONSANDTHECONDITIONS OFMYRECEPTION)BELONGTOTHESAMEGENERATIONASTHESCENOGRAPHER+IRJA VAINENAND)SHAREMANYOFHERARTISTICATTITUDESANDVALUES)F)EXPERIENCE HERWORKASIMPRESSIVEITONLYPROVESACONSENSUSOFOURCONCEPTIONSABOUT SCENOGRAPHY!NDTHEREASONFORTHATCONSENSUSISPROBABLYTHECONTEMPO RARYCULTURALENVIRONMENTTOWHICHWEBOTHBELONG4HEREBY)HAVEBECOME PARTOFTHESUBJECTOFMYSTUDYMORECLEARLYHERETHANINTHECONTEXTOFTHE OTHERSCENOGRAPHIES )HAVENOTTRIEDTODENYTHEPARTIALITYOFMYVIEWPOINT)RATHERTRYTODISCUSS THESCENOGRAPHYOF-ISS*ULIEAT1TEATTERIASAPLACEFORANINTERACTIONBE TWEENTHESCENOGRAPHERANDMYSELFASASPECTATOR7HATHASHELPEDMEISTHE CLARITYTHROUGHWHICH+IRJAVAINENHASEXPRESSEDHERTHINKING!SIDEFROMAN INTERVIEWWITHHER)HAVEALSOHADHERWRITINGSABOUT-ISS*ULIEATMYDIS POSALWHICHSHETURNEDINTODIPLOMAWORKATTHE$EPARTMENTOF3CENOGRA PHY)NTHISSHEEMPHASIZEDTHESUBJECTIVITYOFANARTISTASTHESTARTINGPOINT FORHERWORK +IRJAVAINENACKNOWLEDGEDTHATDOING-ISS*ULIEWASOFGREATPERSONALIMPOR TANCETOHER3HEWROTEINTHEPLANFORTHEWRITTENPARTOFHERDIPLOMAWORK -ISS*U LIE AT 1T EAT TER I \ 7HEN)THINKABOUTTHEIMPORTANCEOF-ISS*ULIEFORMEASASIG NIlCANTPERFORMANCEANDWORKPROCESSANOTHERTHEMEASIDEFROM THEMEANINGOFTHEPLACEARISESWHYWAS)COMPLETELYENTHUSEDOVER THISPLAYANDWHYDID)SEESOMETHINGREALVALUABLEANDSIGNIlCANT INTHEINTERPRETATIONOFOURTEAMANDINTHEDIRECTIONOF+ATARIINA ,AHTI)WASTOTALLYINLOVEWITHTHISPERFORMANCE.OWWHENTIME HASSMOOTHEDTHEWRINKLESOFTHISLOVETHEMAKINGOFITANDTHERESULT COMETOMYMINDASAPERFECTEXPERIENCEOFMAKINGART)TWASSO PERSONALANDITBECAMESOUNIVERSAL 3HElNISHEDTHEPAPERWITHTHEFOLLOWINGLINES 3OIN*ULIE)COULDMEETMYOWNBLACKNESSWHENWORKINGONIT)WAS INADEQUATEUNlTTOSURVIVEANDSELFDESTRUCTIVE)GAVEMYSELFTO-ISS *ULIEAND)WASALSOHERCOMPLETEFORAWHILE 4HELASTSENTENCETELLSHOWTHEWORKINGONATHEATRICALPERFORMANCEHAD SERVEDASANALMOSTTHERAPEUTICEXPERIENCEFOR+IRJAVAINEN4HEIDENTIlCATION WITHTHEPROTAGONISTSTRAUMASHADHELPEDHERMEETHEROWNDARKSIDEAND THATPROCESSHADCREATEDATEMPORALEXPERIENCEOFMENTALWHOLENESS3HEALSO BELIEVEDTHATTHESPECTATORSCOULDRECOGNIZEANDSHARETHISEXPERIENCEPRECISE LYBECAUSEOFITSINTIMATEINTERNALLYEXPOSEDCHARACTER)TWASSIMULTANEOUSLY PERSONALANDUNIVERSAL)THINKTHATITSHOWEDTHEFUNDAMENTALPROBLEMATIC ABOUTTHEPOSSIBILITYOFSHARINGMENTALSTRUCTURESANDSIGNIlCATIONSnAPROB LEMATICTHATISPRESENTINEVERYWORKOFART(OWCANTHESUBJECTIVEEXPERI ENCEOFANARTISTBEMADEINTOTHESUBJECTIVEEXPERIENCEOFTHESPECTATOR -ISS*ULIEWASPUTONAT1TEATTERIlFTEENYEARSAFTERTHEPRODUCTIONIN7IL LENSAUNATHEPREVIOUSSUBJECTOFMYSTUDY4HEREHADBEENMANYCHANGES IN&INNISHCULTUREANDSOCIETYDURINGTHATTIME7ORKINTHETHEATERWORLD HADBECOMEECONOMICALLYMOREUNCERTAINANDITSSTATUSHASDECREASED4HE DEMANDFOREFlCIENTCOSTEFFECTIVETHEATERPRODUCTIONSHASLEFTLESSROOMFOR lGURINGOUTSCENOGRAPHIESTHATWOULDDIFFERFROMTHEMAINSTREAMPERFORM ANCES ,JSKBWBJOFO *CJE )NDEPENDENTTHEATREGROUPSLIKE1TEATTERIHAVEALWAYSSTRUGGLEDWITHl NANCIALDIFlCULTIES4HEPRACTICALNECESSITIESANDRESTRICTIONSDICTATEDTHE SCENOGRAPHICPLANNINGOF-ISS*ULIEFROMTHEVERYBEGINNINGBUTTHEARTISTIC \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES QUALITYWASNOTSACRIlCEDTHANKSTOTHEWORKERSmEXIBILITYANDTOTHEUN USUALPERSONALINVOLVEMENTANDDEVOTIONOF+IRJAVAINEN!SIDEFROMTHEAR TISTICDESIGNSHEDIDLOTOFTECHNICALANDADMINISTRATIVEWORKFOREXAMPLE SHESOUGHTOUTTHEWORKERSWHOCONSTRUCTEDTHESETANDSPENTASIGNIlCANT AMOUNTOFTIMEWORKINGWITHTHEMSHEALSOGAVEUPAQUARTEROFHERSALARY INORDERTOHIREASTAGEMANAGER ¸-PPLBUUIFEFTDSJQUJPOPGUIFXPSLJOHQSPDFTTJO"QQFOEJY !NOTHERCULTURALCHANGEDURINGLATESANDSHASBEENTHATTHE GROWTHOFNEWTECHNOLOGYANDMASSMEDIAHASGENERATEDANEWVISUALCUL TUREWHICHHASINmUENCEDTHEWAYSINWHICHWERECEIVEANDINTERPRETIMAGES 4HISMUSTHAVEHADANIMPACTONTHEDEVELOPMENTOF&INNISHSCENOGRAPHY ANDITISPROBABLYVISIBLEINTHEPRODUCTIONOF-ISS*ULIEAT1TEATTERI !LTHOUGH)DONOTWANTTOCOMPAREITARTISTICALLYTOTHEEARLIERPERFORMANCES )THINKTHATTHESCENOGRAPHICTHINKINGHEREISDIFFERENT)TISNOTSOMUCH ABOUTACHANGEOFSCENICSTYLEBUTRATHERACHANGEOFTHEPRESUMPTIONSABOUT THECONDITIONSOFRECEIVINGTHEPLAY3TILLTHESCENOGRAPHYIN1TEATTERIDOES NOTSEEMTOBEANANTITHESISTOTHEEARLIERTHINKINGBUTRATHERISACONTINU UM(ERETHEMODERNSCENOGRAPHICIDEASHAVEDEVELOPEDINTOANEWKINDOF FORMCORRESPONDINGTOTHEMOREGENERALCHANGESINCONTEMPORARYTHINKING 7HAT)WOULDLIKETOSUGGESTISTHATINTHISPRODUCTIONNATURALISMBECOMES INTERESTINGINANEWWAYTHATCOULDBECALLEDPOSTMODERNBECAUSEITFOCUSES ONTHEVISIBLE@RAWAPPEARANCEOFTHEWORLDASABOUNDARYBETWEENINSIDE ANDOUTSIDE4HESIGNIlCANCEOFEMPIRICALEXPERIENCEISHIGHLIGHTEDHOW EVERITISNOTSEENASANENTRYPOINTTOTHEESSENCEOFTHINGS ! . ) - 0 / 3 3 ) " , % 3 0! # % 4HESETCONSISTEDOFGENUINEOBJECTSMOSTLYCOLLECTEDFROMmEEMARKETSBUT THEYDIDNOTMAKEOUTANYLOGICALENTITY!LLTHEPROPSANDFURNITUREWERE FROMDIFFERENTTIMESANDSOMEOFTHEMWEREFROMTHEPRESENTDAY7HILE THEYWERETALKINGABOUTTHE#OUNTSWORLD*EANWASREADINGTODAYSNEWSPA PERANDTAKINGBUTTERFROMABOXSIMILARTOTHEONETHAT)HADINMYREFRIG ERATOR -ISS*U LIE AT 1T EAT TER I \ 4HESETAPPEAREDASANATURALISTREPRESENTATIONOFANAUTHENTICMILIEUBUT THISMILIEUCOULDNOTEXISTINTHEPASTORPRESENTWORLDASWEKNOWIT)TIS EXACTLYTHISINCONSISTENCYWHICHMADETHESCENOGRAPHYSOINTERESTINGTOME )THINKTHATTHISHASMUCHTODOWITHTHETHINKINGOF3TRINDBERGnATLEASTIN THESENSEWELIVINGHUNDREDYEARSAFTERHIMCANUNDERSTANDIT +IRJAVAINENANALYZEDHERSTAGING !CCORDINGTOTHE3TRINDBERGIANINSTRUCTIONS)PUTPARTOFTHEKITCHEN BEHINDTHECONSTRUCTEDWALLS3OTHESTAGEWASDIVIDEDTOABACKAND AFRONTPARTWHICHWORKEDINDIFFERENTWAYSWITHTHEDIRECTIONLIGHTS ANDSOUNDS4HEBACKSPACEWHICHWASONLYPARTLYVISIBLEWASTHE PERFORMANCESSUBCONSCIOUSASPACETHATCREATEDANDMOTIVATEDTHE ACTIONANDTHESOLUTIONSMADEINTHEFRONTSPACE"ECAUSETHEBACK SPACECOULDNOTBETOTALLYSEENFROMTHEAUDITORIUMTHESPECTATORS IMAGINATIONCOMPLETEDTHEVISIONANDTHEMYSTERYOFTHESPACEWAS MAINTAINED ¸-PPLBUUIFQIPUPTBOEWFSCBMEFTDSJQUJPOTJO"QQFOEJY +IRJAVAINENSIDEAWASTHATEVERYPIECEOFFURNITURESHOULDBEDIFFERENTFROM THEOTHERSTHUSBEINGANINDIVIDUALANDHAVINGAMEANINGOFITSOWN4HE FURNITUREWASALSOPLACEDSOTHATEVERYPIECEOFITSEEMEDSOMEHOWLONELY +IRJAVAINENWROTEABOUTHERWORK )PAIDALOTOFATTENTIONTOTHEPLACINGOFLITTLEOBJECTSINORDERTOCRE ATEATENSIONBETWEENTHEM)PUTTHEMINPLACESWHERETHEYCOULDNOT BEREACHEDANDWHERETHEDISTANCETOTHENEXTOBJECTWASEXTREMELY BIG)NTHISWAY)GENERATEDAKITCHENWHICHATlRSTGLANCEWASNOR MALBUTONCLOSEREXAMINATIONWASANIMPOSSIBLEKITCHENOFLONELY OBJECTSWHERE*ULIEFACESHEREND 4HEINCONSISTENTNATUREOFTHESETWASVERYSUBTLEHOWEVERTHECOSTUMESAT TRACTEDATTENTIONBYBEINGUPTODATEANDFASHIONABLE+IRJAVAINENTOLDME THATHERIDEAWASTOUSETHEMTOINTENTIONALLYPROVOKEANDIRRITATE ,JSKBWBJOFO *CJE ;4HEYWEREINTENDEDTO=SOMEHOWANTAGONIZEAREACTIONCREATEA FRUITFULCONTRADICTION)GOTALOTOFFEEDBACKABOUTTHECOSTUMES \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES PEOPLECOMMENTEDTHATTHATTHEYWERETOOMUCHxTHATWHENTHE CHARACTERSTALKABOUTTRAVELINGWITHHORSESANDCARRIAGESANDTHERE ISSUPPOSEDTOBETHISKINDOFACLASSSOCIETYSUCHMODERNCLOTHESARE NOTACCURATE"UT)THINKTHATTHISSENSEOFCONFUSIONWASEXACTLYTHE REASONFORTHECONTRADICTION )THINKTHATTHEYCONNECTEDTHEPLAYSWORLDTOOUREVERYDAYEXPERIENCE THUSMAKINGASURREALCONTRASTTOTHEOLDFASHIONEDELEMENTS)TBROUGHTTHE PERFORMANCEINTOANINTERESTINGLIMINALLEVEL)HADAFEELINGTHATTHEPLAY WASHAPPENINGINSOMEOTHERREALITYMAYBEINTHEDISTANTFUTUREWHERE THINGSFROMPASTANDPRESENTARECOMBINEDINANEWWAYLIKEINSCIENCElC TION/RMAYBEITWASTHEISOLATEDWORLDOFTHEINVISIBLE#OUNTCONTINUING HISOUTDATEDLIFEWITHINTHEFRAMEWORKOFMODERNTIMES 4HESCENOGRAPHYDESCRIBEDAWORLDTHATWASSIMULTANEOUSLYFAMILIARAND STRANGETOME)NTHATREALITYTHEREMAYBESOMECLOTHESANDOBJECTSEXACTLY LIKEOUROWNBUTOTHERSALSOEXISTTHATARERADICALLYDIFFERENTTHEEXACTPUR POSEOFWHICHWEDONOTKNOW!NDWHATISMOREIMPORTANTISTHATTHERULES ANDCONVENTIONSOFBEHAVIORDONOTHAVETOBEPARALLELTOOURSOREVENTO OURANCESTORS4HATMADEITEASIERTOACCEPTTHEREASONSFOR*ULIESSUICIDE EVENIFWEWOULDNOTBELIEVEINTHEMINOUROWNWORLD 4HESCENOGRAPHYFUNCTIONEDAS+IRJAVAINENOBSERVEDhACCORDINGTOTHElRM LOGICOFADREAMv-UCHLIKEADREAMTHATSEEMSTOTALLYREALANDRATIONALFOR ASLONGASYOUAREASLEEPTHEDISSONANCEBETWEENDIFFERENTELEMENTSINTHE SCENOGRAPHYWASTAKENFORGRANTED)TWASNOTJUSTTHEINCONSISTENCYOFTHE THINGSMIXEDTOGETHERTHATPROVOKEDANIRRATIONALATMOSPHERE2ATHERITWAS THEWAYTHEABSURDLOGICOFADREAMWASCOUPLEDWITHCOMMONSENSETOTHE EXTENTTHAT)WASUNABLETODISCERNWHICHPARTSWEREODD&ORTHISREASONTHE OTHERWISEREALISTICSCENERYWASLADENWITHANALMOSTMAGICALATMOSPHERE) THINKTHATTHISEFFECTWASOBSERVEDWELLBY,AURI-ERIINHISREVIEW 4HEOBJECTSWERENOTALLOWEDTOHAVEAREPRESENTATIVEMEANINGEVEN WHENNOTBEINGUSEDTHEYKEPTCARRYINGANUNSOLVABLEMYSTERIOUSNESS +IRJAVAINENDElNEDTHEIRSTYLEASSUPERNATURALISM)UNDERSTANDTHISASTHAT COMBINATIONOFTHEMATERIALISTICEVERYDAYLEVELWITHTHEINEXPLICABILITYOF INNEREXPERIENCES4HEEVERYDAYNORMALPERCEPTIONWASINTERMIXEDWITHAN -ISS*U LIE AT 1T EAT TER I \ ,JSKBWBJOFO .FSJ ,JSKBWBJOFO IRREGULARONE4HEEMPHASISWASNEITHERONTHEOUTERNORONTHEINNERLEVEL BUTRATHERONTHEIRCOUNTERPOINT4HESCENOGRAPHYWASNOTMEANTTOBEAN ILLUSIONOFAREALPLACEBUTASPACEOFFERINGPOSSIBILITIESFORSEVERALDIFFERENT ANDEVENCONTRADICTORYREADINGS 4HESCENOGRAPHYCONTAINEDALOTOFPOSSIBLESIGNIlCATIONSTHATSUGGESTED NEWDIMENSIONSTOTHEPLAYBUTITDIDNOTDOMINATETHEPERFORMANCE4HE VISUALSTATEMENTS)ANALYZEDWERENOTVERYSTRIKING4HESTAGECOULDALSOBE SIMPLYREADASACOMMONPLACEACHEERLESSANDSHABBYKITCHENIFTHEINCON SISTENCIESWEREIGNORED4HEUNCERTAINTYABOUTHOWTOREADTHESCENEMADEIT SEEMTHATITWASUPTOTHESPECTATORSTODECIDEWHATTHEYSAW 4HATSEEMSTOBEINACCORDANCEWITHTHECONVENTIONALNATURALISTRHETORIC WHERETHESPECTATORISLEFTWITHTHELIABLEFEELINGTHATSHEVOLUNTARILY CHOOSESHISHEROBJECTOFINTERESTANDDEVELOPSHISHEROWNOPINIONABOUTIT #ONSIDERINGTHEMULTIPLICITYOFPOSSIBLEMOTIVESANDEXPLANATIONSOF*ULIES SADFATESUGGESTEDBY3TRINDBERGINTHEPREFACE)ASKED+IRJAVAINENWHETHER SHEHADlGUREDOUTTHEREASONSFORTHETRAGEDY3HESAIDTHEFOLLOWINGABOUT THEARTISTICTEAMSSTARTINGPOINT )FYOUASKWHETHERWEHADAMORALISTICATTITUDEORWHETHERWETRIED TOSOLVETHEDILEMMA)THINKTHEANSWERISTHATWEDIDNOT7EJUST LETITHAPPEN)THINKTHATWASREALLYGOOD 4HEPECULIARNATUREANDLONELINESSOFTHESCENICOBJECTSWEREACONSEQUENCE OFTHIS4HESCENOGRAPHYSHOWEDARANDOMCOLLECTIONOFINDIVIDUALTHINGS THATHADBEENPICKEDUPANDPUTONSTAGE4HEREWASNOTOTALIZINGPRINCIPLE THROUGHWHICHAUNITYOFTHESPACEWASCREATED.ORWASTHEREANYHOLISTIC EXPLANATIONCHOSENBYTHETEAM)NTHESCENOGRAPHYTHEREWEREAMULTITUDE OFDIALOGUESBETWEENSEPARATEOBJECTSALLTELLINGTHEIROWNSTORIESBUTWITH NOCOHERENTSTRUCTURE)TWASPOSSIBLETOSEEALOTOFPOSSIBLESIGNIlCATIONS BUTTHEIRACCURACYWASNEVERCONlRMED4HISISALSOTRUEOFHOWWEUNDER STANDTHETRAGEDY,IKE3TRINDBERGHIMSELFPOINTEDOUT 4USJOECFSH YJ ,JSKBWBJOFO 4USJOECFSH !SARULETHESPECTATORCHOOSESTHEEXPLANATIONHISREASONCANMASTER MOSTEASILYORELSEONETHATREmECTSMOSTFAVORABLYONHISPOWEROF REASONING YJ \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HESIMULTANEITYOFDISTINCTINDIVIDUALREADINGSWASCONCRETIZEDONTHELEVEL OFTHEPLAYTEXT!SMORNINGBREAKSAND*ULIEHASLEFTTHEKITCHENINORDER TOSTEALHERFATHERSMONEYAFTERDESPERATELYAGONIZINGOVERHERFATE+RISTIN COMESONSTAGEWITHAHUGEVACUUMCLEANERWHICHMAKESATERRIBLENOISE4O METHEMESSALLOVERTHEKITCHENREPRESENTEDTHEINNERCHAOSIN*ULIESMIND BUTFOR+RISTINITWASSIMPLYDIRTTOBECLEANEDUPASSOONASPOSSIBLEWITH OUTEMPATHYORANALYSIS/NTHEOTHERHANDTHENOISEMADEBYHERVACUUM INGnINTERRUPTEDBY*EANWHODISCONNECTEDTHEPLUGnWASHERWORDLESSBUT LOUDPROTESTTOTHENIGHTSEVENTS+RISTINHADANOPINIONBUTSHEWASNOT ALLOWEDANDEVENINCAPABLEOFEXPRESSINGITINANYOTHERWAYTHANBYAGGRES SIVELYEMPHASIZINGHERROLEASAMAID "YhJUSTLETTINGITHAPPENvTHETEAMPERFORMEDTHEPLAYONTHESURFACELEVEL VERYMUCHASITWASWRITTENBY3TRINDBERG4HEANALYSISOFTHEDIRECTOR+A TARIINA,AHTInBASEDONTHEESSAYABOUT-ISS*ULIEBY0ER/LOV%NQUISTn WASTHAT*ULIEWASSEARCHINGFORHEROWNDEATHANDUSESTWOINNOCENTPEOPLE *EANAND+RISTINASTOOLSFORCARRYINGOUTHERSUICIDE+IRJAVAINENEXPLAINED THESTARTINGPOINTOFTHEWHOLEPRODUCTION 4HEREWASATHEMEWHICHWASREALLYCLEARFORTHEWHOLETEAMWE TRIEDTORAISENOTTHECLASSISSUEBUTTHETHEMEOFSELFDESTRUCTION)N THATWAYWEALSOMADECOMMENTSABOUTTHEPREFACEWHERE3TRINDBERG DEGRADES*EANAND+RISTIN/URAPPROACHnITWASBASEDONTHEREAD INGMADEBYTHEDIRECTORANDWASAVERYSHARPSIGHTEDREADINGTOMY MINDnWASTHAT-ISS*ULIEHASKILLEDHERSELFTHROUGHTHESEINNOCENT PEOPLE 0ER/LOF%NQUISTWRITESTHAT*ULIESACTUALCRIMEISNOTTHEINTERCOURSEWITH *EANBUTTHE@STAGINGOFTHETRAGICEVENTSLEADINGTOHERSUICIDE3HEISPOS SESSEDBYANINTERNALWILLTODIEWHICHSHECARRIESOUTBYTAKINGADVANTAGEOF *EANAND+RISTIN3TRINDBERGDESCRIBESTHESERVANTSASIMPERSONALSTEREOTYPES WITHLESSHUMANVALUETHAN*ULIE%NQUISTNOTESTHATHERE3TRINDBERGSHOWS ADIRECTLYFASCISTATTITUDEDElNING*EANAND+RISTINASLOWERKINDOFPEOPLE )TISIMPLIEDTHATSOMEEXCEPTIONALINDIVIDUALSnLIKE3TRINDBERGHIMSELFAND *ULIEnAREENTITLEDTOUSECOMMONPEOPLEFORTHEIROWNPURPOSES &ORVJTU ¬ %NQUISTDRAWSAPARALLELBETWEENTHISATTITUDEAND3TRINDBERGSOWNLIFE(E TREATEDOTHERPEOPLERUTHLESSLYFORINSTANCEHISWIFE3IRIVON%SSENORTHE -ISS*U LIE AT 1T EAT TER I \ ,JSKBWBJOFO &ORVJTU ¬ YOUNGSERVANTGIRLHESEDUCEDATTHETIMEOFWRITING-ISS*ULIE(OWEVER 3TRINDBERGKEPTASSERTINGTHATITWASHEHIMSELFWHOWASTHEVICTIM,IKE WISE*ULIEESCAPESHERRESPONSIBILITYBYCONSTRUCTINGHERVICTIMIZATION(ER SUICIDEISTHUSNOTONLYTHEFULlLLMENTOFTHEDESTRUCTIVEDRIFTBUTANACTOF PLACINGTHEGUILTFORHERFATEONOTHERPEOPLE)FWECONSIDERTHEDRAMAIN THISWAY*ULIEISNOTONLYAVICTIMOFHEROWNUNHAPPYLIFEBUTALSOCULPABLE FORFORCING*EANAND+RISTINTOASSISTHERINHERNEUROTICGAMES 1TEATTERIADVERTISEDTHEPERFORMANCEASANEWINTERPRETATIONTHATSHOWED*U LIEASRESPONSIBLEFORHERFATEANDNOTASAVICTIMASPORTRAYEDINTRADITIONAL READINGSOFTHEPLAY)NFACTNOPREVIOUSPRODUCTIONHASINTENTIONALLYASSERT EDTHEHEROINEASAVICTIMSEDUCEDBY*EAN2ATHERTHEYHAVECHARACTERIZED *ULIEASASTRONGINDEPENDENTWOMANWHOLEGITIMATELYLONGSFORLOVEAND SEXANDHERFAILURETOGETTHESETHINGSISRESPONSIBLEFORHERFALL7HATWAS DIFFERENTAT1TEATTERIWASTHEDEMONICANDAGGRESSIVEEROTICISMTHATSEEMED TOGUIDE*ULIESBEHAVIORANDEVOKEDNOSYMPATHY/NEREVIEWERWROTE (ENRIIKKA3ALOINTERPRETS*ULIEASANEXTREMELYDISGUSTINGFEMALE lGUREEXACTLYLIKEONEDESCRIBEDBY3TRINDBERGINHISWORSTDEGRADA TIONSOFWOMEN*ULIEISACOQUETBLOODSUCKERWHOCATCHESOTHERPEOPLE INHEROWNNETWITHANENORMOUSNEEDOFPOWER3HESPREADSPOISON AROUNDHERSOTHATITlLLSTHEWHOLESPACE 4HE1TEATTERIREADINGOF-ISS*ULIEALSOREMINDSMEOF%VERT3PRINGHORN WHOHASWRITTENABOUTTHERITUALISTICLEVELOF-ISS*ULIEASTHEONLYWAYOF PERFORMINGTHEPLAYSlNALSCENESWITHOUTLOOSINGTHECREDIBILITY!CCORDING TO3PRINGHORN*ULIEKEEPSPLAYINGASELFDESTRUCTIVEGAME)TISLIKEARITUAL INWHICHSHEUSES*EANASACOACTORANDTHISTIMETHERITUALISCARRIEDOUT TOTHEVERYEND4HATRITUALASPECTISESPECIALLYPRESENTINTHElNALSCENEOF THEPLAYWHERE*ULIEASKS*EANTOORDERHERTOCOMMITSUICIDEANDWHERESHE WALKSTOHERDEATHASIFINAHYPNOTICTRANCE 2UFBUUFSJ ,PTLJ 4QSJOHIPSO ¬ )NFACTTHE1TEATTERISTAGINGRESEMBLEDARITUALISTICSPACEBECAUSEOFITSRELA TIVELYSYMMETRICmOORPLANANDTHEBIGSLAUGHTERINGBENCHSTANDINGINTHE MIDDLEOFITLIKEASACRIlCIALALTAR4HEMETALLICCOOKINGEQUIPMENTSHANG INGABOVETHESINKWERELIKEINSTRUMENTSFORSOMEMYSTERIOUSCEREMONY4HE PROPSCARRIEDADOUBLEMEANING4HEYWERECOMMONSPOONSANDWHISKSAS WELLASTOOLSFORAMAGICALRITUAL4HEGREYCOLORINGANDTHEMETALLICPROPS \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES GAVETHEIMPRESSIONOFACRUELANTIQUATEDMACHINERYWHICHWASPUTINMO TIONBY*ULIESWILLTODIE ¸-PPLBUUIFQIPUPTPGUIFTFUJO"QQFOEJY ( % , , ! . $ ( % !6 % . / . 3 4! ' % +IRJAVAINENDESCRIBEDTHESTARTINGPOINTSFORHERDESIGNINTHEFOLLOWINGWAY 4HEDIRECTORPROVIDEDMEWITHTHEWISEWORDSh)TISAQUESTIONABOUT HEAVENANDHELL4HEWORLDOF*ULIEANDTHE#OUNTISAHEAVENFOR +RISTINAND*EANWORTHPURSUING/N-IDSUMMERSNIGHT*ULIESPER SONALHELLSTARTS4HETHEMEOFTHEPLAYISTHELOSSOFLOVETODEATHv +IRJAVAINENTOLDMETHATWHENSTARTINGTHEDESIGNTHElRSTIDEATHATCAME TOHERMINDWASTOBUILDALITERALHELLINWHICHTHEREWOULDBENOTHINGBUT SOMEBURNTREMAINS4HEDIRECTORGOTENTHUSIASTICABOUTIT(OWEVER+IRJA VAINENRECALLINGTHEPROCESSINOURDISCUSSIONMOVEDAWAYFROMTHATIDEA h4HENx)WONDEREDHOWTHE#OUNTSHOUSECOULDHAVEACTUALLYBECOMELIKE THATv4HESCENOGRAPHYDEVELOPEDINDEPENDENTLYTOWARDSAMOREREALISTIC SPACEBASEDONREALOBJECTSINSTEADOFCONCEPTUALORSYMBOLICVISUALIDEAS )THINKTHATTHElNALMOREREALISTICALLYORIENTEDSCENOGRAPHYWASMORECON SISTENTWITHTHEIRREADINGABOUT*ULIESRESPONSIBILITYFORHEROWNFATE7HEN *ULIESTAGEDHEROWNDESTRUCTIONIN+RISTINSKITCHENSHETRANSFORMEDTHEEV ERYDAYWORKINGPLACEINTOTHEDRAMATICSCENEOFHERTRAGEDY.OHELLEXISTED INADVANCE)TWAS*ULIEHERSELFWHOMADETHEKITCHENFUNCTIONASAHELL4HAT MAYBEONEREASONWHYITINITIALLYHADTOBEANORMALLOOKINGWORLDWHICH BECOMESADESTRUCTIVEMACHINEDUETOHERACTIONS4HEIDEAOFHELLSUG GESTEDBYTHEDIRECTORWASDEVELOPEDFURTHERBYTHECONCRETESCENICSOLUTION MADEBYTHESCENOGRAPHER 4HEKITCHENWASNOTAPLACETOWHICH*ULIEBELONGED2ATHERITWASANOCCA SIONALENVIRONMENTHAVINGONLYTHEPOTENTIALTOSERVEASTHEMACHINERYTHAT DESTROYSHERLIFE4HATPOTENTIALWASACTIVATEDWHEN*ULIEENTEREDTHEKITCHEN ANDSTARTEDHERGAMEFROMWHICH*EANWARNEDHERh4HEREAREINmAMMABLE SURROUNDINGSTOBECOUNTEDWITHv%VENIFHEREFERSTOHIMSELFHETALKSAS -ISS*U LIE AT 1T EAT TER I \ ,JSKBWBJOFO ,JSKBWBJOFO 4USJOECFSH IFHISRESPECTFULPOLITEBEHAVIORISATRISKOFBEINGDISCARDEDINFAVORAMORE IMPROPERATTITUDEDRIVENBYBASEDESIRES !MACHINEWHICHISNOTNORMALLYATHREATCANBECOMEAHELLWHENITSLIM ITSARETRIED,IKEWISETHEPROPSINTHESETCOULDBESEENASEVERYDAYKITCHEN UTENSILSORTHEYCOULDAPPEARASMAGICALOBJECTSCONTAININGHIDDENPOWER 4HESIGNIlCATIONSOFTHEKITCHENCOULDBEREADSIMULTANEOUSLYASSYMBOLIC ORIRONICWHICHONCEAGAINCREATEDASENSEOFUNSTABLEMEANINGS 4HEHEAVENLYASPECTWASREPRESENTEDBYTHESKYLIGHTWINDOWSITUATEDPARTLY ABOVETHEAUDIENCE(OWEVERITSEXISTENCEWASAPARADOX(OWWASITPOS SIBLETOSEETHEOPENAIRTHROUGHAWINDOWINTHECEILINGIFYOUARESUPPOSED TOBEINTHECELLAROFTHEHOUSE4HEKITCHENWASSIMULTANEOUSLYSITUATEDIN ABASEMENTBENEATHTHESTREETANDINTHEUPPERMOSTmOORWITHAVIEWTOTHE SKY(EAVENANDHELLWEREPRESENTINTHESAMESPACE +IRJAVAINENWROTE 4HEPRESENCEOFTHE#OUNTINTHETEXTANDINhHEAVENvABLUEPAINTED CLOTHBEHINDTHESKYLIGHTWINDOWSEEMEDTOMELOGICALANDCONSISTENT WITHTHESPIRITOFTHEPERFORMANCE&ROMABOVETHE#OUNTCONTACTS HISSERVANTSWITHABELLINOURVERSIONBYANINTERPHONE4HESKYLIGHT WINDOWCONTINUEDOVERTHEAUDITORIUMBECAUSE)WANTEDTHEWEIGHT OFTHE#OUNTTOREACHOVERTHESPECTATORS (OWEVERWHEN)lRSTSAWTHEPLAY)DIDNOTREALIZEATALLTHATTHEREWASA SKYLIGHTWINDOWBECAUSE)WASSITTINGINTHEFRONTOFTHEAUDITORIUMJUSTBE LOWIT,ATERWHEN)WASCONSCIOUSOFITSEXISTENCE)COULDNOTHELPTHINKING OFANINVISIBLEEYETHATWASUSINGITTOLOOKATTHEAUDIENCE4HESKYLIGHT WINDOWCOULDALSOBEASSOCIATEDWITHTHELENSOFAHUGEMICROSCOPEUNDER WHICHEVERYBODYWASOBSERVEDINIGNORANCE4HEINVESTIGATINGINVISIBLEEYE OFANATURALISTOBSERVERWASACTUALLYPRESENTINTHESTAGINGBUTTHISALLSEEING VIEWWASNOTAVAILABLETOTHESPECTATORS7HILEWEOBSERVED*ULIESLIFEWE WERESIMULTANEOUSLYEXPOSEDTOOBSERVATIONBYSOMETHINGSUPERIOR ,JSKBWBJOFO 4HEINVISIBLE#OUNTISONEOFTHECENTRALCHARACTERSFELTTHROUGHHISPOWER THATRULESTHEKITCHEN"YSITUATINGHIMINTHEHEAVENSPACE+IRJAVAINENAC TUALLYCONNECTEDHIMTOTHEDIVINEBEINGSGUIDINGTHEEVENTSONTHEMUN \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES DANESTAGE&ORMETHEBLUENESSREVEALEDBEHINDTHEWINDOWWASNOTAREP RESENTATIONOFTHENATURALSKYBUTRATHERSIGNIlEDTHE#OUNTSWORLDWHICH WASPERCEIVEDASAHEAVENBY*EANAND+RISTIN4HISHEAVENWASACTUALLYAN ARTIlCIALCONSTRUCTIONnAPAINTEDCLOTHnCONTRADICTINGTHENATURALSTRUCTURE OFTHEBUILDING 4HESPIRALSTAIRSLEADINGTOTHESKYLIGHTWEREREmECTEDONITSWINDOWPANE ANDWERETHUSMULTIPLIEDASIFTHEYWOULDCONTINUESEVERALmOORSUPSTAIRS 4HEPLAYSCHARACTERISTICVERTICALMOVEMENTWASSIGNIlEDBYANENDLESSSPI RALANDTHISWASPARTLYANILLUSIONCREATEDBYTHEREmECTION/NLYTHESTAIRS LEADINGDOWNTOTHEKITCHENWEREREALNOTTHOSETHATOFFEREDTHEPOSSIBILITY TOMOVEABOVEANDBEYONDTHATSPACE"OTHTHEHELLANDTHEHEAVENWEREUL TIMATELYCONSTRUCTIONSOFTHEHUMANMINDANDBEHAVIORHOWEVERONSTAGE THEREWASNOACCESSTOTHEHEAVENONLYTOTHEHELL !SIDEFROMHELLANDHEAVENTHEREWASALSOACOMBINATIONOFACELLARANDAN ATTICONSTAGE'ASTON"ACHELARDHASANALYZEDTHEPOETICIMAGERIESCONNECTED TOTHESEOPPOSITEPARTSOFAHOUSE"ASEDONTHEPSYCHOANALYSISOF#'*UNG HESUGGESTEDTHATACELLARISCONNECTEDTOTHEUNDERGROUNDIRRATIONALFORCES OFTHEUNCONSCIOUSWHILEANATTICISTHEPLACEFORRATIONALUNDERSTANDING 4HECELLARISTHEPLACEWHEREYOUSTOREUSELESSOUTDATEDOREVENDANGEROUS THINGS7ELIVEABOVETHEBASEMENTOFOURHOUSEWECONTINUOUSLYWALKOVER ITSOMETIMESWITHOUTKNOWINGIT"ACHELARDCLAIMSTHATITISNOTPOSSIBLETO SEETHINGSRATIONALLYINACELLARWHEREASITISEASYTODOTHISONTHEATTIC 7HATSEEMEDTOBEMISSINGFROMTHE#OUNTSHOUSEAT1TEATTERIWASTHE LEVELBETWEENCELLARANDATTICWHERETHELIVINGROOMSSHOULDBE7ASTHERENO PLACELEFTFORNORMALLIFEBUTONLYATENSIONBETWEENHIGHANDLOWRATIONAL ITYANDIRRATIONALITY/RWASTHESKYLIGHTWINDOWASYMBOLOFANATTEMPTTO SHEDLIGHTTOTHEDARKNESSOFTHEBASEMENT )DONOTTHINKTHATTHESEQUESTIONSSHOULDBEANSWERED)TISPRECISELYTHE DISQUIETCREATEDBYTHEVARIOUSANDPARTLYCONTRADICTORYPOSSIBILITIESOFIN TERPRETATIONTHATMADETHESCENOGRAPHYSUCHALIVINGEXPERIENCEFORME4HE SCENICIMAGERIESAWOKEINMEARESPONSEWHICHCOULDNEVERBESTABILIZED INTOPRECISETHOUGHTS2ATHERTHEREWASAPROCESSTHATCALLEDFORTHNEWVI SIONSFROMMYOWNIMAGINATIONANDMEMORY)THINKTHISISWHAT"ACHELARD #BDIFMBSE ¬ -ISS*U LIE AT 1T EAT TER I \ MEANTBYHISIDEAOFPOETICIMAGESALTHOUGHHEWASTALKINGABOUTLITERALIM AGERIESANDSCENOGRAPHYPERTAINSMORETOPERCEIVEDVISIONS ! 3 0! # % / & & % - ! , % - % - / 2 9 /NECRUCIALISSUESURROUNDING-ISS*ULIEISTHEINCREDIBILITYOFTHEPLAYSlNAL SOLUTIONINTHECONTEXTOFTHEMODERNWORLD7EHARDLYRECOGNIZEOURSELVES IN3TRINDBERGSHALFWOMANWHOCOMMITSSUICIDEBECAUSEOFHERLOSTHON OR(OWEVERTHESCENOGRAPHER+IRJAVAINENASUCCESSFULARTISTANDAMOTHER OFTHREECHILDRENIDENTIlEDSTRONGLYWITHTHEIDLE#OUNTESS*ULIE3HEALSO FOUNDTHEKITCHENASAPLACETHATUNITEDHERLIFETOTHATOF*ULIES &ORMETHESCENOGRAPHYANDCOSTUMEDESIGNFORTHISPLAYWASAJOUR NEYINTOMYOWNSELFDESTRUCTIVITY7HENDOINGIT)WASABSOLUTELY CRAZY3TRINDBERGDISCUSSEDHISOWNSELFDESTRUCTIVEDRIVEWHENWRIT INGTHEPLAYANDHUNDREDYEARSLATER)MDISCUSSINGTHETHEMESOFMY OWNDESTRUCTIONTHEWORKAHOLICANDTHEENDLESSMASOCHISTICNETOF BEINGAWOMAN *ULIEAND)EVENHAVETHESAMEPLACETHEKITCHEN4HATISMYPLACE ANDTHATWAS*ULIESPLACETOFACEHERFATE4HATISTHEPLACEWHERE*U LIEREVEALSHERSELFLOWERSHERSELFBEFORETHE@LOWERANDSTRUGGLESINHER TRAPWHICHSHEHASSETHERSELF4HATSWHERE)lNDMYSELFCLEANINGTHE TABLEAFTEREVENINGMEALTHINKINGABOUTHERWHOMADEADIFFERENT CHOICE7HENASKINGFORLOVESHEGOTARAZORWHEREAS)GOTANEVER STRESSFULFRENZYTHEHEADLOCKOFCAREERANDFAMILY7EAREBOTHINSIDE MEHAVINGADISCUSSIONWHETHERTHEREISSUCHABIGDIFFERENCE )TISLIKETHEREARETWOWOMENLOOKINGATEACHOTHERFROMTHEOPPOSITEEDGES OFTHEMODERNERA%VENIFTHECONNECTINGPLACEFORTHEMISTHEKITCHENIT HASAQUITEDIFFERENTMEANINGTOTHEMASAWOMANSPLACE ,JSKBWBJOFO 4HEKITCHENIN-ISS*ULIEISACTUALLYTHEWORKINGPLACEOF+RISTIN*ULIECAUSES TROUBLEANDCONFUSIONHEREBECAUSESHEDOESNOTKNOWHERPLACE3HEISAN EMANCIPATEDWOMANUNABLEANDUNWILLINGTOBEHAVEINTHESPACECONNECTED TOTHETRADITIONALFEMALEROLE/NTHEOTHERHANDASAMEMBEROFTHEUPPER CLASSTHESEPRACTICALDUTIESDONOTMEANANYTHINGTOHER$ESCENDINGINTOTHE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES KITCHEN*ULIEWANTSTOJOININONTHESERVANTSFUNBUTSHEDOESNOTSHOWANY UNDERSTANDINGOFTHEIRTIREDNESSAFTERAHARDDAYSWORK3HEMERELYUSESTHE KITCHENASAVENUEFORHERGAMESmIRTINGWITHTHEGENDERROLESOFAWOMAN !LLTHEWHILEHERDESPISEFORTHELIFEOFCOMMONWORKINGCLASSWOMENSUCH AS+RISTINISEVIDENT &OR+IRJAVAINENTHEKITCHENSEEMSTOBETHEPLACEOFHERDAILYSURVIVALREPRE SENTINGTHETREADMILLOFENDLESSCOOKINGCLEANINGANDWASHINGDISHES%VEN IFSHEISANINDEPENDENTMODERNWOMANWITHACAREEROFHEROWNHERRELA TIONTOTHEKITCHENRATHERRESEMBLESTHATOF+RISTINS)NHERREADINGTHECOM BINATIONOF*ULIESTRAGEDYANDEVERYDAYFEMALEREALITYBRINGSTHEDISCUSSION TOAMOREABSTRACTLEVEL)TISNOTTHEFATEOF*ULIEBUTTHATOFANEMANCIPATED WOMANINGENERALTHATAPPEARSASPAINFUL )TISOFTENSAIDTHATAMODERNWOMANISASKEDTOMAKETHEIMPOSSIBLECHOICE BETWEENCAREERANDFAMILYANDMOSTYOUNGWOMENWANTTOHAVEBOTH)N SOMESENSETHETWOFEMALECHARACTERSIN-ISS*ULIEREPRESENTSTEREOTYPESOF OPPOSITEFEMALEROLES+RISTINISTHEDUMBCOOKWHOISONLYlTTOPROVIDETHE BASICMATERIALNEEDSOFAMANANDHISFAMILYWHEREAS*ULIEISANINTELLIGENT ANDDANGEROUSSEDUCERWHOSEAMBITIONSEXISTSOMEWHEREOUTSIDETHEKITCH EN4HEINCOMPATIBILITYOFCAREERANDFAMILYISSOMEHOWCONCRETIZEDINTHE DIFFERENCEBETWEENTHESETWOFEMALElGURESWHOAT1TEATTERIWERESOCIALLY SITUATEDATPOLAROPPOSITES )NMANYLATERPRODUCTIONSROLEOF+RISTINDESCRIBEDBY3TRINDBERGAShAFE MALESLAVEvHASOFTENBEENINTERPRETEDASANATTRACTIVEYOUNGWOMANANDA NOTEWORTHYRIVALFOR*ULIE4HISWASNOTTHECASEIN1TEATTERI(ERE!NNA -AIJA6ALONENBRILLIANTLYPLAYEDTHEROLEOFAFOLKSYANDSOMEWHATVULGAR COOKWHOSEEXISTENCENEVEREXTENDEDBEYONDTHEKITCHEN(ENRIIKKA3ALO PLAYED*ULIEWITHAWILDNEUROTICSEXUALITYPERFECTLYEMBODYINGTHEhCLASSI CALvIMAGERYOFAHYSTERICALWOMAN(ERPERFORMANCEWASSUPPORTEDBYTHE CLOTHINGDESIGNEDBY+IRJAVAINENWHODElNEDHERINTERPRETATIONOF*ULIES COLLAPSEAShATOPRATEMODELWITHANAMPHETAMINEHANGOVERv 4HECOSTUMEDESIGNBY+IRJAVAINENCONNECTEDTHEOLDNOBILITYTOCONTEM PORARYJETSETSOCIETYSHOWINGTHEMLIKEDIFFERENTHISTORICALVERSIONSOFUP PERCLASSCORRUPTION/NTHEOTHERHANDTHElGUREOF*ULIEMADEVISIBLETHE ,JSKBWBJOFO -ISS*U LIE AT 1T EAT TER I \ REPEATEDCLICH£OFAWOMANWHOSEUNCONTROLLED@BADSEXUALITYDRIVESHER TODESTRUCTION ¸-PPLBUUIFDMPTFSEFTDSJQUJPOTBOEQIPUPTJO"QQFOEJY 7HENTHESETWOFEMALESTEREOTYPES*ULIEAND+RISTINWERESITUATEDINTHE KITCHENITCLEARLYAPPEAREDTOBEAWOMENSPLACE4HETEMPORALDISCONTI NUITYOFTHESTAGINGMADEMETHINKOFTHESCENOGRAPHYASASPACEOFFEMALE MEMORYWHERETHETEMPORALANDCULTURALDISTANCEBETWEENOURCONTEMPO RARYWORLDANDTHATOFTHE#OUNTSHOUSEWASDISPLAYED4HEOBJECTSAND CLOTHESBELONGINGTODIFFERENTDECADESANDCONTRADICTINGTHEPERIODINDICATED BYTHEPLAYTEXTCREATEDAKINDOFAPATHTHATMAPPEDTHEMODERNEPOCH /URCONTEMPORARYWORLDWASSOMEHOWPRESENTINTHESCENOGRAPHYOF-ISS *ULIE)ASKED+IRJAVAINENHOWSHEIMAGINEDTHElCTIVESURROUNDINGSOUTSIDE THEVISIBLESTAGEh4HECONTEMPORARYCITYZONE4LIN(ELSINKIWHERE1 TEATTERIISSITUATEDvWASHERANSWER3HEALSOASSOCIATEDTHEWORLDOUTSIDETHE #OUNTSKITCHENWITHAVENTILATORONTHEBACKWALLOFTHESTAGE4HROUGHTHAT VENTILATORYOUCOULDSEELIGHTCOMINGFROMOUTSIDEANDGRASSGROWINGONTHE SIDEWALKWHICHACTEDASAREMINDEROFNORMALSTREETLIFE )NTHISWAYTHESPECTATORWASSIMULTANEOUSLYMADEAWAREOFHISHERACTUAL POSITIONIN(ELSINKIANDTHEWORLDOF-ISS*ULIEINPRESENTON STAGE4HEREWASANALMOST"RECHTIANALIENATIONTHATMADETHEAUDIENCE AWAREOFTHEIROBSERVATIONOFANOTHERPERIOD 4HEPOSTMODERNCOMPOSITIONOFINCONSISTENTOBJECTSCANBESEENASANAC CUMULATIONOFREFERENTSTOMODERNHISTORYTHATCONSTITUTEOURCONTEMPORARY BEING)NMYOPINIONTHENEGLECTOFTEMPORALUNITYEMPHASIZEDTHEPASSING OFTIMETHATSEPARATESUSFROM3TRINDBERG 4USJOECFSH )NSTEADOFSHOWINGARECONSTRUCTIONOFAPASTTIMETHEIMPRESSIONOFANOLD DECAYEDWORLDSUNKBENEATHCONTEMPORARYCITYLIFEWASCREATED4HEPRESENT MOMENTWASSHOWEDINTHISPLACEASANACCUMULATIONOFTEMPORALLAYERINGS NOTVERYDIFFERENTFROM3TRINDBERGSIDEAABOUTTHECHARACTERSASCONGLOME RATES4HESPIRALSTAIRSMULTIPLIEDBYITSREmECTIONINTHESKYLIGHTWINDOW EVENSUGGESTEDADRILLPENETRATINGTHROUGHOUTDIFFERENTLAYERINGS YJJ \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES ¸-PPLBUUIFQIPUPTJO"QQFOEJY 4HEMOSTCONTEMPORARYELEMENTSWERECOMMONOBJECTSRELATEDTOEVERY BODYSDAILYLIFESUCHASBUTTERPACKAGESBEERCANSNEWSPAPERSANDFASHION ABLECLOTHES4HESEDETAILSBROUGHTTHECHARACTERSCLOSERTOTHESPECTATORTHEY ATETHESAMEKINDOFBUTTERDRANKFAMILIARBEERREADTHESAMENEWSPAPERS ANDWORESIMILARCLOTHES 4HEOLDKITCHENUTENSILSONTHESETREPRESENTEDTHECOLLECTIVEMEMORIESAND SHAREDHISTORIESTHATCONSTITUTEOURCONTEMPORARYSELVES!FTERALLTODAYWE LIVESURROUNDEDBYREMNANTSOFTHEPAST4HISPERTAINSBOTHTOTHEOBJECTSWE OWNANDTOOURTHINKING-OREOVERWECANONLYLOOKATTHEPASTFROMOUR PRESENTPOSITION/URRELATIONTOHISTORYISACONTINUOUSINTERACTIONBETWEEN PASTANDPRESENTANDWECANNEVERSEPARATETHEMFROMEACHOTHER)NTHIS SENSEITISONLYLOGICALTOMIXTHEARTIFACTSFROMDIFFERENTAGESTOGETHER4HAT ISWHATHAPPENSTOOURTHOUGHTSEXPERIENCESANDKNOWLEDGEABOUTTHEPAST INEVERYDAYTHINKING 4HESCENOGRAPHYCONSISTEDOFPROPSANDFURNITUREGATHEREDFROMmEEMAR KETSANDALLBELONGINGTODIFFERENTDECADESOFTHETHCENTURYnANDALLSTILL FUNCTIONING)TISCLEARTHATTHESECONDHANDAPPEARANCEOFTHEOBJECTSMADE REFERENCETOTHEPRODUCTIONSSMALLBUDGET(OWEVEREVENTHISKNOWLEDGEOF THEECONOMICALEMPHASIZEDTHEHISTORYCONNECTEDTOTHEOBJECTS4HEIRPAR TICULARHISTORYWASMANIFESTEDINTHEIRSIGNSOFWEARTHEREBYLETTINGTHEAU DIENCEKNOWTHATTHEYWEREREALLYUSEDSECONDHANDTHINGSNOTTHEATRICAL PROPSMADETOLOOKOLD%VENIFTHEIRPARTICULARHISTORIESCANNOTBEKNOWN INDETAILTHEEXISTENCEOFTHEIRPASTCOULDBEFELTBYANYBODYWITHMEMORIES CONNECTEDTOSIMILAROBJECTS &OREXAMPLETHEREWASAREFRIGERATORAGASCOOKERAVACUUMCLEANERADISH WASHERAHOTWATERBOILERASINKANDSEVERALKITCHENUTENSILSMADEOFSTAIN LESSSTEEL4HEYWEREALLTOOOLDTOBEUSEDINOUREVERYDAYLIVESBUTNEW ENOUGHTOBERECOGNIZEDASSOMETHINGhMYGRANNYHADv4HUSITWASPOSSI BLETOSEETHEMASREMNANTSFROMOURRECENTPASTWHICHWECANSTILLREMEM BERANDWHICHSTILLHAVEANEFFECTONOURLIVES 4HEREWEREALSOHOUSEHOLDAPPLIANCESCONNECTEDTOTHEIMAGEOFAMODERN WOMANFOUNDINADVERTISEMENTSFOREXAMPLETHOSETHATREPRESENTYOUNG -ISS*U LIE AT 1T EAT TER I \ SMILINGWOMENKEEPINGHOUSEWITHTHEIRNEWVACUUMCLEANERSDISHWASHERS ETC4HESEMACHINESSEENONCEASHALLMARKSOFMODERNADVANCEAREPARTOF THEIMAGERYOFAWOMANBELONGINGTOTHEKITCHEN5LTIMATELYDESIGNEDBY MENTHEYDElNETHEPOSSIBILITIESANDLIMITSOFAWOMANSPLACE %VENIFTHESEMACHINESHAVEMADETHEHOUSEHOLDEASIERTOKEEPCLEANAND THUSENABLEDWOMENTOENTERPUBLICLIFETHEYAREALSOPARTOFTHEIMAGEOF @SUPERWOMENWHOARECAPABLEOFWORKINGBOTHINSIDEANDOUTSIDETHEIR HOMESMAKINGCAREERSBEINGLOVINGMOTHERSPERFECTWIVESANDGOODLOOK INGMISTRESSESALLATTHESAMETIME4HEKITCHENMACHINERYALSOREPRESENTSA MODERNBELIEFINTHEADVANCEOFTECHNOLOGY)REMARKEDTO+IRJAVAINENTHAT THEKITCHENWASVERYEFFECTIVE3HEANSWERED 9ESITWASANEFFECTIVEKITCHENBUTITWASALSOABITPITIFULASANEFFECT IVEKITCHEN)TWASOFCOURSEALSODUETOECONOMICSTHATWEHADTOCOLLECT THEFURNITURE;RATHERTHANMAKEIT=ASWEHADSUCHASMALLBUDGET 4HEKITCHENAPPLIANCESINTHESCENERYLOOKEDRATHERWORNOUTANDOUTDATED )THINKTHATTHEREWASAFEELINGOFNOSTALGIACONNECTEDTOTHEOLDOBJECTS WHICHEVENADDEDANIRONICDIMENSIONTOTHESCENERY(EREWEHAVETHENEW MODERNWORLDWHERE3TRINDBERGADDRESSESHISTHEATRICALIDEASTOAMORECON TEMPORARYAUDIENCE(EREWEHAVETHEPLACEOFTHETHCENTURYWOMEN)T ISAPLACETHATHASALREADYBECOMEDATEDANDHARDLYANYONESTILLBELIEVESTHAT ITCOULDMAKEUSHAPPIER4HESLAUGHTERINGBLOCKPOSITIONEDINTHEMIDDLE OFTHESPACEALSOPROVIDEDAVERYSTRONGMETAPHORABOUTTHECONDITIONSOF MODERNLIFEESPECIALLYCONCERNINGTHEWOMEN ,JSKBWBJOFO )THINKTHATTHROUGHTHESEFEMINISTTHEMESTHESTAGINGALSOQUESTIONEDTHE AIMSOFLASTCENTURYSEMANCIPATORYMOVEMENTANDARGUESTHATTHEYCANBE SEENTODRIVEWOMENINTOATRAP%VENTHEPERSONALRELEVANCEOFTHEPLAYFOR +IRJAVAINENCANBECONNECTEDTO3TRINDBERGSCRITIQUEOFEARLYSUFFRAGETTES QUESTIONINGTHEENDRESULTGENDEREQUALITYPIONEERED3TRINDBERGSMISOGY NISTICIDEAABOUT*ULIEBEINGAHALFWOMANCANBEREVERSEDINTOQUESTIONS ABOUTTHEPREMISEOFEQUALITY$OES*ULIEACTUALLYDESPISEHEROWNSEXWHEN THROWINGAWAYHERFEMININITY7HATISUNDERSTOODBYFEMININITYANDWHO HASULTIMATELYDElNEDIT$OEMANCIPATEDWOMENJUSTADAPTMALEVALUES ANDIDEOLOGIESWITHOUTQUESTIONINGTHEM)STHEREANYWAYINWHICHWOMEN CANSPEAKONTHEIROWNTERMS \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES +IRJAVAINENREMARKEDTHATSHEHADCHOSENMANYOFTHEOBJECTSFORTHESOUND THEYMADEFOREXAMPLEAMETALLICWARDROBEORASINK4HESOUNDSELICITED BYTHEFURNITUREMAYALSOBEINTERPRETEDSYMBOLICALLY4HEYCANBECOMPARED TOCOMMONFEMALESPEECHWHICHMOSTLYHASBEENCLASSIlEDASEMPTYGOSSIP INGORHYSTERICALSHOUTINGWITHOUTANYIMPORTANTCONTENT )FTHEFEMININEHASALWAYSBEENDETERMINEDAS@OTHERBYMALECULTUREAND LANGUAGEFEMALEEXPERIENCESlNDTHEIREXPRESSIONINTHEMARGINSOFPUBLIC ANDRATIONALSPEECH)TISLIKETHEOBLIGATORYSOUNDOFAUSEFULMACHINEFOR EXAMPLETHESOUNDOFALOUDVACUUMCLEANERTERRORIZINGEVERYBODYINTHE SAMEROOM4HEFURNITURENOISESLIKEWOMENWERESOMETHINGANNOYINGBUT UNAVOIDABLE 7ORKINGWOMENTALKINGTOEACHOTHERARESEENTOBELIKETHECLATTERINGAND RATTLINGPROPSONTHESTAGESOMETIMESMAKINGDISTURBINGNOISEBUTOFTENIG NOREDBYTHESURROUNDINGCULTURE4HISASSOCIATIONWASEMPHASIZEDONSEV ERALOCCASIONSWHEN+RISTINDISCHARGEDHERJEALOUSYANDANGERBYCLEANING LOUDLYANDCLATTERINGWHENWASHINGTHEDISHES5NLIKE*ULIEAND*EANSHEDID NOTHAVESOPHISTICATEDLANGUAGETOEXPRESSHEREXPERIENCESASANUNEDUCATED WOMANBELONGINGTOAPREEMANCIPATEDTIME ,IKEWISETHEDIRTYWORNOUTBACKWALLOFTHESCENERYWHICHWASTHEGENU INEWALLOFTHEBUILDINGCANBESEENASANUNREADABLEMANIFESTATIONOFTHE MEMORYOFGENERATIONSOFWOMENCARVEDINTHESTRUCTUREOFTHEPLACE4HE AUTHENTICITYOFTHEWALLEMPHASIZEDTHEIDEAOFFEMALEMEMORYASSOMETHING COLLECTIVEANDANONYMOUSSOMETHINGTHATHASACCUMULATEDTHROUGHOUTTHE AGES4HOSEWHOKNEWABOUTTHEROOMSPREVIOUSLIFEASAMARKETHALLCOULD ALSOIMAGINEITASAPLACEFORWOMENTOMEETEACHOTHERWHENSHOPPING 4HEREWERENOINTENTIONALSIGNSORlGURESTOBESEENONTHEWALLRATHERIT WASAMESSOFGRAYISHCOLORS(OWEVERTHEAUDIENCEHASTHEOPPORTUNITYTO @SEEDIFFERENTTHINGSONTHEWALLPROJECTEDBYHISHEROWNIMAGINATION4HE WALLMAYSERVEASAREPRESENTATIONOFANYMEANINGSEVENDIFFERENTANDCON TRADICTORYONESDEPENDINGONTHEINDIVIDUALSPECTATOR%VERYSPECTATORWILL RECONSTRUCTITSMEANINGONTHEBASISOFHISHERPERSONALEXPERIENCES4HIS MAKESTHESCENERYASIMULTANEOUSLYSUBJECTIVEANDCOLLECTIVEEXPERIENCE *CJE -ISS*U LIE AT 1T EAT TER I \ ,IKETHEMEANINGLESSNOISESTHESENONlGURATIVEPATTERNSONTHEWALLCANALSO BESEENASEXPRESSIONSOFUNDIFFERENTIATEDFEELINGSWHICHCANNOTBEARTICU LATEDBECAUSEOFMISSINGWORDS4HEINCONSISTENCYOFTHESCENICPROPSAND OBJECTSMIGHTALSOREFERTOTHEHETEROGENEITYOFDIFFERENTWOMENnWEKNOW THATFEMALESCRIPTSHAVEBEENBOTHMULTIPLEANDVARYING4HESCENOGRAPHY WITHDREWFROMMAKINGDElNITESTATEMENTSANDWASINSTEADOPENTOINDIVID UALINTERPRETATIONANDDIDNOTDEMANDCONSENSUS -)33*5,)%).0/34-/$%2.4)-%3 4HEREISATEMPORALDISTANCEOFYEARSBETWEENTHESTAGINGOF-ISS*ULIEAT 1TEATTERIANDTHEPREVIOUSSUBJECTOFMYSTUDY#OMPAREDTOTHEEAR LIERSCENOGRAPHIESDATINGBACKTOSANDEARLYSOFTHE1TEATTERIPRO DUCTIONSEEMEDTOLACKAWILLINGNESSTOOFFERANEWREADINGOFTHEPLAYBUT RATHERRESTEDONIDEASFOUNDIN3TRINDBERGSORIGINALTEXT /NEREASONMIGHTBETHECHANGEINCOOPERATIVETRADITIONS%VENIFSCENOGRA PHER+IRJAVAINENANDDIRECTOR,AHTIAGREEDONALMOSTALLARTISTICQUESTIONS THEYWORKEDSEPARATELY4HESCENOGRAPHYWASNOTAPRIMARYWAYOFEXPRESS INGTHEANALYSISOFTHEPLAYITWASRATHERANENVIRONMENTWHERETHEDRAMA COULDBEACTEDIMPRESSIVELY)TWASPOSSIBLEFORTHESCENOGRAPHERTOSUGGEST IDEASBYVISUALMEANSnANDITWASPOSSIBLEFORANOTHERSCENOGRAPHERTOREAD THEMINHEROWNWAYnBUTTHESEIDEASDIDNOTDETERMINETHECONDITIONSOF THEPERFORMANCEINTHEWAYTHESCENOGRAPHIESDIDFOREXAMPLEIN+/-OR 7ILLENSAUNA !NOTHERIMPORTANTFEATUREDISTINGUISHINGTHISSCENOGRAPHYFROMTHEOTHER FOURDISCUSSEDEARLIERINMYSTUDYISTHEEMPHASISONACONCRETEKITCHEN SPACE4HEOTHERPRODUCTIONSSOUGHTTOCREATEAWORLDTHATWOULDRAISETHE PLAYTOANOTHERMETAPHORICALLEVELSOTHATITWAShSOMETHINGMORETHANJUST AKITCHENv4HEPERFORMANCEIN1TEATTERIDElNITELYHAPPENEDINANAUTHEN TICLOOKINGnTHOUGHINHERENTLYCONTRADICTORYnKITCHEN4HEIMPORTANT THINGHEREWASNOTTOCOMMUNICATEANIDEATHROUGHVISUALSYMBOLSBUTTO GIVETHEOVERALLSENSEOFACCUMULATEDLIVINGEXPERIENCESTHATINHABITANEV ERYDAYENVIRONMENT \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HEKITCHENPROPSMARKEDBYPARTICULARITYANDINDIVIDUALITYSUGGESTEDA WORLDWHEREMANYPOSSIBLESTORIESCANBETOLD-ISS*ULIEWASONEOFTHE MANYTRAGEDIESTAKINGPLACEANDLEAVINGITSTRACE $ESPITETHEPOTENTIALFORSEVERALREADINGSTHEROLESOF*ULIEAND+RISTINAP PEAREDASSTEREOTYPESMUCHLIKE3TRINDBERGDESCRIBEDTHEM4OMEITWAS NOTSOMUCHABOUTANAGEOLDSTORYTHATREPEATSITSELFOVERANDOVERAGAIN RATHERITWASCOMMENTABOUTTHISOFTENTOLDSTORYSROLEINCONSTRUCTINGTHE IDENTITYOFWOMENFORTHEPASTHUNDREDYEARS "OTH*ULIEAND+RISTINCANBESEENASSCHEMATICMODELSOFFEMALEBEHAVIOR INmUENCINGGENDEREDTHINKINGEVERSINCETHEPUBLISHINGOF-ISS*ULIE#OM PARABLETOTHEMISSINGLOGICOFTHEMISMATCHEDSTAGEOBJECTSTHEYDIDNOT APPEARTOBEPSYCHOLOGICALLYCOMPLETEPERSONALITIESRATHERTHEYWERELIKE QUOTATIONSTAKENFROMTHEIRHISTORICALCONTEXT 3IMILARLYTHEDESIGNBY+IRJAVAINENWASLIKEAVISUALDISCUSSIONPOINTINGTO PARALLELSANDDIFFERENCESBETWEENOURAGEANDTHELATETHCENTURY)TCLOSELY CORRESPONDEDTOPOSTMODERNDESIGNASITHASBEENCHARACTERIZEDBY!RNOLD !RONSON /NEDElNITIONOFPOSTMODERNDESIGNISTHEJUXTAPOSITIONOFSEEMINGLY INCONGRUOUSELEMENTSWITHINTHEUNIFYINGSTRUCTUREOFTHESTAGEFRAME THEPURPOSEOFWHICHISTOCREATEAREFERENTIALNETWORKWITHINTHE MINDOFTHEVIEWERTHATEXTENDSBEYONDTHEIMMEDIATELYAPPARENT WORLDOFTHEPLAY 4HROUGHTHEUSEOFDISCORDANCEUGLINESSANDJUXTAPOSITIONnWHAT POSTMODERNISTSWOULDCALLRUPTUREDISCONTINUITYDISJUNCTUREETC nTHESPECTATOROFPOSTMODERNDESIGNISCONSTANTLYMADEAWAREOFTHE EXPERIENCEOFVIEWINGANDATTHESAMETIMEINTHEMOSTSUCCESSFUL EXAMPLESMADEAWAREOFTHEWHOLEHISTORYCONTEXTANDTHEREVER BERATIONSOFANIMAGEINTHECONTEMPORARYWORLD 4HEDESCRIPTIONSOFMISSINGCOHERENCEANDTHEAWARENESSOFCONTEXTUAL MEANINGSOUTSIDETHETHEATRICALlCTIONCOINCIDEWITHTHE-ISS*ULIESCENOG RAPHYAT1TEATTERI3TRINDBERGSIDEASHISPLAYTEXTANDCHARACTERSWEREPUT INADIALOGUEWITHTHECONTEMPORARYSPECTATORSTHROUGHTHISKINDOF@QUOTED -ISS*U LIE AT 1T EAT TER I \ "SPOTPO "SPOTPO NATURALISM4HESENSEOFAMULTIPLICITYOFREADINGSWASCREATEDBYSUGGESTING REFERENCESTHATCOULDNOTBEANTICIPATEDBECAUSEOFTHEIRSUBJECTIVENATURE /NTHESURFACELEVELTHESCENOGRAPHYINVITEDTHESPECTATORINTOACONVEN TIONALREALISTICSPACEWHERETHESIGNSAREICONICREPRESENTATIONSOFOBJECTS SIMILARTOTHEM7EEXPECTTHATTOBEUNDERSTANDABLEANDEXPLICABLETOUS )N1TEATTERITHESIMPLEICONICREADINGDIDNOTOFFERANYCOHERENTIMAGEOF ANUNDERSTANDABLEWORLD4HEIMPOSSIBILITYOFCARRYINGOUTACONVENTIONAL REALISTICREADINGACTIVATEDASEARCHFORALLPOSSIBLEMEANINGSCONNECTEDTOTHE SCENERYEVENOUTSIDETHEREALMOFTHEPLAYWORLD 4HEREWASANAUTHENTICWORLDONSTAGEnTHEGENUINITYOFOBJECTSANDTHE BUILDINGnBUTITDIDNOTREFERTOANILLUSIONISTPLACE2ATHERITWASUSEDTO PRESENTASAMPLEOFCOMMUNICATIVESIGNS4HESCENICOBJECTSWERELOOSENED FROMTHEIRACTUALCONTEXTSANDBROUGHTTOGETHERLIKEQUOTATIONSFROMTHE WORLDWEAREFAMILIARWITH!SARESULTTHEYRESEMBLEDPHOTOGRAPHSWHICHDE SPITETHEIRICONICITYALSOMAKEREFERENCETOTHEACTOFSHOOTINGANDTHUSCROP PINGTHEPICTURESOTHATTHESUBJECTBECOMESESTRANGEDFROMITSBACKGROUND 4HESTRONGFEELINGOFDOCUMENTATIONPARADOXICALLYEMPHASIZESTHEABSENCE OFTHEORIGINALOBJECTCAPTUREDINTHEPHOTO3IMILARLYTHEAUTHENTICITYOFTHE SCENICOBJECTSSTRESSEDTHEIRDISCONNECTIONTOTHEKITCHENASAlCTIVEPLACE 4HERANDOMMISMATCHEDNATUREOFTHEPROPSSUGGESTEDTHATTHEYHADBEEN COLLECTEDFROMmEEMARKETSANDBROUGHTONSTAGE4HUSTHEILLUSIONWAS SHATTEREDBYTHEAWARENESSOFTHEAUTHENTICITYOFTHEPROPS )NSOMESENSETHEAUTHENTICITYWASALSOAKINDOFPOSTMODERNQUOTATION )TREFERREDTOCONCEPTSSUCHAS@NATURALISMOR@ILLUSIONREJECTEDBYMODERN SCENOGRAPHY"UTITALSOREFERREDTOTHECLAIMFOR@REALAND@TRUTHOFTENEX PRESSEDBYMODERNTHEATERMAKERS4HEVOCABULARYOFMODERNSCENOGRAPHY WASSOMEHOWPRESENTINTHESETBUTITWASUSEDINADIFFERENTWAY 4HESCENOGRAPHYOF1TEATTERIDIDNOTASPIRETOBEAREALISTICIMITATIONOFTHE EXISTINGWORLDNORDIDITREJECTTHEUSEOFILLUSIONACCORDINGTOTHEMODERN ISTTRADITION4HEANTAGONISMBETWEEN@REALAND@ILLUSIONSEEMEDTOBEA RELATIVEANDEVENINDIFFERENTISSUEWHICHCOULDBEUSEDLIKEANYOTHERASPECT OFASIGN4HEAUTHENTICSPACEANDOBJECTSWERENOTSUPPOSEDTOREPRODUCE AREALWORLDBUTSERVEASSIGNS4HISPROCESSOFSIGNIlCATIONISSIMILARTOTHE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES WAYTHATWORDSBELONGINGTOALANGUAGEAREARBITRARYANDCANBECONNECTED TOEACHOTHERINVARIOUSWAYS3IMILARLYTHESCENICELEMENTSCOULDBEUSED ANDCOMBINEDINANYWAYREGARDLESSOFTHEIRORIGINALCONTEXTS 4HEPOLARITYBETWEEN@REALAND@ILLUSIONHASBEENONEBASISOFMODERNTHEAT RICALDESIGNBUTTHEPOSTMODERNCONCEPTOFTHEATRICALSPACESOMEHOWDENIES THISDICHOTOMY!RONSONWRITES (ISTORICALLYSTAGEDESIGNHASASKEDTHESPECTATOREITHERTOSUSPENDDIS BELIEFORTOACCEPTTHESTAGEASANESSENTIALLYNEUTRALTHOUGHPERHAPS EMBLEMATICANDSPECIALPLACE#ERTAINMODERNDESIGNSHAVETRIEDTO COMBINETHETWODEMANDSBUTMUCHPOSTMODERNDESIGNSEEMSTO THWARTBOTHPROCESSES&OUNDOBJECTSAREPLACEDONSTAGEYETTHEFRAM INGDEVICEOFTHESTAGEDOESNOTPERMITTHESPECTATORTOVIEWTHEOBJECT ASOBJECTORTHESTAGEASSTAGE.ORMALPERCEPTUALMECHANISMSARECIR CUMVENTED4HESTAGEISSTRIPPEDOFITSVOCABULARYSOTHATAREADINGOF SIGNSISCONSISTENTWITHANUNDERSTANDINGOFTHECONCRETEWORLDOUTSIDE THESTAGEBECOMESDIFlCULTIFNOTIMPOSSIBLE 4HESETWOOPPOSITESAREACTUALLYDEPENDENTONEACHOTHER!NILLUSIONISILLU SIONONLYCOMPAREDTOSOMETHINGMOREREAL4HESAMEISTRUETHEOTHERWAY ROUNDAMODERNISTICSCENOGRAPHYWHICHUSESTHEREALITYOFSTAGESPACEIS @REALONLYIFYOUCANTHINKOFITASAMORETRUTHFULALTERNATIVETOTHEILLUSION 4HEEMPTYSTAGEISANAUTHENTICSPACEONLYASLONGASYOUAREAWAREOFTHE FALSECOULISSESTHATHAVEBEENSTRIPPEDFROMIT)FYOUDONTHAVEANABSOLUTE CONCEPTOFREALITYANILLUSIONISNOTAFAKERYBUTBOTHSTYLESAREJUSTDIFFERENT WAYSOFSEEINGTHINGS 4HESCENOGRAPHYIN1TEATTERICOULDNEITHERBECLASSIlEDASANILLUSIONNORAS AREALSPACEOFTHETHEATERBECAUSETHATDISTINCTIONWASIRRELEVANT)NMYEYES THESETDIDNOTREPRESENTANYLEVELOFREALITYBUTRATHERPRESENTEDANAPPEAR ANCEOFAWORLDWHOSEONTOLOGICALCONSTITUTIONWEDONOTKNOW4HEONLY THINGWEKNEWFORSUREWASTHATTHEREWASAPROCESSWETHEAUDIENCEWENT THROUGHTOTRYTOUNDERSTANDIT)NSTEADOFJUSTLOOKINGINTOTHEWORLDWE WEREFORCEDTOFOCUSONOURPERCEPTIVEANDINTERPRETATIVEAPPARATUS 4HUSTHESCENOGRAPHYHADLOSTITSTRANSPARENCYANDITSCAPABILITYTOLEADTHE SPECTATORSVISIONINTOAWORLDBEYONDTHEAPPARENTSURFACEOFPERCEPTION -ISS*U LIE AT 1T EAT TER I \ "SPOTPO 4HEAUDIENCESWERENOTMEANTTOOBSERVETHESCENOGRAPHYASIFITWEREAN OBJECTIVEWORLD.ORWASITMEANTTOBEAPURELYSUBJECTIVEEXPERIENCESHOW INGTHEVIEWOFTHEINNEREYERATHERITWASACONTINUOUSMOVEMENTBETWEEN THEVISIBLESURFACEOFTHEEXISTINGWORLDANDTHEPROCESSOFSEEINGANDMAKING SENSEOFONESPERCEPTION 4HISIDEAISCONNECTEDTOTHEPHILOSOPHICALSTATEMENTTHATTHETHINGSPER CEIVEDCANNOTBESEPARATEDFROMTHEACTOFPERCEPTION)NOTHERWORDSWE ENCOUNTERTHEWORLDONLYTHROUGHOURPERCEPTIVEAPPARATUSANDTHATAPPA RATUSCOMESTOEXISTASARESULTOFOURCONTACTWITHTHEWORLD4HATSWHYAN EXCLUSIVELYSUBJECTIVEOROBJECTIVEATTITUDENEVERISENOUGHFORUNDERSTANDING OURSELVESANDTHEWORLDAROUNDUS!NDTHATSWHYTHEANTAGONISMBETWEEN @REALAND@ILLUSIONDOESNOTWORK4HEINNERANDOUTERAREALWAYSMIXEDTO GETHERINEVERYPERCEPTIONnBECAUSETHATINTERACTIONISTHEFOUNDATIONOFOUR PERCEPTIVEFACILITY )THINKTHAT+IRJAVAINENMEANTSOMETHINGSIMILARWHENSHEWROTE -AKINGTHEATERDOINGSCENOGRAPHIESISFORMEANISSUEOFBEINGTHERE INTHEWORLD!RTMAYEMERGEOUTOFIT)N-ISS*ULIE)WORKEDINTUI TIVELYGUIDEDBYMYFEELINGS4HISTIMESOMETHINGEMERGED )INTERPRETHERTOMEANTHATARTISGENERATEDFROMOURCONTACTWITHTHEWORLD THATWEINHABIT)TISNOTAMATTEROFREPRESENTINGTHEWORLDOROURINTERNAL INDIVIDUALMINDSRATHERITISABOUTPERCEIVINGTHEINTERACTIVEPROCESSOFIN HABITINGTHEWORLD7HENWORKINGONTHESCENOGRAPHYFOR-ISS*ULIE+IRJA VAINENDIDNOTlGUREOUTTHEPLAYWORLDORHERPERSONALEXPERIENCEOFIT)N STEADSHEFOCUSEDONRELATINGTHEOBJECTIVEANDSUBJECTIVETOEACHOTHER4HIS WASAVERYUNPREDICTABLEPROCESSTHATOBEYEDNORULES 4HEREBYTHEFOCUSOFMYDISCUSSIONISORIENTEDTOTHERECEPTIONOFTHEPRODUC TION4HESCENOGRAPHYAT1TEATTERIDIFFEREDFROMTHEEARLIERPRODUCTIONSTHIS WASPERHAPSLESSTRUEOFITSSTYLISTICFEATURESWITHITSASSUMPTIONSABOUTTHE MECHANICSOFTHEINTERACTIONBETWEENTHEAUDIENCEANDTHEVISIBLESTAGE)N STEADOFMAKINGNEWCLAIMSABOUTTHEPLAYANDITSTHEATRICALSTRUCTURESTHERE WASANETHOSOFhJUSTLETTINGTHEDRAMAHAPPENvASDESCRIBEDBY+IRJAVAINEN ,JSKBWBJOFO ,JSKBWBJOFO \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HEMODERNREVERSALOFOLDCONVENTIONSOFTENHADAHIDDENIMPLICATION THATTHEAUDIENCESARESEENASPARTOFTHEOUTDATEDSTRUCTURESBECAUSEOFTHEIR CONSERVATIVEPREFERENCESANDOPINIONS(OWEVERWHENTHECONVENTIONSHAVE BEENREVERSEDTOOMANYTIMESITISTHEREVERSALTHATBECOMESTHERULE7HEN THEARTISTSAREEXPECTEDTOCONTINUOUSLYMAKENEWANDFRESHSTATEMENTSTHE EXPERIMENTSASWELLASTHEOLDCONVENTIONSAPPEARASPOSTMODERNQUOTATIONS REFERRINGTOPREVIOUSREPRESENTATIONS!PAINFULFEELINGTHATEVERYTHINGHAS BEENSAIDANDTHERESNOTHINGNEWTOSAYEMERGES !NYSCENOGRAPHICSTYLETHENBECOMESASIGNFORTHEPRODUCTIONSWHEREITHAS BEENPREVIOUSLYINTRODUCEDORCULTIVATED4HEPOSTMODERNLACKOFASTYLISTIC COHERENCEPREVENTSLINKINGSCENERYTOONESINGLEMODELHOWEVERITCREATES ANETWORKOFINTERTEXTUALREFERENCES!S!RONSONSWRITESPOSTMODERNDESIGN hOFTENPASTESTOGETHERACOLLAGEOFSTYLISTICIMITATIONSTHATFUNCTIONNOTAS STYLEBUTASSEMIOTICCODEv4HEPOSTMODERNSPEECHAPPEARSASASERIESOF QUOTATIONSWHEREYOUDONOTCOMMITTOASTANDPOINT )THINKTHATTHESCENOGRAPHYAT1TEATTERIWASMADEFORPOSTMODERNAUDIENCES FAMILIARWITHMODERNEXPERIMENTSANDDIFFERENTSTYLES4HESCENOGRAPHYSROLE WASBASEDONTHECAPABILITYOFTHESPECTATORTOTHINKOFTHESTAGEASASYSTEM OFSIGNSTHATHAVETHEIRREFERENCESANYWHEREINCULTURE4HENATURALISTSURFACE WASSUCCESSFULBECAUSENOSPECTATORWASEXPECTEDTO@BELIEVEINITSILLUSION (OWEVER+IRJAVAINENWASNOTENTHUSIASTICABOUTTHEPOSTMODERNHABITOF REFERRINGTOTHEATERBYTHEMEANSOFTHEATER3HESTRESSEDTHEIMPORTANCEOF THESUBJECTIVITYINHERARTISTICWORK 7HENDOINGAWORKOFARTANARTISTTHECREATORGIVESHISHEROWN EXPERIENCESASMATERIALSFORTHEWORKANDINTHESEARCHCREATESNOT ONLYTHEWORKBUTHIMSELFHERSELFANEW -AKINGTHEATERISVERYMUCHAMATTEROFFEELINGSANDOFAWAKING THEMINTHESPECTATOR)BELIEVETHATTHESTRONGIDENTIlCATIONOFTHE ARTISTWITHHISHERWORKISTRANSMITTEDTHROUGHITx3OMETHINGSO PERSONALTHATITBECOMESUNIVERSAL &OR+IRJAVAINENWORKINGONTHESCENICSPACESERVEDALMOSTASAKINDOFTHER APEUTICPROCESSWHERESHEEXPLOREDHERPERSONALEXPERIENCES(OWEVEROTHER -ISS*U LIE AT 1T EAT TER I \ "SPOTPO ,JSKBWBJOFO ,JSKBWBJOFO PEOPLESHAREDTHESCENOGRAPHYSRECEPTIONANDTHEINTERNALANDPRIVATECON TAINEDWITHINTHESETWASSUPPOSEDTOBECOMECOLLECTIVEANDPUBLIC+IRJA VAINENDElNEDHERINTERPRETATIONOFTHEROLEOFTHEATERASAPLACEFORCOMMU NITYh!PLACEWHEREPEOPLECANGATHERTOGETHERMAKESOMETHINGTOGETHEROR SEESOMETHINGTOGETHERv )THINKTHATTHESUBJECTIVITYSTRESSEDBY+IRJAVAINENSHOULDNOTBEUNDER STOODASASIMPLEOPPOSITIONTOOBJECTIVITY)TISRATHERTHEINTERNALFEELINGOF BEINGTHEREINTHEWORLDTHROUGHWHICHTHEINDIVIDUALHUMANBEINGCAN JOININONTHESOCIALANDCULTURALCOMMUNITYAROUNDHIMHER!S-ERLEAU 0ONTYHASSAIDITISTHROUGHOURINTERNALEXPERIENCEOFOUROWNEMBODIED BEINGTHATWECANRECOGNIZETHEHUMANITYOFANOTHERPERSONINHABITINGA BODYSIMILARTOOURSELVES4HESHAREABILITYOFTHESCENICWORLDCANBESEEN ASANINDICATIONOFTHEPLURALITYOFCONSCIOUSNESSESANDTHEANONYMITYOF CULTURALOBJECTS4HESUBJECTIVEBECOMESAGATEWAYINTOTHECOLLECTIVITYAND ANONYMITYPRECISELYBECAUSEITISLIVEDTHROUGH4HEATERISAPLACEWHEREYOU CANSUBJECTIVELYLIVETHROUGHTHINGSTHATARENOTLIMITEDTOINDIVIDUALEXPERI ENCESBUTGROWINTOSOMETHINGCOLLECTIVE 4HESIMULTANEITYOFINDIVIDUALITYANDCOLLECTIVITYWASPRESENTIN+IRJAVAI NENSSCENOGRAPHY4HEUNCERTAINTYOFSCENICMEANINGEMPHASIZEDTHEHETERO GENEITYOFSUBJECTIVEREADINGSWHICHHIGHLIGHTEDTHEEXPERIENCEOFSEEINGTHE PERFORMANCETOGETHERWITHOTHERPEOPLE )THINKTHATTHISPHENOMENOLOGICALREADINGOFTHESCENOGRAPHYMAKESTHE PARADOXICALCOMBINATIONOFNATURALISMANDCONTEMPORARYPOSTMODERNISM POSSIBLE4HESCENICVISIONISULTIMATELYUNDERSTOODASACONSTRUCTIONOFOUR WAYOFCOMINGINTOCONTACTWITHTHEWORLD4HEIDEAOFNATURALISMISTURNED INTOTHEPERCEPTIONOFAWORLDWITHANIMPENETRABLESURFACE%VENIFWECAN NOTGAINANYCERTAINKNOWLEDGEFROMITWECANONLYUNDERSTANDTHEWORLD ANDOURSELVESBYREmECTINGONTHISSURFACE4HECREATIONANDEXPERIENCEOFART ISONEWAYOFREmECTINGONOURPERCEPTIVEPROCESSAND)THINKTHATTHROUGH ARTWECANCOMECLOSERTOOURPRIMARYCONTACTWITHTHEWORLDTHANBYANY OTHERMEANS ,JSKBWBJOFO .FSMFBV1POUZ ¬ \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 22! #REATING0ERSPECTIVES 3UMMARYAND#ONCLUSIONS 4HElVESCENOGRAPHIESDISCUSSEDINMYSTUDYSEEMTODIFFERFROMEACHOTHER INAGREATVARIETYOFWAYS4HESETFORh3TRINDBERGvCONSISTEDOFELEMENTS CHOSENDURINGTHEREHEARSALPERIODANDWERENOTPARTOFASTRATEGIZEDSCE NOGRAPHICDESIGN4HEPRODUCTIONINTHE4URKU3WEDISH4HEATERª34WAS PLAYEDAGAINSTADECORATIVEREDCOLOREDSCENERYWHICHCOULDNOTCOMEINTO ITSOWNBECAUSEOFTHETOURINGCONDITIONS)N+/-TEATTERITHEVENUEWAS TEMPORARILYTURNEDINTOACAFETERIAAND-ISS*ULIEWASPERFORMEDINTHAT SPACE6ISUALSHADTHEMAINROLEINTHE7ILLENSAUNAPRODUCTIONWHERETHE SCENERYWASANICELOOKINGCONSTRUCTIONOFFERINGAVIEWINTOTHEMINDOF*U LIE4HESCENOGRAPHYIN1TEATTERIWASASURPRISINGRETURNTOTHENATURALISTIC PREMISESOF3TRINDBERGINPOSTMODERNTERMS 7HATHOWEVERCOMBINESALLTHESCENOGRAPHIESISTHATTHEYALLDEPARTFROM THETRADITIONALROLEOFBEINGANILLUSTRATIVEBACKGROUNDANDMAKEATTEMPTS TOGENERATEMORECONCEPTUALTHINKINGBYMEANSOFSPATIALANDVISUALEXPERI ENCES4HESCENOGRAPHIESTHEREBYFUNCTIONASAKINDOFNONVERBALLANGUAGE 4HEDIVERSITYOFTHEOUTWARDAPPEARANCEOFTHESCENERIESISANINDICATIONOF THEMULTIPLICITYOFTHEWAYSINWHICHTHESPATIOVISUALSPEECHISSUPPOSEDTO WORK !NOTHERCENTRALISSUETHEYHAVEINCOMMONISTHEIRABILITYTOQUESTIONACTS OFPERCEPTIONANDINTERPRETATIONOFSPACEANDVISION)NEVERYDAYLIFEWEARE USEDTOTHINKINGOFVISIONASAmOWOFDIRECTINFORMATIONSTREAMINGTOOUR EYES7EORIENTOURSELVESNATURALLYONTHEBASISOFTHISINFORMATIONANDTRUST INTHEEVIDENCEITPROVIDES(OWEVERMODERNANDPOSTMODERNVISUALARTn INCLUDINGSCENOGRAPHYnHASDRAWNATTENTIONTOTHEMARGINSANDLIMITSOFVI SION6ISIONINARTISNOLONGERCONCEIVEDOFASPROVIDINGDIRECTACCESSTOTHE # REAT IN G 0E R SP EC T IVES \ WORLDBUTRATHERASAPROCESSCONDITIONEDANDCONSTRUCTEDBYMANYFACTORS )TISTHISPROCESSTHATHASBECOMETHEMAINSUBJECTOFTHEWORKOFART 4HEFOCUSONTHEPROCESSOFPERCEPTIONTOMERAISESAPHENOMENOLOGICAL QUESTION4HEWORLDEXISTSFORUSONLYTHROUGHOURPERCEPTIONALAPPARATUS ANDWEHAVENOACCESSBEYONDIT7HENANARTISTMAKESAREPRESENTATION OFTHEWORLDSHEACTUALLYRECONSTRUCTSHISHERENCOUNTERSWITHTHEWORLD 4HEWORKOFARTTHUSCONTAINSTHEPERCEPTIONALAPPARATUSASASTRUCTUREBY WHICHTHEWORLDISSEEN4HESCENOGRAPHER!NU-AJAONCENOTEDINADISCUS SIONTHATITISNOTPLACESWESTAGEBUTPEOPLE4HISSTATEMENTSUCCINCTLYEN CAPSULATESMYPOINTWESTAGEWAYSOFINHABITINGANDEXPERIENCINGSPACES -OREOVERTHEWORKISCOMMUNICATEDTOTHEAUDIENCESBECAUSETHEYARESUP POSEDTOSHARETHESTRUCTURES4HEARTTHUSSHOWSASTATEMENTABOUTOUR THINKINGBYMAKINGTHEWAYSINWHICHWEPERCEIVEVISIBLE)SUGGESTTHAT THROUGHTHISKINDOFPHENOMENOLOGYTHESCENOGRAPHIESOF-ISS*ULIEEMPHA SIZETHEHETEROGENEITYOFEXPERIENCESANDTHEDIVERSITYOFINDIVIDUALVOICES 4HEMULTIFORMITYOFREPRESENTATIONALMODESISPOSSIBLEPRECISELYBECAUSEWE NEITHERFOCUSONTHEOBJECTOFPERCEPTIONNORONTHEPERCEIVINGSUBJECTBOTH OFWHICHAREUNDERSTOODTOBEMOREORLESSPERMANENTANDSTABLE)NSTEADWE CONCENTRATEONTHEINTERACTIONBETWEENTHEMWHICHISTEMPORALANDCHANG ING4HEWORLDCANBESEENINMANYWAYSANDFROMMANYANGLES7EMAY ALSOEXAMINETHEWAYSINWHICHPERCEPTIONISCONSTRUCTEDANDQUESTIONTHE RELIABILITYOFVISUALINFORMATIONGIVENTOUS 4OPUTITSIMPLYSCENOGRAPHICVARIATIONSOFVISIONMAYVERYCONCRETELYHELP USTOSEETHEWORLDFROMDIFFERENTPERSPECTIVES/NANIDEALISTICLEVELITBEN ElTSUSINBEINGABLETOUNDERSTANDINGOTHERPEOPLESVIEWPOINTSnORISAT LEASTLINKSUSTOSUCHATTEMPTS!MORECRITICALAPPROACHMIGHTSTRESSTHEEX AMINATIONANDREJECTIONOFHEGEMONICWAYSOFSEEING"YMAKINGTHESPEC TATORSEETHEPERFORMANCEINTHEWAYWISHEDASCENOGRAPHERISANEXPERTOF MANIPULATINGOTHERPEOPLESEXPERIENCES4HISMAKESTHESTUDYOFTHEPREM ISESOFSCENOGRAPHYANIDEOLOGICALANDPOLITICALISSUE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 7 ( !4 ( ! 0 0 % . % $ 4 / 4 ( % . !4 5 2 ! , ) 3 - / & - ) 3 3 * 5 , ) % /NETHINGTHESCENOGRAPHIESHADINCOMMONWASOFCOURSETHETEXTOF-ISS *ULIEWRITTENBY!UGUST3TRINDBERGIN"YCHALLENGINGOPPOSINGORCON TINUINGWITHTHENATURALISTICPREMISESTHEYALLOPENEDANDENHANCEDTHE 3TRINDBERGIANNEGOTIATIONBETWEENSUBJECTIVEMODESOFPERCEPTIONANDTHE OBJECTIVECONDITIONSOFTHEOUTERWORLD 4OMYMINDTHEMOSTIMPORTANTSCENOGRAPHICINNOVATIONSOFNATURALISM THATCANBEPLAYEDOUTIN-ISS*ULIEANDENABLEDBYTHEADVANCEOFTHEATER TECHNOLOGYAREASFOLLOWS &IRSTLYTHELIVINGENVIRONMENTOFTHEPROTAGONISTBECOMESANIMPORTANT PARTOFHISHERFATEANDTHISISSHOWNBYTHESCENICSURROUNDINGS4HESTAGE SCENERYREPRESENTSSOCIALANDHISTORICALSTRUCTURESDElNINGTHELIMITSOFTHE CHARACTERSLIVESANDTHECONSTITUTIONOFTHEIRBEHAVIOR4HESCENOGRAPHYIS ONEOFTHEPRIMARYSOURCESOFINFORMATIONANDPROVIDESTOOLSFOREXPLAINING THEPLAYSEVENTS(OWEVERTHERELIABILITYOFTHESETOOLSOFEXPLANATIONWAS ALSOQUESTIONEDIN-ISS*ULIEBYDEVELOPINGNATURALISTPREMISESTOTHEIRPEAK 3ECONDLYTHEACTORSAREBROUGHTINTODYNAMICANDPHYSICALCONTACTWITHTHE SET4HEYARESHOWNASCORPOREALBEINGSLIVINGINSIDEMATERIALCIRCUMSTANCES WHICHCORRESPONDTOTHEEVERYDAYEXPERIENCEOFTHEAUDIENCE!TABLEISREP RESENTEDBYAREALTABLENOTBYANIMMATERIALPAINTEDILLUSIONANDITISIM PORTANTFORTHEACTORTOBEABLETOGRASPATTHEOBJECTS)THINKTHATTHISISA SCENICEQUIVALENTTOTHEMOREPHILOSOPHICALIDEAOFTHEPROTAGONISTSBEING DETERMINEDBYMATERIALCONDITIONSINSTEADOFDIVINEFORCES4HEACTORNOW HASANACTIVERELATIONSHIPWITHHISHERENVIRONMENTWHICHINAWAYBECOMES ACOACTORFORHIMHER 4HIRDLYTHESCENICWORLDISINTRODUCEDTOTHESPECTATORTHROUGHASUGGESTIVE ILLUSIONASIFSHEWEREFOLLOWINGTHEEVENTSINTHELOCATION4HERHETORICOF NATURALISMISBASEDONHIDINGTHECONSTRUCTEDNATUREOFTHEILLUSIONBYMAK INGTHETHEATRICALAPPARATUS@DISAPPEAR4HEAUTHOROFTHEPERFORMANCEIS LIKEANINVISIBLEALMIGHTYPUPPETMASTER3HEMAKESTHINGSHAPPENINFRONT OFTHEEYESOFTHEAUDIENCESOITASTHOUGHTHEYAREWITNESSINGANEXCERPTCUT OUTOF@REALLIFE # REAT IN G 0E R SP EC T IVES \ (OWWERETHESEIDEASPRESENTINTHESCENOGRAPHIESOF-ISS*ULIEROUGHLYONE HUNDREDYEARSAFTERTHEWRITINGOFTHEPLAY 4HEDIRECTOROFh3TRINDBERGvREJECTEDTHEPOSSIBILITYOFREPRODUCINGTHE ORIGINALIDEASOF3TRINDBERGANDCLAIMEDTHATHEONLYCOULDPRODUCEHISOWN READINGOFTHEPROBLEMATICSOFTHEPLAY4HEPERFORMANCEWASSUPPOSEDTO SHOWASPONTANEOUSWORKINGPROCESSWHICHWASACTUALLYVERYCAREFULLYDI RECTED4HEDIRECTORWASLIKEANINVISIBLEPUPPETMASTERONLYTHISTIMEHE WASNOTSTAGINGTHEPLAYBUTRATHERSTAGINGTHEWAYINWHICHITWASREPRE SENTED)NSTEADOFPEEPINGTOTHEPRIVACYOFTHEPROTAGONISTHEREVEALEDTHE CREATIVEPROCESSOFTHEACTORSANDHIMSELF )NCONTRASTTOANATURALISTAPPROACHHERETHEFOCUSOFSTUDYWASONTHETHE ATRICALPROCESSOFMAKINGMEANINGANDTHEREWASANILLUSIONTHATTHEACTORS WERESPONTANEOUSLYINVENTINGSCENICEXPRESSION7HATh3TRINDBERGvALSO HADINCOMMONWITH3TRINDBERGIANIDEASWASTHECLOSEINTEGRATIONOFBOTH ACTORSGESTURESANDTHESET(OWEVERTHENATURALWAYOFTREATINGOBJECTSBE CAMEMEANINGFULGESTURESWHICHDIDNOTCORRESPONDTOEVERYDAYBEHAVIOR 4HESTAGEPROPSDIDNOTREPRESENTOBJECTSINREALLIFEBUTWEREMETAPHORICAL TOOLSFORTHEACTORSEXPRESSION !LTHOUGHTHEREDCOLOREDSETOF-ISS*ULIEINTHE4URKU3WEDISH4HEATER ª34LOOKEDDIFFERENTFROMANATURALISTICKITCHENITACTUALLYSERVEDSOME OFTHEFUNCTIONS3TRINDBERGASCRIBEDTOSCENOGRAPHY(ERE)FOCUSONTHEAR TISTICINTENTIONSREGARDLESSOFTHEIRPROPOSEDFAILUREINACHIEVINGTHEDESIRED EFFECT&IRSTOFALLITWASASUGGESTIVEILLUSION(OWEVERTHEILLUSIONDIDNOT IMITATEEVERYDAYPERCEPTIONBUTSHOWEDANOTHERLEVELOFREALITYSEENBYAN @INNEREYE 4HESCENERYALSOSERVEDASANEXPLANATIONFORTHEFATEOF*ULIE)TSYMBOL IZEDTHEDESTRUCTIVESEPARATIONOFTHECONSCIOUSMINDANDUNCONSCIOUSNESS 4HISACCORDINGTOTHEDIRECTORCHARACTERIZEDOUR7ESTERNCULTURE)NOTHER WORDSOURUNSATISFYINGPSYCHOLOGICALLIVINGCONDITIONSCREATEAWORLDFROM WHICH*ULIECANNOTESCAPEANDISDRIVENTODEATH4HESOURCEFOREXPLAINING THETRAGEDYWASNOTFOUNDINSOCIALANDHISTORICALCIRCUMSTANCESBUTINDEEP PSYCHOLOGICALSTRUCTURESMADEVISIBLEONSTAGE \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES 4HEINTEGRATIONOFACTORSANDSCENOGRAPHYINª34WASMANIFESTNOTONLYIN THENATURALISTICSTYLEOFUSINGAUTHENTICPROPSBUTALSOINTHEDIRECTORSWAYOF THINKINGOFTHESCENESLIKEPAINTINGS4HElGURESOFACTRESSESWEREELEMENTS OFAHOLISTICVISIONRECALLINGTHEEXPRESSIONISTICWORKSOF%DWARD-UNCH*U LIEWASIMPRISONEDBYANARCHETYPALFEMALEIMAGERYCREATEDBYAMALEARTIST OBSESSEDWITHHISSEXUALANXIETY4HISCOULDBEREADASAVISUALSIGNFOR*ULIES INCAPABILITYTOLIVETHROUGHHERSEXUALITYONHEROWNTERMSWITHOUTBEING DETERMINEDBYAMISOGYNICMALEGAZE 4HESCENOGRAPHYFOR-ISS*ULIEAT+/-TEATTERISEEMEDTODElANTLYTURNALL 3TRINDBERGSINSTRUCTIONSUPSIDEDOWN)NSTEADOFINTRODUCINGTHE#OUNTS CLAUSTROPHOBICKITCHENWITHNOHONORABLEEXITFOR*ULIETHEPLAYWASACTED INACAFETERIAWHICHWASANOPENANDPUBLICPLACETHATPUTNOLIMITSONHER MOVEMENTS)NSTEADOFPEEPINGINTOACAREFULLYCOMPOSEDSCENERYTHESPEC TATORWASPUTINACONFUSINGSITUATIONWHEREHISHEROCCASIONALPOSITIONDE TERMINEDWHATSHECOULDSEE)NSTEADOFLETTINGTHESPECTATORSEMPATHIZE WITHTHECHARACTERSTHEPERFORMANCERATHERMADETHEMAWAREOFTHEIROWN EXISTENCEASWITNESSESOFTHETRAGEDY)GOTTHEIMPRESSIONTHATTHEIRREVOCA BILITYOF*ULIESFATEHADDIMINISHEDANDTHEDRAMATHUSLOSTSOMETHINGOF ITSUSUALTHEMATICS)NSTEADTHESCENOGRAPHYDISCUSSEDTHENATURALISTICRHETO RICANDTRADITIONSMORETHANTHEPLAYITSELF )NFACTTHEANTINATURALISTINCLUSIONOFAUDIENCEANDACTORSINTHESAMESPACE IN+/-WASACTUALLYACULMINATIONOF3TRINDBERGSIDEAOFTHEDIAGONALLY PLACEDKITCHENIMAGINARILYINTRUDINGINTOTHEAUDITORIUM"YBLOCKINGTHE SPECTATORSSIGHTLINESTOTHEACTORSTHEPERFORMANCEPOINTEDTOTHELIMITSOF ASUBJECTIVEVIEW4HEEXPLANATORYPOWEROFTHESPECTATORSGAZEWASTHUSDE NIED(ERETHEAUDIENCEWASPUTUNDERTHEGAZEOFTHEINVESTIGATINGEYE .OTONLYWERETHEACTORSINTEGRATEDINTOTHESETBUTTHEAUDIENCEWASTOO 4OGETHERTHEYMADEUPTHESCENOGRAPHYWHICHINTHElRSTPLACEWASIDENTI lEDASASPACEFORTHEATRICALREPRESENTATION(OWEVERTHEREWASANILLUSION IN+/-THECAFETERIAARRANGEMENTWASFAKEANDTHEPERFORMANCEACTUALLY STAGEDTHEACTOFRECEIVINGAPLAYINANUNCONVENTIONALSITUATION 4HESCENOGRAPHYFOR-ISS*ULIEIN7ILLENSAUNACREATEDTHEMOSTSUGGESTIVE VISUALILLUSIONAMONGMYEXAMPLES(OWEVERITAIMEDTOCONTRADICTTHECON VENTIONSOFNATURALISMBYPRESENTINGAVERYSUBJECTIVEVIEWANDBYNOTPRO # REAT IN G 0E R SP EC T IVES \ VIDINGTHEAUDIENCEWITHRATIONALEXPLANATIONS4HISCAUSEDPROBLEMSWITH THEACTORSREALISTICSTYLEINTHElNALPERFORMANCE4HESCENICIMAGERYWAS SEPARATEDFROMTHEACTIONANDINSTEADFUNCTIONEDASBACKGROUNDSCENERY "OTHTHEDIRECTORANDTHESCENOGRAPHEREXPERIENCEDTHISASAPAINFULFAILURE WHICHPROVESOFTHEIMPORTANCEOFTHEINTEGRITYBETWEENDIVERSESIGNSSYSTEM INMODERNTHEATER 4HEEXPRESSIONISTICVISUALORIENTATIONINTOINTERNALEXPERIENCESHOWEVERRE MINDSUSOF3TRINDBERGSSUBJECTIVEVISIONMANIFESTINHISWORKS4HEOUTSIDE WORLDISACCESSIBLETOUSONLYBYMEANSOFTHEINTERNALMINDWHOSEEXPERI ENCESCANNEVERBECOMPLETELYSHARED 4HE-ISS*ULIESCENOGRAPHYIN1TEATTERICAMECLOSESTTOTHEINSTRUCTIONSGIVEN BY3TRINDBERGINTHEPLAYTEXTTOWHICHTHEPRODUCTIONREMAINEDREMARKABLY FAITHFUL4HESCENOGRAPHYMADEASEEMINGRETURNTONATURALISMBUTITSIMULTA NEOUSLYBLOCKEDALLPOSSIBILITIESFORREADINGTHESETASASOURCEOFCONSEQUENTIAL KNOWLEDGE4HEOBJECTSLOOKEDOCCASIONALANDUNCONNECTEDTOEACHOTHER )SUGGESTTHEREFORETHAT3TRINDBERGIANNATURALISMBECAMEINTERESTINGINA NEWWAYIN1TEATTERI4HEREALLOOKINGSURFACEOFTHEWORLDCOULDBESEEN ASAMYSTERIOUSCOUNTERPOINTTOTHEINTERNALMINDANDOUTSIDEWORLD4HERE WASNOPOSSIBILITYFORTRANSCENDENTALKNOWLEDGEEXCEEDINGTHISBORDERLINE BUTONLYANUNSOLVABLEDILEMMAWHICHCOULDHOWEVERBEDISCUSSEDBYTHE ATRICALMEANS4HEEXPLAININGFUNCTIONOFTHESCENOGRAPHYWASDENIEDBYUS INGANATURALISTILLUSION 4HEACTORSRELATIONSHIPWITHTHEIRENVIRONMENTIN1TEATTERIWASNOTONLY INTEGRALBUTALSOACTIVE7HILE3TRINDBERGPROPOSEDTHATTHEFATEANDCHARAC TEROF*ULIEHADBEENCONSTRUCTEDBYHERUNHAPPYCIRCUMSTANCESINTHISPER FORMANCEITWAS*ULIEWHOTOOKADVANTAGEOFHERSURROUNDINGS4HEKITCHEN WASANARENAFORHERSELFDESTRUCTIVEGAMESRATHERTHANAREPRESENTATIONOF THEPERMANENTLAWSOFNATURE 6! 2 ) !4 ) / . 3 ) . 3 # % . / ' 2 ! 0 ( ) # 4 ( ) . + ) . ' /NEIMPORTANTCRITERIONFORTHESELECTIONOFTHEPRODUCTIONSSTUDIEDHERE WASTHATTHEYCOULDSERVEASREPRESENTATIVESOFSOMETYPICALSTYLESINCONTEM \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES PORARY&INNISHSCENOGRAPHY)NSPITEOFTHEIRDIFFERENCESTHEYCANBESEENAS VARIATIONSOFMODERNANDPOSTMODERNSCENICDESIGN4HEIRDIVERGENCEGIVES CAUSEFORDISCUSSIONSABOUTADYNAMICUNDERSTANDINGOFSPACEANDVISION ANDABOUTTHEPOSSIBILITIESOFMAKINGMEANINGTHROUGHSPATIALANDVISUAL MEANS4HESEPROBLEMATICSSHOWINTHEFUNCTIONGIVENTOSCENOGRAPHYIN EACHPRODUCTION 4HEMAINASPECTOFINTERESTINh3TRINDBERGvWASTHECONSTRUCTIONOFSCE NICLANGUAGEBYMEANSOFACTORSGESTURES4HEPRODUCTIONWASSTUDYINGTHE EMERGENCEOFSCENICSIGNSASSOMETHINGmUCTUANTANDDEPENDANTONTHECOL LECTIVEREHEARSALPROCESS)SUGGESTTHATTHEREWASAJUSTIlCATIONFORCLAIMING THATLIKELANGUAGEMEANINGFULVISIONANDSPATIALEXPERIENCEHAVETHEIRFOUN DATIONINHUMANINTERACTIONANDNOTINMATERIALOBJECTSORINSUBJECTIVELY DEVELOPEDIMAGERIES 4HESCENOGRAPHYINh3TRINDBERGvWASNOTIDENTIFIEDWITHTHEFICTIVE #OUNTSKITCHENRATHERITWASATHEATRICALPLACEFORACTING4HESTAGECON TAINEDOCCASIONALLYSELECTEDEVERYDAYOBJECTSWHICHCOULDBEINTEGRATEDINTO THEINACTORSEXPRESSION)TWASLIKEASTOREOFPOSSIBLETHEATRICALSIGNSWHOSE EXACTMEANINGWASNOTYETDElNED4HESTAGEWASCHANGEDFROMAPARTICU LARHISTORICALLYANDGEOGRAPHICALLYDElNEDPLACETOANARENAWHEREANYTHING COULDAPPEARANDWASMETAPHORICALLYCOMPARABLETOTHEHUMANMIND 4HEREBYTHESCENOGRAPHYALSOSTRESSEDTHETIMELESSNESSANDREPETITIVENATURE OFTHEGENDEREDPROBLEMSIN-ISS*ULIE 4HEFUNCTIONOFSCENOGRAPHYIN-ISS*ULIEATª34WASTOCREATEAVISUAL EQUIVALENTTOTHEDIRECTORSANALYSISABOUTTHEPLAY(ERINTERPRETATIONOF *ULIESTRAGEDYWASBASEDON*UNGIANPSYCHOANALYSISANDTHESTAGEWASSUP POSEDTOREVEALANUNCONSCIOUSLEVELTHATEXISTSBENEATHTHEEVERYDAYWORLD 4HESCENERYWASLADENWITHVISUALSYMBOLSWHICHACCORDINGTO*UNGWERE SHAREDBYALLMANKIND4HESCENOGRAPHYTHUSAIMEDATINNEREXPERIENCES THATAREUNIVERSALANDCOLLECTIVEANDINTHISSENSECOULDBESEENASMORE @TRUTHFULTHANTHEVISIBLESURFACEOFTHENORMALEVERYDAYWORLD 4HISPRODUCTIONBYª34ALSORAISEDTHEQUESTIONABOUTTHE@MATERIALISTIC FOUNDATIONOFSCENOGRAPHY)NORDERTOCOMMUNICATEWENEEDACONCRETE APPARATUSTOCREATETHESIGNS(ERETHEPRACTICALREQUIREMENTSWERENEGLECTED PARTLYBECAUSEOFIGNORANCEANDPARTLYBECAUSEOFANATTITUDEPRIVILEGING # REAT IN G 0E R SP EC T IVES \ IMMATERIALARTISTICIDEASTOTHEPHYSICALWORKOFBUILDINGANDSETTINGUPTHE SCENERIES4HISATTITUDEHOWEVERCANNOTBELINKEDTOANYBODYPERSONALLY BUTWASRATHERPARTOFAGENERALDEVELOPMENTEMPHASIZINGTHEDIVISIONBE TWEENARTISTICANDTECHNICALWORK 0LACING-ISS*ULIEINACAFETERIAAT+/-TEATTERIWASAVERYMANIPULATIVEACT THATDOMINATEDBOTHTHEDIRECTIONANDRECEPTIONOFTHEPERFORMANCE)THINK THATHERETHEWHOLEPLAYWASREADTHROUGHTHESPATIALANDSITUATIONALARRANGE MENTWHICHWASUSEDASATOOLFORSTUDYINGTHERELATIONSHIPBETWEENACTORS ANDAUDIENCE4HESCENOGRAPHYMADEVISIBLETHEACTOFEXPOSINGTHEPRO TAGONISTSINTERNALPRIVACYBEFOREANAUDIENCEnTHEBASISOFREALISTICTHEATER 4HEREBYITQUESTIONEDBOTHTHESPECTATORSCAPABILITYFOROBJECTIVEALLSEEING OBSERVATIONANDHISHERACTOFLEGITIMIZINGPEEPINGINTOOTHERPEOPLESPRI VATEWORLD4HESCENOGRAPHYDIDNOTILLUSTRATEOREXPLAINTHESTORYBUTMADE STATEMENTSABOUTTHEATERSEXISTENCEANDSTUDIEDTHEPOSITIONOFTHESPECTATOR 4HESCENOGRAPHYALSOHADTHELEADINGROLEINTHEPERFORMANCEOF-ISS*ULIE AT7ILLENSAUNAWHEREVISUALPERCEPTIONINmUENCEDTHERECEPTIONOFEVERY THINGELSE4HESTRONGIMPRESSIONMADEBYTHESCENOGRAPHYnTHESPECULATION ABOUTITSMEANINGITSIDENTIlCATIONWITHFEELINGSOFCOLDNESSTHEVIOLENCE OFTHEEXPRESSIVELYLITDANCINGSCENESnDICTATEDTHEMOODBYWHICHTHEPLAY WASTOBERECEIVEDANDUNDERSTOOD(ERETHESCENOGRAPHYLITERALLYMADETHE SPECTATORSEEBECAUSETHESCENICIMAGERYHADATHOROUGHLYARTIlCIALCHARAC TER)TEXPOSEDTHEINTERNALSUBJECTIVEVISIONOF*ULIEASIMAGINEDBYTHESCE NOGRAPHERSOTHATTHEAUDIENCECOULDWITNESS*ULIESINTERNALEXPERIENCES 5NLIKETHEEARLIERPRODUCTIONSTHE-ISS*ULIESCENOGRAPHYAT1TEATTERIDID NOTMAKESTRONGCLAIMSCONTRADICTINGNATURALISTICPREMISESNORWASTHERE ANYCONSEQUENTIALANALYSISABOUTTHEPLAYTOBEREADINTHESTAGESPACE)N STEADTHESCENOGRAPHYWASASURFACEWHEREYOUCOULDREADPOSSIBLESIGNIlCA TIONSANDTHEDIVERGENCEANDOPENNESSOFTHESEREADINGSWEREESSENTIALTO THEFUNCTIONINGOFTHESCENOGRAPHY4OMETHEPOINTOFTHISSCENOGRAPHY WASPRECISELYTHEAWARENESSOFTHEPERSONALPROCESSINRELATIONTOTHECOLLEC TIVETHEARTISTSANDTHEAUDIENCESEEINGANDUNDERSTANDINGTHESAMETHINGS !STHESCENOGRAPHERPUTITTHEATERISAMATTEROFDOINGTHINGSTOGETHER4HE UNIONWITHOTHERPEOPLEWASGENERATEDTHROUGHTHEEXPERIENCEOFSHARINGTHE CAPABILITYTOCREATEANDRECEIVEMEANINGFULVISIONS4HATOFCOURSEGOESFOR \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES EVERYWORKOFART1TEATTERISPERFORMANCESTOODOUTBECAUSEOFITSAWARENESS OFTHEDIVERGENCEOFEXPERIENCES 4HEFUNCTIONGIVENTOSCENOGRAPHYINTHEPERFORMANCESNATURALLYECHOESIN THEROLEATTRIBUTEDTOTHESCENOGRAPHERINTHEWORKINGTEAM7HATISDEl NITELYAPPARENTINALLPRODUCTIONSISTHESTRONGASSIMILATIONOFSCENOGRAPHY ANDDIRECTION)Nh3TRINDBERGvTHESCENOGRAPHYWASINTEGRATEDINTOTHE DIRECTIONANDACTINGSOCOMPLETELYTHATASPECIALSCENICDESIGNERWASNOT NEEDED/NTHEOTHERHANDIN+/-AND7ILLENSAUNATHESCENOGRAPHER ANDDIRECTORWEREWORKINGINSUCHACLOSECOOPERATIONTHATSPATIALANDVISUAL STATEMENTSWERETHESTARTINGPOINTSOFDIRECTION4HEFRUSTRATIONSOFTHEDI RECTORANDSCENOGRAPHERINª34ALSOSHOWHOWIMPORTANTTHISRELATIONSHIP WASFORTHEM 4HEREASONSFORTHEPROBLEMSINª34WEREPROBABLYMANYBUT)WOULDLIKE TOPOINTOUTTHEIMPLICATIONOFAPRODUCTIONSYSTEMTHATSEPARATESTHEDESIGN ANDPLANNINGOFDIRECTIONFROMTHECONCRETEPRACTICEOFCONSTRUCTINGTHESETS !SASCENOGRAPHER)WANTTOSTRESSTHEOFTENNEGLECTEDIMPORTANCEOFTHEEM PLOYEESWHOHAVETHEPRACTICALKNOWHOWANDSKILLOFPUTTINGSCENOGRAPHIES TOGETHER!SATHEATERSCHOLAR)WANTTOSHEDSOMELIGHTONTHEOBVIOUSFACT THATTHEARTISTICAPPEARANCEOFASETISTHERESULTOFAVERYCONCRETETECHNICAL PROCESS4HESCENOGRAPHICVISIONISNOTAWORKOFARTTHATHASPOPPEDOUTOF THEDESIGNERSHEADITISCONSTRUCTEDBYTHEEXISTINGTHEATERTECHNOLOGYTHE LABORPOLICYOFTHETHEATERTHEMODELOFPRODUCINGTHEPERFORMANCEANDTHE WORKINGMETHODSADAPTEDBYTHETHEATERMANAGERANDDIRECTOR #OMPAREDTOTHEEARLIERPRODUCTIONSTHESCENOGRAPHYIN1TEATTERIWASDE SIGNEDRELATIVEINDEPENDENTLYFROMTHEDIRECTION3TILLITWORKEDVERYWELL WITHITANDEVENTHROUGHIT/NEREASONMIGHTBETHETEAMSFAITHFULNESS TO3TRINDBERG&URTHERMORETHESCENOGRAPHERCREATEDANENVIRONMENTWHERE MANYDIFFERENTREADINGSANDRESPONSESWEREPOSSIBLEANDTHEDIRECTORANDAC TORSKNEWHOWTOBENElTFROMIT 3 % % ) . ' 4 ( % 3 0! # % !LONGWITHTHEFUNCTIONOFSCENOGRAPHYTHECONCEPTIONSABOUTSPACEANDVI SIONHAVEALTEREDINTHESCENOGRAPHICTHINKINGMANIFESTINTHESEEXAMPLES # REAT IN G 0E R SP EC T IVES \ )Nh3TRINDBERGvVISIONSWERETRANSMITTEDASHOLISTICACTSOFPERCEPTION NOTASREADYMADEPICTURES4HEEXPERIENCEOFSPACETRADITIONALLYPRIMA RILYPERCEIVEDTHROUGHTHEEYESWASHEREINTERNALIZEDINTOTHEACTORSGES TURES)TWASTHUSCONNECTEDTOALLFACTORSDElNINGHUMANEXPERIENCEOTHER SENSESMEMORIZEDIMAGESTEMPORALSITUATIONSPSYCHICORIENTATIONETC4HE DIRECTORSIDEAAS)UNDERSTOODITWASTHATSCENICIMAGERYEMERGESONLYIN THEMOMENTOFPERCEPTIONANDCANNOTBECAPTUREDBEFOREHANDINPICTURES PLANNEDBYTHEDESIGNER 4HESTAGEIMAGERIESATª34WEREPRODUCEDBYTHE@INNEREYESEEINGTOTHE DEEPERESSENCEBEYONDTHEAPPARENTEVERYDAYSURFACE4HEILLUSIONWASLIKE THEVISIONOFASEERUNDERSTANDINGTHEDEEPPSYCHOLOGYOF*ULIE(OWEVERTHE PROBLEMSTHEREREMINDUSTHATOURCAPABILITYTOSEEANDSHAREVISIONSALWAYS DEPENDSONCULTURALCONVENTIONSANDONTHEMATERIALTECHNOLOGYAVAILABLE -OREOVERTHELOCALENVIRONMENTANDCONTEXTOFTHEPERFORMANCEHAVEANEF FECTONTHEWAYSOFEXPERIENCINGTHESCENOGRAPHY 4HEVISUALLYMINIMALISTSCENOGRAPHYIN+/-HIGHLIGHTEDTHEPROBLEMOF SEEINGASPACE4HELINEOFSIGHTWASRESTRICTEDBYTHEPOSITIONINWHICHTHE SPECTATORWASSITUATEDINRELATIONTOTHESPACETHATSHEWASSUPPOSEDTOOB SERVE4HEREWASHARDLYANYVISIBLESETONSTAGE4HESCENOGRAPHYCOULDNOT BEREDUCEDTOSCENICOBJECTSORASETINSTEADITWASACONCEPTUALIDEAFOR QUESTIONINGTHECONVENTIONALROLEOFTHEAUDIENCEANDTHEPRESUMPTIONOF VISIONASANIMMEDIATEUNPROBLEMATICROUTEOFACCESSTOTHEOUTERWORLD )N7ILLENSAUNAVISIONWASAVEHICLEFORDIRECTLYTRANSMITTINGTHEINTERNALEX PERIENCESOF*ULIEASINTERPRETEDBYTHESCENOGRAPHER4HEOVERWHELMING IMPRESSIONMADEBYTHESCENICVISIONWASINTENDEDTOAWAKENANEMOTIONAL RESPONSEMOREPRIMITIVETHANCONCEPTUALORVERBALANALYSISINTHESPECTATOR 4HETRAGEDYWASTOBEUNDERSTOODBYMEANSOFTHISPRIMARYEXPERIENCE4HE SCENOGRAPHYMANIPULATEDTHESPECTATORTOSEETHEWORLDAS*ULIESSUBJECTIVE VISIONBUTONTHEOTHERHANDTHEARTIlCIALITYOFTHESTAGEWASSOAPPARENTTHAT ITALSOPOINTEDTOTHESCENOGRAPHERSACTOFCREATINGTHISSUBJECTIVEVISIONFOR THEPARTOF*ULIE4HISMADEASTATEMENTABOUTTHEIMPOSSIBILITYOFEVERCOM PLETELYSHARINGANOTHERPERSONSEXPERIENCE4HESPECTATORWASSIMULTANEOUS LYINSIDEANDOUTSIDEOF*ULIESMIND \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES !CTUALLYTHESCENOGRAPHYPRIMARILYDETERMINEDTHECENTRALSTYLEANDRHETORIC BOTHIN+/-AND7ILLENSAUNAALTHOUGHTHEPERFORMANCESWERECOMPLETELY DIFFERENT"OTHOFTHEMEMPHASIZEDTHESUBJECTIVITYOFVISION+/-BYFO CUSINGONTHEDIFFERENTVIEWSCAUSEDBYTHEPLACINGOFTHESPECTATORAND7IL LENSAUNABYCREATINGSUGGESTIVEILLUSIONSOFINSIDEEXPERIENCES 4HESTAGEIN1TEATTERIWASLIKEASURFACEREFLECTINGTHESPECTATORSOWN THOUGHTSANDIMAGINATIONANDALLOWINGNODElNITEUNAMBIGUOUSINTERPRE TATIONS)ALSOSUGGESTEDTHATTHESCENOGRAPHYHERECOULDBESEENASASPACE CONTAININGFEMALEMEMORY4HEREWASANAWARENESSOFHISTORYASANACCUMU LATIONOFPERSONALEXPERIENCESADENIALOFAHOLISTICEXPLANATIVESTRUCTUREOF THEPLAYWORLDAPRESUMPTIONABOUTAUDIENCESWHOWEREUSEDTOREADINGTHE STAGEASACOLLECTIONOFSIGNSINSTEADOFEXPECTINGILLUSIONSANDTHEREWASAN EMPHASISONTHEHETEROGENEITYOFSUBJECTIVEVIEWPOINTS 4HESCENOGRAPHERIN1TEATTERIEMPHASIZEDTHESUBJECTIVITYOFHERWORKAS HERARTISTICSTARTINGPOINT3HESUGGESTEDTHATHEROWNLIMITEDEXPERIENCE COULDBECOMEUNIVERSALPRECISELYBECAUSEOFITSSUBJECTIVITY(ERE)THINKSHE REFERSTOTHEIDEATHATWERECOGNIZEOUROWNINTERNALPERSONALEXPERIENCESIN OTHERPEOPLETHROUGHOURCONTACTANDINTERACTIONWITHTHEMANDWERECOG NIZETHATTHEREISAFUNDAMENTALLYSIMILARWAYOFEXISTINGINTHEWORLD / . 4 ( % 3 5 2 &! # % / & 6 ) 3 ) / . )TISHAZARDOUSTODRAWVERYEXTREMECONCLUSIONSABOUTTHEHISTORICALDE VELOPMENTOFRECENTSCENOGRAPHYONTHEBASISOFTHEEVIDENCEGIVENBYTHE lVE-ISS*ULIEPRODUCTIONSALTHOUGHTHEYINTUITIVELYCORRESPONDTOMYIDEAS ABOUTTYPICALLYWELLDONEDESIGNSOFTHEIRTIMES)THASHOWEVERPROVEDUSE FULTOCOMPARETHE-ISS*ULIESCENOGRAPHIESTOTHEDEVELOPMENTFROMMODERN TOPOSTMODERNSCENICDESIGN 4HEFOUREARLIESTSTAGINGSDONEBETWEENANDCANPRIMARILYBE CONNECTEDTOTHEMULTIFORMMOVEMENTOFMODERNTHEATERWHILETHEMOST RECENTSCENOGRAPHYCANBELINKEDTOPOSTMODERNTHINKING!S)HAVE MENTIONEDTHEBOUNDARYBETWEENMODERNANDPOSTMODERNSEEMSANYTHING BUTCLEARANDTHESEMOVEMENTSMELDWITHRATHERTHANBEINGEXCLUSIVEOF EACHOTHER)WOULDLIKETOSUGGESTTHATPOSTMODERNATTITUDESCANBEDIS # REAT IN G 0E R SP EC T IVES \ CERNEDINALLTHESESCENOGRAPHIESBUTTHEYWEREDEVELOPEDTHEFURTHESTIN 1TEATTERI 4HEHALLMARKOFMODERNSCENOGRAPHYWASTHEREJECTIONOFTHEILLUSTRATIVE FUNCTIONCONNECTEDTONATURALISM4HEBELIEFWASTHATBEYONDTHESUPERlCIAL APPEARANCEOFTHEOBJECTIVEWORLDTHEREISADEEPERSTRUCTUREWHICHTHEARTIST CANMAKEVISIBLETOTHEAUDIENCES&URTHERMOREANATURALISTICREPRESENTATION COMMITTEDONLYTOREPRESENTATIONSOFSURFACEREALITYWASSEENTOPREVENTUS FROMSEEINGADEEPERHIDDENCONTEXT 7HILETHENATURALISTSCENERIESSHOWEDTHEWORLDASITAPPEARSTOUSMODERN STAGEDESIGNSTRESSEDIDEASGRASPABLETHROUGHSCENICEXPERIENCESBUTNOTCOM PARABLETOOBJECTIVEREALITY4HISWASSEENPARTICULARLYINTHEPRODUCTIONSOF -ISS*ULIEINª34IN7ILLENSAUNAANDIN+/-4HEDIFFERENCEBETWEENTHEM WASTHATTHETWOFORMERPRODUCTIONSUSEDMAINLYVISUALMEANSANDTHELAT TERWASBASEDONASPATIALANDSITUATIONALARRANGEMENTTHATREDUCEDVISUALITY TOAMINIMUM -ODERNSCENOGRAPHYHASDEVELOPEDFROMTHETRANSPARENCYOFNATURALISTIL LUSIONSTOACONSCIOUSUSEOFTHESCENICAPPARATUSASASIGNSYSTEM4HISHAS DIRECTEDTHEFOCUSTOTHEFUNCTIONINGOFTHEREPRESENTATIVEMACHINERYANDON THEINTERPRETATIONALPROCESSES4HEREBYSCENOGRAPHYHASBECOMEMORECLOSE LYINTEGRATEDTOTHEATRICALPERFORMINGITSRECEPTIONANDCULTURALCONTEXTS 4HEPROBLEMSWITHHOWSCENOGRAPHYFUNCTIONSINAPERFORMANCEARESYMP TOMATICOFTHECOMPLICACYOFVISION4HOUGHTHEWORLDCANBESEENINALMOST ANYWAYVISIONDOESNOTALWAYSGENERATEMEANINGFULEXPERIENCES 3TUDYINGSCENICSIGNSTHATEXPRESSEDIDEASWASTHECENTRALCONCERNINh3TRIND BERGvANDNOWHEREWEREUNINVOLVEDOBSERVATIONANDOBJECTIVEKNOWL EDGEPUTSOMUCHATSTAKEASIN+/-TEATTERISPRODUCTION4HEWAYIN WHICHTHEVISUALCOMMUNICATIONFUNCTIONEDWASBROUGHTTOTHEFOREINBOTH ª34AND7ILLENSAUNA )N1TEATTERITHE@RAWSURFACEOFAUTHENTICOBJECTSTYPICALOFNATURALISMDID NOTOFFERANYRELEVANTKNOWLEDGEABOUTTHEWORLDBUTRATHERPOINTEDTOTHE IMPOSSIBILITYOFEVEREXPOSINGTHEDEEPERSTRUCTURESOFEXISTENCE4HETRANS PARENCYTYPICALOFNATURALISMANDOFOTHERSCENICSTYLESBASEDONILLUSIONWAS BLOCKEDBYNATURALISTMEANSBYSHOWINGTHEWORLDASITAPPEARSTOUS)SUG \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES GESTTHATTHENATURALISTAUTHENTICITYANDPARTICULARITYOFTHESCENICOBJECTS IN1TEATTERISTRESSEDTHECONSTRUCTEDNATUREOFTHESTAGEMUCHLIKEAPHO TOGRAPHWHOSEICONICITYALSOPOINTSTOTHEACTOFSHOOTINGANDFRAMINGTHE PICTURE )NSTEADOFLETTINGUSSEETHROUGHTHEVISIBLEAPPEARANCEINTOTHEINHERENT STRUCTURETHESPECTATORSGAZEWASREmECTEDBACK4HESCENOGRAPHICSTATEMENT IN1TEATTERIWASTHATALLWEHAVEISTHEINTERPLAYBETWEENPERCEIVINGSUBJECTS ANDOBJECTSOFPERCEPTIONSANDTHATTHEREISNOACCESSTODElNITEKNOWLEDGE ABOUTANYTHING4HEDIVERSITYOFPOSSIBLEINTERPRETATIONSWASALSOEMPHA SIZEDHERE4HEPERFORMANCEDIDNOTINVITEYOUTOlGUREOUTTHE@RIGHTREAD INGBUTRATHERREMINDEDYOUOFTHEHETEROGENEOUSEXPERIENCEOFRECEIVING THEPLAYSIMULTANEOUSLYWITHOTHERPEOPLE 4HEREISANINTERESTINGPARALLELBETWEENTHEPERFORMANCESIN1TEATTERIAND +/-WHILETHELATTERDENIEDACCESSTOUNAMBIGUOUSKNOWLEDGEBYSTRONGLY REJECTINGNATURALISTILLUSIONTHEFORMERMADETHESAMESTATEMENTBYUSING THENATURALISTILLUSIONASANIMPENETRABLESURFACE)THINKTHATTHISDIFFERENCE HASTODOWITHTHESHIFTFROMMODERNTOPOSTMODERNSCENOGRAPHY 4HENATURALISTILLUSIONHASLOSTITSCREDIBILITYAMONGCONTEMPORARYPOSTMOD ERNAUDIENCESTHATAREUSEDTOMASSIVEMANIPULATIONOFVISION3CENOGRAPHY CANNOLONGERHIDEITSRHETORICINATRANSPARENCYCREATEDTHROUGHANAPPARENT VERISIMILITUDEWITHREALLIFE!UDIENCESARENOTSUPPOSEDTO@BELIEVEINANIL LUSIONASAWINDOWINTOANOTHERREALITYNOMATTERHOWAUTHENTICTHEOBJECTS ARE4HELIFELIKEILLUSIONISRATHERLIKEAGAMECONSCIOUSLYPLAYEDWITHTHE SPECTATORSPERCEPTIONALAPPARATUS )FSFUIFXPSE CFMJFWFEPFTOPU NFBOUIBUUIF BVEJFODFXPVMEOPU CFBCMFUP EJTUJOHVJTIUIF CPVOEBSZCFUXFFO JMMVTPSZTUBHF¹DUJPO 4HISCHANGEISLINKEDTOMOREGENERALHABITSOFSEEINGANDREADINGVISUAL PERCEPTIONS4HEDICHOTOMYBETWEENARTIlCIALILLUSIONANDNATURALREALITY HASBEENBLURRED/URBELIEFINPICTORIALREPRESENTATIONSBARINGINDISPUTABLE EVIDENCEABOUTTHEWORLDHASBEENLOSTFORALONGTIME4HUSTHENATURALIST MODEOFREPRESENTATIONHASLOSTITSPRIVILEGEASANACCESSROUTETOTHEWORLD @ASITIS-OREIMPORTANTFORCONTEMPORARYSCENOGRAPHYHOWEVERISTHATTHE POWEROFVISUALEXPERIMENTATIONSANDPROVOCATIONSHASDIMINISHED7HATIS LEFTISASKEPTICALANDDISINTERESTEDATTITUDETOWARDSALLILLUSIONSANDDElNI TIVEVISUALSTATEMENTS # REAT IN G 0E R SP EC T IVES \ BOEUIFFWFSZEBZ XPSME*SBUIFS SFGFSUPUIF°XJMMJOH TVTQFOTJPOPG EJTCFMJFG±UIF XJMMJOHOFTTUPCF JOWPMWFEXJUIUIF TUPSZUPJEFOUJGZ XJUIUIFDIBSBDUFST BOEUPFOKPZUIF QFSGPSNBODFBTB NFBOJOHGVM DPIFSFOUTUSVDUVSF 0ARADOXICALLYONCEAGAINTHATATTITUDEENABLESAMORECREATIVEANDUNPREJU DICEDUSEOFIMAGESASUNSTABLEANDUNDETERMINEDSIGNS7HENUNDERSTOOD ASAPROCESSOSCILLATINGBETWEENTHEPERCEIVERANDTHEOBJECTOFPERCEPTION VISIONMAYALSOGAINANEWPOTENTIALTOSERVEASINTERACTIVECOMMUNICATION \ % XPERIEN C ES IN 4H EAT R IC AL 3 PAC ES ")",)/'2!0(9 ! , " % 2 3 * / 3 % & *OUFSBDUJPOPG$PMPST/FX)BWFO :BMF6OJWFSTJUZ1SFTT ! 2 , ! . $ % 2 ! . . % 4 4 % &TJUZTUJMBOB)FMTJOLJ 5FBUUFSJLPSLFBLPVMV ! 2 / . 3 / . ! 2 . / , $ ®1PTUNPEFSO%FTJHO¯5IFBUSF +PVSOBMQ¬ )JTUPSZBOE5IFPSZPG&OWJSPONFOUBM 4DFOPHSBQIZ"OO"SCPS.JDIJHBO6.*3FTFBSDI1SFTT ! 24!5 $ ! . 4/ . ) . ,PIUJLSJJUUJTUjUFBUUFSJB-F5IniUSF FUTPOEPVCMF%PTTJFSEV5IniUSFFU4PO%PVCMF USBOTMBUFECZ6MMB,BBSJOB+PLJOFO)FMTJOLJ0UBWB " !# ( % , ! 2 $ ' ! 3 4/ . 5IF1PFUJDTPG4QBDF -BQPnUJRVFEFM±FTQBDF USBOTMBUFECZ.BSJB+PMBT #PTUPO#FBDPO1SFTT " % 2 ' - ! . ' ¾ 3 4! - %FONPEFSOBUFBUFSOTHFOPNCSPUU ¬4UPDLIPMN"MCFSU#POOJFST'zSMBH " 5 4 # ( % 2 3 ( "SJTUPUMF±T5IFPSZPG1PFUSZBOE'JOF"SU XJUIBDSJUJDBMUFYUBOEUSBOTMBUJPOPGUIF1PFUJDT/FX:PSL %PWFS1VCMJDBUJPOT*OD # ! 2 , 3 / . ( ! 2 29 ' ®4USJOECFSHBOE7JTVBM *NBHJOBUJPO¯JO3PCJOTPO.JDIBFMFE 4USJOECFSHBOE (FOSF/PSXJDI/PSWJL1SFTTQ¬ # ! 2 , 3 / . - ! 26 ) . 1FSGPSNBODF"$SJUJDBM *OUSPEVDUJPOTFDPOEFEJUJPO/FX:PSLBOE-POEPO 3PVUMFEHF 1MBDFTPG1FSGPSNBODF5IF4FNJPUJDPG5IFBUSF "SDIJUFDUVSF/FX:PSL$PSOFMM6OJWFSTJUZ1SFTT # ( !5 $ ( 5 2 ) 5 . ! 4UBHJOH1MBDF5IF(FPHSBQIZ PG.PEFSO%SBNB"OO"SCPS5IF6OJWFSTJUZPG .JDIJHBO1SFTT # / . $ % % 7 ) , , ) ! - &! 2 ) # 9 5IFBUSJDBM4QBDF"(VJEFGPS %JSFDUPSTBOE%FTJHOFST-BOIBN.BSZMBOEBOE-POEPO 5IF4DBSFDSPX1SFTT*OD # 2 ! 29 * / . !4 ( ! . 5FDIOJRVFTPG"O0CTFSWFS 0O7JTJPOBOE.PEFSOJUZJOUIF/JOFUFFOUI$FOUVSZ $BNCSJEHF.BTTBDIVTFUUTBOE-POEPO5IF.*51SFTT % $ 3 4 2 ¾ - 0 % 2 8IZ/PU5IFBUFST.BEFGPS1FPQMF 7jSNEz"SFOBUIFBUSFJOTUJUVUF % , ! - + % ) 2 5IF4FNJPUJDTPG5IFBUSFBOE%SBNB -POEPOBOE/FX:PSL3PVUMFEHF % , /6 ) 24! ! 2 * ! n , 5 + + ! 2 ) . % . 6 ) , , % ,BUTFFOSBKBU UBJEFIJTUPSJBONFUPEPMPHJBB)FMTJOHJO:MJPQJTUPO-BIEFO UVULJNVTKBLPVMVUVTLFTLVT % . 15 ) 3 4 0 % 2 / , /6 ¯0JLFVEFOLjZOUJ/FJUJ+VMJFUB WBTUBBO¯JO,BSUBOQJJSUjKjU,BSUMjHHBSOB USBOTMBUFECZ "OUFSP5JVTBOFO+ZWjTLZMj(VNNFSVT & )3 # ( % 2 , ) # ( 4 % % 2 ) + ! 5IF4FNJPUJDTPG5IFBUFS 4FNJPUJLEFT5IFBUFST USBOTMBUFECZ+FSFNZ(BJOFT BOE%PSJT-+POFT#MPPNJOHUPOBOE*OEJBOBQPMJT *OEJBOB6OJWFSTJUZ1SFTT & , / 2 ) . - !' . 5 3 ®4USJOECFSH$IBODF*NBHFTBOE &OCMlCPL4PNF3FºFDUJPOT¯3PCJOTPO.JDIBFMFE 4USJOECFSHBOE(FOSF/PSXJDI/PSWJL1SFTTQ¬ & 2 ! . # + + ! * .VPUPJMJKBOUVOOVTUVLTJB'PSNPDINJMKz )FMTJOLJ5BJEFUFPMMJTFO,PSLFBLPVMVOKVMLBJTVTBSKB# 6/ . & 2 ! . : - ! 2 * ! , % % . ! ¯*OEJWJEVBBUJPQSPTFTTJ¯ JO+VOH$( 4ZNCPMJUQJJMPUBKVOOBOLJFMJ.BOBOE )JT4ZNCPMT )FMTJOLJ0UBWB ' ! $! - % 2 ( ! . 3 ' % / 2 ' 5SVUIBOE.FUIPE8BISIFJU VOE.FUIPEF -POEPO4IFFEBOE8BSE ( ! ! 0! , ! ! 24/ n ,% (4 ) . %. - ! 2 ++ 5 &MjNZTUBJEF UPUVVT,JSKPJUVLTJBGFOPNFOPMPHJTFTUBFTUFUJJLBTUB)FMTJOLJ :MJPQJTUPQBJOP ( ! ,4 4 5 . %. 3 ! ,/ 3 ! ! 2 ) % ,) . ! FE 7BTUBWBMP 5BNQFSFFOZMJPQJTUPOESBBNBTUVEJPOMBJUPTKVMLBJTV ¬ ( % $ 3 4 2 ¾ - - ± . 3 ®#VJMEJOHUIFTQBDFGPSUIF QFSGPSNBODF¯USBOTMBUFECZ5POZ.FMWJMMF)FMBWVPSJ )BOOB¬1FVSBMB"JMJ5FBUUFSJUJMBTTB¬5IFBUSFJO4QBDF '0/%*UFBUUFSJNVTFPOWVPTJLJSKBOP)FMTJOLJ 5FBUUFSJNVTFP ( % $ 3 4 2 ¾ - 0% 2 FE 4USJOECFSHNlMBSFOPDI GPUPHSBGFO4UPDLIPMN/BUJPOBMNVTFVN ( % , !6 5 / 2 ) ( ! . . ! n 0% 52 ! ,! ! ) ,) 5FBUUFSJUJMBTTB ¬5IFBUSFJO4QBDF'0/%*UFBUUFSJNVTFPOWVPTJLJSKB OP)FMTJOLJ5FBUUFSJNVTFP ( /7! 2 $ 0! - % ,! 8IBU*T4DFOPHSBQIZ-POEPOBOE /FX:PSL3PVUMFEHF * !9 - ! 24 ) . %PXODBTU&ZFT5IFEFOJHSBUJPOPG 7JTJPOJO5XFOUJFUI$FOUVSZ'SFODI5IPVHIU#FSLFMFZ -PT"OHFMFT-POEPO6OJWFSTJUZPG$BMJGPSOJB1SFTT * 5 . ' # ' %FUPNFEWFUOBUSBOTMBUFECZ)FJEJ 1BSMBOE4UPDLIPMN8BIMTUSzN8JETUSBOE 1TZLFUTEZOBNJLPDITUSVLUVSzWFSTjUUOJOH 4WBOUF)BOTTPO1IJMJQQB8JLJOBOE,VSU"MNRWJTU 4UPDLIPMN/BUVSPDI,VMUVS 4ZNCPMJUQJJMPUBKVOOBOLJFMJ.BOBOE)JT 4ZNCPMT )FMTJOLJ0UBWB + ! 2 ( 5 - % 2 * ! ,) ) 3 ! 3BLLBBUTJTLPUTJTLPLVMMBU,0. UFBUUFSJOLMBTTJLLPUVMLJOUPKB¬)FMTJOLJ,BOTBO 4JWJTUZTUZzO-JJUUP + ! 2 . ) # + - ! . & 2 % $ ®4USJOECFSHBOEUIF5SBEJUJPO PG.PEFSOJUZ4USVDUVSFPG%SBNBBOE&YQFSJFODF¯JO 4UPDLFOTUSzN(zSBOFE 4USJOECFSH±T%SBNBUVSHZ 4UPDLIPMN"MNRWJTU8JLTFMM*OUFSOBUJPOBM¬ + ) 2 + +/ 0% ,4/ %3 ! ¯+PIEBUVTUBOjZUUjNzOUFPSJBBO¯ JO5JFEFKBFEJTUZT¬ +/ ( / 4 ) - / 5FBUUFSJBSLLJUFIUVVSJONFSLJUZTBSWPU 4VPNFO.VJOBJTNVJTUPZIEJTUZLTFOBJLBLBVTLJSKB )FMTJOLJ +/ 3 + ) 0 )2 + +/ FE /JJONVVUUVVNBBJMNB&TLPOJ 5VMLJOUPKBLBOTBMMJTOjZUUjNzTUj)FMTJOLJ:MJPQJTUPQBJOP +/3+)0)2++/n6!)44).%.!..!,))3! ®5IF5IFBUSF 4ZTUFNPG'JOMBOE¯JO8JMNFS4UFWF¬WBO.BBOFO )BOTFET 5IFBUSF8PSMETJO.PUJPO"NTUFSEBN 3PEPQJ¬ +/ 3 + ) - ) % 3 2 ! &! %, 4VPNFO,BOTBMMJTUFBUUFSJ** )FMTJOLJ0UBWB + 2 ) 3 4 % 6! * 5, ) ! 1VIVWBTVCKFLUJTVPNFOOPT1JB 4JWFOJVT5JJOB"SQQF,JSTJ4BBSJLBOHBT)FMFOB4JOFSWP KB3JJLLB4UFXFO)FMTJOLJ(BVEFBNVT + 2 / ( . %) . / ®aCP4WFOTLB5FBUFS¯JO,SPIO&JOP ¬3JOOF5PJWP55VSLVMBJTFOUFBUUFSJOIJTUPSJB*5VSLV 1PMZUZQPT¬ + 2 / ( . %) . / n 2 ). . % 4/ ) 6/ 4 5VSLVMBJTFOUFBUUFSJO IJTUPSJB*5VSLV1PMZUZQPT + 2 / / + + ! * 3 ! 'JOMBOEUFBUFSFOGPMLUFBUFS /PSEJTLB5FBUFSVOJPOFOT'JOMBOETTFLUJPO , !' % 2 2 /4 ( 5 , , ! " 2 ) 4 4! ®&YJTUFOUJBMJTNPDI3PMMCZUF J'SzLFO+VMJF&UUTBNUBMNFE"MG4KzCFSHSFEJHFSBUBW 6MMB#SJUUB-BHFSSPUI¯JO-BHFSSPUI¬-JOETUSzNFET 1FSTQFLUJWQlGSzLFO+VMJF4UPDLIPMN3BCFO4KzHSFO ¬ , !' % 2 2 /4 ( 5 , , ! " 2 ) 4 4! n , ) . $ 3 4 2 ¾ - ' ¾ 2 ! . FET 1FSTQFLUJWQlGSzLFO+VMJF4UPDLIPMN 3BCFO4KzHSFO , ! +/ & & ' % / 2 ' % n * / ( . 3 / . - ! 2 + 1IJMPTPQIZJOUIF 'MFTI5IF&NCPEJFE.JOEBOE*UT$IBMMFOHFUP8FTUFSO 5IPVHIU/FX:PSL#BTJD#PPLT , % & % " 6 2 % ( % . 2 ) 5IF1SPEVDUJPOPG4QBDF1SPEVDUJPO EFM±FTQBDF USBOTMBUFECZ%POBME/JDIPMTPO4NJUI 0YGPSE6,BOE$BNCSJEHF64"#MBDLXFMM , 5 + ! , ! * 5 ( ! ®-BWBTUVTSBULBJTV¯JO)BMUUVOFO4BMPTBBSJ &MJOBFE 7BTUBWBMP5BNQFSFFOZMJPQJTUPO ESBBNBTUVEJPOMBJUPTKVMLBJTV¬ , ± . ' " !# + ! 2 ! , & n ( / , - " % 2 ' + ! , , % 5FBUUFSJLJSKB )FMTJOLJ-PWF,VTUBOOVT - !# + ). 4/ 3 ( ) ! ) . "SDIJUFDUVSF"DUPS"VEJFODF -POEPOBOE/FX:PSL3PVUMFEHF - ! + +/ . % . 4 ) ) . ! ®*OBKBNPOTUBHF¯USBOTMBUFECZ 5POZ.FMWJMMF)FMBWVPSJ)BOOB¬1FVSBMB"JMJ5FBUUFSJ UJMBTTB¬5IFBUSFJO4QBDF'0/%*UFBUUFSJNVTFPO WVPTJLJSKBOP)FMTJOLJ5FBUUFSJNVTFP - ! 2 + % 2 & 2 % $ % 2 ) # + * n - ! 2 + % 2 , ) 3 % , / . % ®-PWFXJUIPVU -PWFST*OHNBS#FSHNBO±T+VMJF¯JO4UPDLFOTUSzN (zSBOFE 4USJOECFSH±T%SBNBUVSHZ4UPDLIPMN "MNRWJTU8JLTFMM*OUFSOBUJPOBM¬ - # !5 , % 9 ' !9 4QBDFJO1FSGPSNBODF.BLJOH.FBOJOH JOUIF5IFBUSF"OO"SCPS5IF6OJWFSTJUZPG.JDIJHBO 1SFTT - # &! 2 , ! . % * ! - % 3 ®4USJOECFSH±T7JTJPO.JDSPTDPQJDPS 4QFDUSPTDPQJD¯JO4UPDLFOTUSzN(zSBOFE 4USJOECFSH±T%SBNBUVSHZ4UPDLIPMN"MNRWJTU8JLTFMM *OUFSOBUJPOBM¬ - % 2 , % !5 0 / . 4 9 - !5 2 ) # % 1IFOPNFOPMPHZPG 1FSDFQUJPO1InOPNnOPMPHJFEFMBQFSDFQUJPO 5SBOTMBUFECZ$PMJO4NJUI-POEPOBOE/FX:PSL 3PVUMFEHF - ), / . / & & 0 % + + ! ®4QBDFBOEBVEJFODFNVTUCFXPO PWFSFBDIUJNF¯USBOTMBUFECZ5POZ.FMWJMMF)FMBWVPSJ )BOOB¬1FVSBMB"JMJ5FBUUFSJUJMBTTB¬5IFBUSFJO4QBDF '0/%*UFBUUFSJNVTFPOWVPTJLJSKBOP)FMTJOLJ 5FBUUFSJNVTFP 0! !6/ , ! ). % . 0 % . 4 4 ) ®1VVWJMMBQSJOTFTTBLPIUJ VVUUBTLFOPHSB¹BB¯JO5VSLBOQJULjKVPLTV)FMTJOLJ (BVEFBNVT¬ 4VVSJNVVUUP)FMTJOLJ,VTUBOOVT0Z 5FBUUFSJ 0 ¾ 9 3 4 ) , ! 3 3 % -BJOBUBLLJ)FMTJOLJ0UBWB 2 % )4! , ! ( % 4! FE 4VPNBMBJTUBTLFOPHSB¹BB )FMTJOLJ5BJEFUFPMMJTFOLPSLFBLPVMVOKVMLBJTVTBSKB" 2 / " ). 3 / . - ) # ( ! % , FE 4USJOECFSHBOE(FOSF /PSXJDI/PSWJL1SFTT 2 / + % - & 2 % $ $ ) % ®5IF$BNFSBBOEUIF"FTUIFUJDTPG 3FQFUJUJPO4USJOECFSH±T6TFPG4QBDFBOE4DFOPHSBQIZ JO.JTT+VMJF"%SFBN1MBZBOE5IF(IPTU4POBUB¯JO 4UPDLFOTUSzN(zSBOFE 4USJOECFSH±T%SBNBUVSHZ 4UPDLIPMN"MNRWJTU8JLTFMM*OUFSOBUJPOBM¬ ®'SPN0OF1PJOU1FSTQFDUJWFUP$JSDVMBS 7JTJPO4PNF4QBUJBM5IFNFTBOE4USVDUVSFTJOUIF .PEFSO5IFBUSF¯'PSVN.PEFSOFT5IFBUFS#E Q¬ 5IFBUSJDBM4QBDFJO*CTFO$IFDIPWBOE 4USJOECFSH1VCMJD'PSNTPG1SJWBDZ"OO"SCPS6NJ 3FTFBSDI1SFTT + ) 2 3 ) 3 ! ! 2 ) + ! . ' ! 3 ¯5JMBOUFLJKjU¯JO&MPWJSUB "SKB¬-VLLBSJOFO7JMMF,BUTFFOSBKBUUBJEFIJTUPSJBO NFUPEPMPHJBB)FMTJOHJO:MJPQJTUPO-BIEFOUVULJNVTKB LPVMVUVTLFTLVT¬ 3 ! , / 3 ! ! 2 ) + ! 2 ) 1FSVTUFJUBOjZUUjNzUZzO TFNJPUJJLLBBO*5BNQFSF5BNQFSFFO:MJPQJTUP ®3FIFBSTJOH%JBSZ¯JO)BMUUVOFO4BMPTBBSJ &MJOBFE 7BTUBWBMP5BNQFSFFOZMJPQJTUPO ESBBNBTUVEJPOMBJUPTKVMLBJTV¬ 3 # ( % # ( . % 2 2 ) #( ! 2 $ #FUXFFO5IFBUFSBOE "OUISPQPMPHZ1IJMBEFMQIJB6OJWFSTJUZPG1FOOTZMWBOJB 1SFTT &OWJSPONFOUBM5IFBUFS/FXFYQBOEFEFEJUJPO /FX:PSLBOE,FOU"QQMBVEF#PPLT 3 0 2 ) . # ( / 2 . % 6%24 ®4MVUFUJ'SzLFO+VMJF¯JO -BHFSSPUI-JOETUSzN1FSTQFLUJWQl'SzLFO+VMJF 4UPDLIPMN3BCnO4KzHSFO 3 4!4 % 3 " % 24 / (SFBU3FDLPOJOHTJO-JUUMF3PPNT"O &TTBZPOUIF1IFOPNFOPMPHZPG5IFBUSF#FSLFMFZBOE-PT "OHFMFT6OJWFSTJUZPG$BMJGPSOJB1SFTT 3 4 % ) . " / # + $! . ¯"SUBVE±TUFTUBNFOUUJ¬LPIUJ LSJJUUJTUjUFBUUFSJB¯JO"SUBVE"OUPOJO,PIUJLSJJUUJTUj UFBUUFSJB-F5IniUSFFUTPOEPVCMF%PTTJFSEV5IniUSFFU 4PO%PVCMF USBOTMBUFECZ6MMB,BBSJOB+PLJOFO )FMTJOLJ0UBWB¬ 3 4/ # + % . 3 4 2 ¾ - ' ¾ 2 ! . FE 4USJOECFSH±T %SBNBUVSHZ4UPDLIPMN"MNRWJTU8JLTFMM *OUFSOBUJPOBM 3 4 2 ) . $ " % 2 ' !5 ' 53 4 ®/ZB,POTUSJLUOJOHBSFMMFS 4MVNQFOJEFULPOTUOjSMJHBTLBQBOEFU¯JO)FETUSzN 1FSFE 4USJOECFSHNlMBSFOPDIGPUPHSBGFO4UPDLIPMN /BUJPOBMNVTFVN¬ .JTT+VMJFUSBOTMBUFECZ&EXJO#KzSLNBO 5PSPOUPBOE-POEPO%PWFS1VCMJDBUJPOT 3 : ! , # : % 2 % 3 :4 % 2 ®/BUVSF±T%SFBN1MBZ.PEFT PG7JTJPOBOE"VHVTU4USJOECFSH±T3F%F¹OJUJPOPGUIF 5IFBUSF¯JO5IFBUSF+PVSOBM ¬ 4 5 2 + + ! * / 5 +/ ®"EJTFBTFDBMMFEFNQUJOFTT¯ USBOTMBUFECZ5POZ.FMWJMMF)FMBWVPSJ)BOOB¬1FVSBMB "JMJ5FBUUFSJUJMBTTB¬5IFBUSFJO4QBDF'0/%* UFBUUFSJNVTFPOWVPTJLJSKBOP)FMTJOLJ5FBUUFSJNVTFP 4 ¾ 2 . 1 6 ) 3 4 % ' ) , ®4USJOECFSHBOETVCKFDUJWF%SBNB¯ JO.JDIBFM3PCJOTPOFE 4USJOECFSHBOE(FOSF /PSXJDI/PSWJL1SFTT¬ 4 ¾ 2 . 1 6 ) 3 4 % ' ) , n * !# / " 3 " ! 2 29 4USJOECFSH±T.JTT +VMJF"1MBZBOE*UT5SBOTQPTJUJPOT/PSXJDI/PSWJL1SFTT 7 ) , % 3 $!6 ) $ ®5IF1SPCMFNPG4QBDF¯JO5SBHFEZ JO"UIFOT1FSGPSNBODF4QBDFBOE5IFBUSJDBMNFBOJOH $BNCSJEHFBOE/FX:PSL$BNCSJEHF6OJWFSTJUZ1SFTT ¬ 7 ) , - % 2 3 4 % 6 % n 6! . - ! ! . % . (! . 3 FET 5IFBUSF 8PSMETJO.PUJPO"NTUFSEBN3PEPQJ 7 / 24 ( % . 7 ) , , )! - .PEFSO%SBNBBOE5IF3IFUPSJDT PG5IFBUFS#FSLFMFZBOE-PT"OHFMFTBOE0YGPSE 6OJWFSTJUZPG$BMJGPSOJB1SFTT 5.05",)3(%$3/52#%3 * ¯ . 4 4 ) , !5 2 ! /FJUJ+VMJFWJEFPUBQF,0.UFBUUFSJ)FMTJOLJ 5IFUBQFJTJOUIFDPMMFDUJPOPG,0.UFBUUFSJ , ! ( 4 ) + !4! 2 ) ) . ! /FJUJ+VMJFMJWFQFSGPSNBODF)FMTJOLJ 2UFBUUFSJBOE , ! ( 4 ) + !4! 2 ) ) . ! /FJUJ+VMJFWJEFPUBQF2UFBUUFSJ)FMTJOLJ 5IFUBQFJTJOUIFDPMMFDUJPOPG2UFBUUFSJ 4/ , ! / , , ) /FJUJ+VMJFWJEFPUBQF)FMTJOLJ'JOOJTI/BUJPOBM 5IFBUSF5IFUBQFJTJOUIFDPMMFDUJPOPG'JOOJTI /BUJPOBM5IFBUSF ! ( , " ¯ # + 4/6 % 1IPUPHSBQITBOETDFUDIFTQSJWBUF DPMMFDUJPO ! 2 , ! . $ % 2 ! . . %4 4 % 3FIFBSTBMOPUFTQSJWBUFDPMMFDUJPO * 5 . . ) + +! , ! + ! 2 ) 1IPUPHSBQITQSJWBUFDPMMFDUJPO + ) 2 * !6! ) . % . +!4! 2 ) ) . ! 1IPUPHSBQITQSJWBUFDPMMFDUJPO 1MBOGPSUIF8SJUUFOQBSUPGUIFEJQMPNBXPSL BUUIF%FQBSUNFOUPG4DFOPHSBQIZ6OJWFSTJUZPG"SUBOE %FTJHO 8SJUUFOQBSUPGUIFEJQMPNBXPSLBUUIF %FQBSUNFOUPG4DFOPHSBQIZ6OJWFSTJUZPG"SUBOE %FTJHO ! ( , " ¯ # + 4/6 % &NBJMB *OUFSWJFXCSFDPSEFEUIFNJOJEJTDBOE UIFUSBOTDSJQUJPOJOUIFQPTTFTTJPOPGUIFBVUIPS &NBJMD ! 2 , ! . $ % 2 ! . . % 4 4 % *OUFSWJFXSFDPSEFEUIF NJOJEJTDBOEUIFUSBOTDSJQUJPOJOBVUIPS±TDPMMFDUJPO ( % $ 3 4 2 ¾ - - ± . 3 *OUFSWJFXVOSFDPSEFE * 5 . . ) + + ! , ! + ! 2 ) *OUFSWJFXSFDPSEFEUIFNJOJ EJTDBOEUIFUSBOTDSJQUJPOJOBVUIPS±TDPMMFDUJPO * ¯ . 4 4 ) , !5 2 ! *OUFSWJFXVOSFDPSEFE + )2 * !6! ) . % . + !4! 2 ) ) . ! *OUFSWJFXSFDPSEFEUIF NJOJEJTDBOEUIFUSBOTDSJQUJPOJOBVUIPS±TDPMMFDUJPO . )% - % , ¯ * 5 ( ! . ) *OUFSWJFXSFDPSEFEUIFNJOJ EJTDBOEUIFUSBOTDSJQUJPOJOBVUIPS±TDPMMFDUJPO 3 ! , / 3 ! ! 2 ) + ! 2 ) *OUFSWJFXSFDPSEFEUIFNJOJ EJTDBOEUIFUSBOTDSJQUJPOJOBVUIPS±TDPMMFDUJPO 4/ , ! / , , ) *OUFSWJFXSFDPSEFEUIFNJOJEJTDBOE UIFUSBOTDSJQUJPOJOBVUIPS±TDPMMFDUJPO 6 5 / , , % 4 5 ) * ! *OUFSWJFXSFDPSEFEUIFNJOJEJTD BOEUIFUSBOTDSJQUJPOJOBVUIPS±TDPMMFDUJPO & ) . . ) 3 ( . !4 ) / . ! , 4 (% !4 2 % QSPHSBNNPG.JTT+VMJF +/ - 4 % !4 4 % 2 ) QSPHSBNNPG.JTT+VMJF ± " / 3 6 %. 3 +! 4 % !4 % 2 . QSPHSBNNPG.JTT+VMJF 1 4 % !4 4 %2 ) QSPHSBNNPG.JTT+VMJF ) +/ . % . ,) )3 ! .JTUjLVWBUUVMFWBU-JDFOUJBUFUIFTJT 5BJEFUFPMMJOFOLPSLFBLPVMV / , , ) + ! ) . %. 2 !5. ) .VVUUVWBMBWBTUVT-JDFOUJBUF UIFTJT5BJEFUFPMMJOFO,PSLFBLPVMV . % 7 3 0! 0 % 2 2 % 6 ) % 7 3 4 ( % . !4 )/ . ! , 4 ( % !4 2 % ( * . ¯4VVSJ4USJOECFSHJMUB,BOTBMMJTUFBUUFSJTTB¯ 6VTJ4VPNJ ( + ¯'SzLFO+VMJFQl,BOTBMMJTUFBUUFSJ¯ 2 ¾ . . ( / , - " 2 / 2 ¯0JOTQJSFSBE'SzLFO+VMJF¯ 7! , , % . ! . . # (2 ) 3 4 ) . ¯'SzLFO+VMJFTUBSLPDIFSPUJTL MBEEBE¯aMBOE 6 5 / 2 ) * 9 2 + ) ¯/FJUJ+VMJFUjOjjO5jSLFJOLZTZNZTKjj WBTUBVLTFUUB54 ¯4USJOECFSHJMjJOFOLFTjZzOVOFMNB¯5VSLVMBJOFO ¯7JIBBKBSBLLBVUUB¯5VSVO4BOPNBU )VGWVETUBETCMBEFU * 4 ! ¯4USJOECFSHJO°/FJUJKVMJF±¯4BWPO4BOPNBU . , / 5 ¯'SzLFO+VMJFQl,BOTBMMJTUFBUUFSJ¯ /ZB1SFTTFO 0 4! 6 ) ¯,BOTBMMJTUFBUUFSJO°/FJUJ+VMJF±¯ *MUB4BOPNBU 6 % )3 4 ¯ * ¯ / , !6 ) ¯"VHVTU4USJOECFSHJO°/FJUJ+VMJF± ,BOTBMMJTUFBUUFSJOOjZUUFMJKjJOFTJUUjNjOj¯ "BNVMFIUJ +/ - 4 % !4 4 % 2 ) 4 % !4 4 % 2 ) * 5 2 + + ! / , , ) , ! + ) 2 3 ) ¯.POJBBMMFBWBVUVWB/FJUJ+VMJF¯ % + , 5 . $ ( ) , + + ! ¯1VPMJLTJBKBUFMUVPOGBMTLJTUJUPUFVUFUUV¯ 4PT%FN ) . ' 3 4 2 ¾ - 0 ) ! ¯,0.T4USJOECFSH¯)CM + ! * !6! * 5 + + ! ¯,PNJO/FJUJ+VMJFOQBUFFUUJOFONZMMjLLj¯ )F4B ! , , ! ¯/FJUJ+VMJFWPJNBMMBWBJLLBQJFOFTTjUJMBTTB¯ 4PTEFN ( + ¯'SzLFO+VMJFJSVNTUFBUFSWFSTJPO¯ )VGWVETUBETCMBEFU + 6 ¯4USJOECFSHJjIVPOFUFBUUFSJTTB¯6VTJ4VPNJ h 3 4 2 ). $ " % 2 ' v !5 2 ! % 2 + + ) ¯5VULJWBKBUVULJUUV4USJOECFSH¯ ,BOTBO-FIUJ &! " 2 )4 )5 3 ) ) 2 ) 3 ¯/jJUjOjJO5BNQFSFFMMB 4USJOECFSHJjLBCBSFFUBKBLJSLLPOjZUFMNjjLJO¯ 4BWPO4BOPNBU - )+ +/ , ! + ! ) 3 5 ¯4FLTJjKBVTLPOUPBOZLZUFBUUFSJTTB¯ ,BMFWB 3 ! , / - ! ! + ! , % 6 ) ¯6VUUBLPVMVUVTUBKB LPLFJMVB4USJOECFSHMBCPSBUPSJPLjTJUUFMZTTj¯ &UFMj4VPNFO4BOPNBU 3 4 ± ( , ( ! - - ! 2 , % / ¯1VPMBMBJOFO/FJUJ+VMJF¯ 4VPNFONBB 3 5 6! , / + ! 2 ) ¯1PJNJOUPKBUFBUUFSJLFTjTUj¯ 4PTEFN 5 % 8 + 5 , , 3 / , % ¯4USJOECFSH1VPMBOLBVUUBUFIPLBTUB UFBUUFSJLPLFJMVB¯)F4B 6 % )3 4 ¯ * ¯ / , !6 ) ¯,VPIVWBBUFBUUFSJBQVPMBMBJTFFOUBQBBO¯ "BNVMFIUJ *OUIFDPMMFDUJPOPGUIF5IFBUSF.VTFVN)FMTJOLJ ,BOTBO6VUJTFU 3 5 . $ 1 6 ) 3 4 ( ! 2 29 ¯/FJUJ+VMJFLBIWJMBTTB¯ "BNVMFIUJ 7 ) + 3 4 2 ¾ - 2 ) ) 4 4! ¯/FJUJ+VMJFOFMjNjOKBOP¯ 6VTJ4VPNJ 4 ( % . !4 ) / . ! , 4 ( %!4 2 % % + , 5 . $ ( ) , + + ! ¯/FJUJ+VMJFLVJOKjjQVJLLPLBSBNFMMJ¯ 4VPNFO4PTEFN ( % , % . ) 5 3 " ! 2 " ! 2 ! ¯&OTWBH'SzLFO¯)CM + ! * ! . 4/ ! . . % ,) ¯/FJUJ+VMJFONFOOFJTZZEFOWBOHJU¯ *MLLB 2 !5 4! , ! ( 4 ) % %2 / ¯,PMNFOBKBUVTNBBJMNBO ZIUFFOUzSNjZT¯)ZWJOLjjO4BOPNBU 2 ) 4/ , ! ( 4 ) 0 % . 4 4 ) ¯+jjTFJOjJOFO+VMJF¯,PUJNBB 3 ) ) + ! , ! + ) 2 3 ) ++ ! ¯'FNJOJTUJOFO4USJOECFSH¯)4 3 4 ± , ( ! - - ! 2 ,% / ¯)jLJOWBOLJOBIjLJUUjLJO¯ 4VPNFONBB 3 5 . $ 1 6 ) 3 4 ( ! 2 2 ) ¯-BTJWVPSFOVVNFOJTTB¯ "BNVMFIUJ 4! 2 ( / . % . ) 2 % . % ¯+VIBOOVTUBOTTJU4USJOECFSHJOUBQBBO¯ &UFMj4BJNBB 7 ) + 3 4 2 ¾ - 2 ) ) 4 4! ¯)zZIFOOFJUJ+VMJFOIBUVTUB¯ 6VTJ4VPNJ 1 4 % !4 4 % 2 ) + ! * !6! * 5 + + ! ¯7JIBKBSBLLBVTSJOUBSJOOBO¯ )FMTJOHJO4BOPNBU ¯ " / 3 6 % . 3 + ! 4 % !4 % 2 5IF5VSLV4XFEJTI5IFBUFS )4 ¯ 2 ! . 4! % % 2 / ¯/BJTFONBIEPMMJTVVEFU4USJOECFSHJO NBBJMNBTTB¯"BNVMFIUJ * ! . 3 ³ . * / ( . % 2 ) + ¯'SzLFO+VMJFQla45¯ 5:-a4# * ! . 3 3 / . ( % . 2 ) + ¯,MBTTJLFSQla45¯GPMLUJEOJOHFO/:5*% * ! . 3 3 / . * ! . ) . ! ¯4UBSLGSzLFO+VMJF¯)CM , % ( 4/ . % . 0 % 4 4 % 2 ) ¯.JUFOTJOVOLjZ/FJUJ+VMJF ¯ 5VSVO1jJWjMFIUJ . )% - ) )2 - % , ) ¯5VSWBMMJTVVUUBKBUVSUVNVTUBUVSLVMBJTFTTB UFBUUFSJTZLTZTTj¯)F4B +/ 3 + - ) + ! % , ¯&OTVWFSjOUPUSFWMJH+VMJF¯ )VGWVETUBETCMBEFU , ) . . !6 5 / 2 ) - !4 4 ) ¯4VIUFFMMBPOTFVSBVLTJB¯ 4BUBLVOOBOLBOTB , % ( 4/ . % . 3 / ) ,! ¯,BIEFOLFSSPLTFOWjLFj¯ "BNVMFIUJ - % 2 ) , !5 2 ) ¯3BLFOUBWBLPLFNVT¯5FBUUFSJ 4 5 / - ) . % . ! 2 * ! ! . . %, ) ¯/FJUJ+VMJFLBJQBBUFSjTUZTUj WBMUBQFMJJO¯,BOTBO6VUJTFU *OUIFDPMMFDUJPOPG5FBUUFSJBMBOLFTLVTLJSKBTUP "QQFOEJY ®4USJOECFSH ¯ XBT B USBJOJOH BOE FYQFSJNFOUBM QSPEVDUJPO BSSBOHFE CZ UIF %SBNB %FQBSUNFOU JO UIF 6OJWFSTJUZ PG 5BNQFSF DBMMFE %SBBNBTUVEJP *U XBT EJSFDUFE CZ UIF 1PMJTI BDUPS BOE EJSFDUPS "EBN )BOVT[LJFXJD[ )F UPPL UPUBM SFTQPOTJCJMJUZ GPS UIF QFSGPSNBODF JODMVEJOH UIF TDFOPHSBQIZ"TJEFGSPNUIF.JTT+VMJFUFYUUIFSFXFSFGSBHNFOUT GSPNUIFQMBZT5BNJOHPGUIF4ISFXCZ4IBLFTQFBSF8IP*T "GSBJEPG7JSHJOJB8PPMG CZ"MCFFBOEGSPNUIF#JCMJDBMTUPSZ BCPVUUIF'BMMPG"EBNJODMVEFEUPUIFQFSGPSNBODF 5IFSFIFBSTBMTUPPLQMBDFJOUXPQFSJPET¬+VOFBOE ¬"VHVTU5IFSFXFSFTJYQVCMJDQFSGPSNBODFTBU UIF 5BNQFSF 5IFBUSF 'FTUJWBM ¬ "VHVTU *U XBT UIF 'FTUJWBM±T TFDPOE ZFBS BOE JU XBT B DPMPSGVM IBQQFOJOHTUBHJOHBWBSJFUZPGEPNFTUJDQFSGPSNBODFT BOEPGGFSJOHBOPDDBTJPOGPSMJWFMZEJTDVTTJPOT"MMUIF QFSGPSNBODFTPG®4USJOECFSH ¯XFSFTPMEPVU 5IFQSPEVDUJPOXBTWFSZDPNQMFUFMZEPDVNFOUFEJOB %SBBNBTUVEJPQVCMJDBUJPO7BTUBWBMP 4(%#! 3 4! .$ #2 %7 %SBNBUVSHZBOEEJSFDUJPO "EBN)BOVT[LJFXJD[ 4FUBOEDPTUVNFEFTJHO +VIB-VLBMB UIF$JUZ5IFBUFSJO5VSLV "TTJTUBOUPGUIFEJSFDUPS ,BSJ4BMPTBBSJ%SBBNBTUVEJP 5FDIOJDBMBTTJTUBOU "VMJT)jNjMjJOFO - )33*5, )% .JTT+VMJF 5VJKB7VPMMF5BNQFSF5IFBUSF +FBO +VIBOJ/JFNFMj,PVWPMB5IFBUFS DPOOFDUFEUPUIF5BNQFSF5IFBUSFJO ,SJTUJO 4BMNF,BSQQJOFOUIF$JUZ5IFBUFSJO,PULB 4 (% 4!- ).'/&!3(2% 7 1FUSVDIJP +BSLLP/VSNJUIF$JUZ5IFBUFSJO3PWBOJFNJ ,BUIBSJOB 3JJUUB&MTUFMjUIF$JUZ5IFBUFSJO,PULB 7(/)3!& 2! )$ /& 6) 2' ). )!7 // ,& (FPSHF :SKz1BSKBOOF,PVWPMB5IFBUFS .BSUIB "VOF-JOE-FIUJOFO7BBTB5IFBUFS /JDL +BSLLP/VSNJUIF$JUZ5IFBUFSJO3PWBOJFNJ 4 (%&!,, 1JSLLP-BBLTPUIF$JUZ5IFBUFSJO0VMV "MUIPVHIUIFSFXBTBQSPGFTTJPOBMTDFOPHSBQIFS+VIB-V LBMBBNPOHUIFQBSUJDJQBOUTIJTKPCXBTSFTUSJDUFEUPUIF QSBDUJDBMSFBMJ[BUJPOPGUIFTUBHFSBUIFSUIBOCFJOHJOWPMWFE JO JOEFQFOEFOU EFTJHOJOH -VLBMB CPSO JO DBO CF DPOTJEFSFEBTPOFPG'JOMBOE±TNPTUQSPNJOFOUTDFOPHSB QIFSTIBWJOHEFWPUFENVDIPGIJTQSPGFTTJPOBMMJGFUPUIF 5VSLV$JUZ5IFBUFSTJODF1SJPSUPUIBUIFIBETUVEJFE BUUIF"SU4DIPPMJO5VSLVGSPN¬BOEDPNQMFUFEIJT GPSNFSFEVDBUJPOJO1SBHVF 1IPUPT"VMJT)jNjMjJOFO&TLP4BMBBOE.BUUJ4FMjOOF 4 ( % 0 2 / $ 5 # 4 ) / . / & h 3 4 2 ) . $ " % 2 ' v !4 4! - 0 % 2 % 5 . ) 6 % 2 3 ) 4 9 ! $! -(! .5 3 : + )%7)#: CPSO "EBN)BOVT[LJFXJD[HSBEVBUFEBTBO BDUPSGSPNUIF5IFBUFS4DIPPMJO-wE[ BOE BT B EJSFDUPS GSPN UIF 5IFBUFS 4DIPPMJO8BSTBX)FXPSLFEBTBOBD UPSJOEJGGFSFOUUIFBUFSTTJODFBOE XBTFNQMPZFEBTBEJSFDUPSCZUIFUIF BUFS PG 1P[OBO JO *O IF CF DBNFUIFMFBEFSPGUIF575IFBUFSBOE JOUIFMFBEFSPGIJTPXOFOTFNCMF5FBUS1PXT[FDIOZ JO 8BSTBX 'JWF ZFBST MBUFS IF XBT BQQPJOUFE UP BT EJSFD UPSPG5FBUS/BSPEPXZUIF1PMJTIOBUJPOBMUIFBUFSUPXIJDI 5FBUS1PXT[FDIOZXBTUIFOVOJUFE-BUFSIFXBTMFUHPGSPN IJTQPTU)FDPOUJOVFEXJUIIJTDBSFFSBCSPBECVUOFWFSMFGU 1PMBOEDPNQMFUFMZ )BOVT[LJFXJD[IBEBWFSZDMPTFSFMBUJPOTIJQXJUI'JOMBOE )JTFOTFNCMFXBTUIF¹STU1PMJTIUIFBUFSUPWJTJU'JOMBOEBU UIF )FMTJOLJ 'FTUJWBM JO )PXFWFS IJT 'JOOJTI EJSFDU JOHEFCVUIBECFFOUIFQSFWJPVTZFBSXIFO)BOVT[LJFXJD[ EJSFDUFE 'JHBSP±T 8FEEJOH JO UIF $JUZ 5IFBUSF PG )FMTJOLJ #FUXFFO UIF ZFBST BOE )BOVT[LJFXJD[ EJSFDU FE UFO QMBZT JO EJGGFSFOU UIF BUFST JO )FMTJOLJ 5VSLV BOE 5BNQFSF GPS FYBNQMF %PO +VBO CZ .PMJoSF 8PZ[FDL CZ #DIOFS0ODF"HBJO4BNCZ 8PPEZ"MMFO $ 2 ! ! -! 3 45 $ )/ %SBBNBTUVEJP XBT FTUBCMJTIFE JO JO DPOOFDUJPO XJUI :IUFJTLVOOBMMJOFO,PSLFBLPVMVXIJDIMBUFSCFDBNF5BNQFSF 6OJWFSTJUZ JO 'SPN POXBSE EJSFDUPST BOE UIF BUFS TDIPMBST HSBEVBUFE GSPN %SBBNBTUVEJP #FTJEFT UIJT BDBEFNJD FEVDBUJPO TIPSU DPVSTFT GPS QSPGFTTJPOBM UIF BUFSNBLFST XFSF SVO EVSJOH UIF TVNNFSUJNF ®4USJOECFSH ¯XBTPOFPGUIFTFQSPKFDUTXIJDIDPOUJOVFEVOUJMFBSMZ T ,BSJ4BMPTBBSJMFE%SBBNBTUVEJPGSPNUPUIFFOEPGUIF T IF JT CFTU LOPXO GPS IJT TUVEJFT BCPVU UIFBUFS TF NJPUJDT5IF%SBBNBTUVEJPBDUJWJUZJOUIFTXBTBOFY DFQUJPOBMBUUFNQUUPDPNCJOFUIFPSFUJDBMUIJOLJOHBOEUIF BUFSNBLJOH*OBGPSNBMUSBJOJOHTUSVDUVSFGPSUIFBUFS QSBDUJUJPOFSTXBTFTUBCMJTIFE%SBBNBTUVEJPCFDBNFQBSUPG UIF%FQBSUNFOUGPS"SU4UVEJFTBUUIF6OJWFSTJUZXIJDIDPO DFOUSBUFENPTUMZPOBDBEFNJDSFTFBSDI5IFUIFBUFSTDIPMBS 1FOUUJ1BBWPMBJOFOOPUFTUIBUNBJOUBJOJOHUIFQSBDUJDBMFEV DBUJPOJO%SBBNBTUVEJPXBTEFGFOEFEBTCFJOHBOPOMFGUJTU BMUFSOBUJWFUPUIF5IFBUSF"DBEFNZJO)FMTJOLJ 4(%3 4!' %/ &- /. 44 5 5IF QSPEVDUJPO UPPL QMBDF PO UIF %SBBNBTUVEJP WFOVF DBMMFE .POUUV UIF 1JU PS 5FBUUFSJNPOUUV UIF 5IFBUFS 1JU .POUUVXBTDPNQMFUFEJOBTBQBSUPGUIFCVJME JOHXPSLPOUIF6OJWFSTJUZ*UXBTEFTJHOFECZUIFBSDIJUFDU 5PJWP ,PSIPOFO BOE XBT TFFO BT BO FYDFQUJPOBM TUBHF JO JUTPXOUJNFDPOOFDUFEUPUIFNPEFSOJTUJEFPMPHZ"DDPSE JOH UP 5JNP ,PIP XIP IBT TUVEJFE UIF WBMVFT PG UIFBUFS BSDIJUFDUVSF UIF JEFB XBT UP JOºVFODF UIF 6OJWFSTJUZ TUV EFOUT XIP MBUFS BT ZPVOH QSPGFTTJPOBMT TIPVME JO¹MUSBUF UIFJEFPMPHZBOENFUIPEPMPHZPGFNQUZTQBDFJOUPUIFBUFS QSBDUJDF 5IF TUBHF DPOTJTUFE PG POMZ CMBDLXBMMTBOEBCBMDPOZFODJS DMJOHUIFFNQUZTQBDF$POWFO UJPOBM TFUT XFSF OPU TVQQPTFE UP CF VTFE UIFSF BOE BDDPSE JOH UP UIF BSDIJUFDU ,PSIPOFO DBSQFOUSZ XPSLTIPQT EJE OPU CFMPOHUPUIFBUFSBTBEJHOJ¹FE DVMUVSBM CVJMEJOH 5IF TUBHF UFDIOPMPHZ IFSF IPXFWFS XBT UIFNPTUNPEFSOJO'JOMBOEJO5IFBVEJUPSJVNXJUI TFBUTDPOTJTUFEPGNPWBCMFFMFNFOUTBMMPXJOHGPSEJG GFSFOUBSSBOHFNFOUTPGUIFTUBHFTQBDF)PXFWFS4BMPTBBSJ SFNBSLFEUIBUJONPTUQSPEVDUJPOTUIFBVEJFODFXBTTJN QMZGSPOUBMMZGBDJOHUIFQFSGPSNBODFBTXBTEPOFJO®4USJOE CFSH ¯ 4(% 3 # %. / ' 2 ! 0(9 / & h 3 42 ).$ " %2 ' v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¹WFDIBJSTBCFEBXPPEFOCFODIBOE BNPEFSOFMFDUSJDTUPWF5IFSFTUPGUIFQSPQTXFSFBTHFO VJOFBTQPTTJCMFXPPEFOEJTIFTBOEQPUUFSZ5IFMJHIUOJOH XBT ¹HVSFE PVU TDFOF CZ TDFOF UIVT TVQQPSUJOH UIF SF TQFDUJWFBUNPTQIFSFT 5IF QSPDFTTJOH PG UIF TDFOPHSBQIZ TUBSUFE JNNFEJBUFMZ PODF UIFZ CFHBO SFIFBSTJOH PO UIF TUBHF BGUFS UISFF EBZT PGSFBEJOHUIFQMBZ*UXBTEPDVNFOUFECZ4BMPTBBSJJOUIF GPMMPXJOHXBZ +VMZ UIF ¹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±T ESFTT BOE UIF TDSFFOT XPVME IBWFUIFTBNFDPMPS*OUIF°4ISFX±TDFOFIJTUPSJDBMDPTUVNFT XFSFUPCFVTFE ,BSJ4BMPTBBSJSFDBMMFEUIFDPTUVNFT 5IFZXFSFDPTUVNFTGSPNUIFFOEPGUIFUIDFOUVSZ5IJTXBT TJHOJ¹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¥5IJTXBTBMMEJDUBUFECZUIFSF TPVSDFTPGUIF6OJWFSTJUZ5IFZIBEOPUIJOH.ZDPTUVNFXBT QVUUPHFUIFSMJLFUIJTCFDBVTF)BOVT[LJFXJD[MJLFEUIFNBUFSJ BMTUIFTPGUWFMWFUUIFCMPVTFBOEJODPOUSBTUUIFDIFBQQMBT UJD)FTBJEUIBUJUNBEFSFGFSFODFUPUIFJOUFSOBMOBUVSFPGUIF DIBSBDUFS 4(%$ 2 ! - !45 2 ' )#! ,3 42 5 #45 2 % 4HE)NTERLUDESBETWEEN-ISS*ULIE / & 4(%0%2 & / 2 - ! .#% 5IF1SPMPHVF 5IF ¹OBM QFSGPSNBODF XBT B LJOE PG DPMMBHF XIFSF USBHJD BOE DPNJDBM TDFOFT BMUFSOBUFE 8IFO UIF EJWFSTJUZ PG EJG GFSFOUUFYUTXBTDSJUJDJ[FEGPSCFJOHUPPIFUFSPHFOFPVTBOE EJTDPOOFDUFE)BOVT[LJFXJD[SFTQPOEFECZTBZJOHUIBUJUT QVSQPTFXBTUPTVSQSJTFUIFTQFDUBUPSBOEQSFWFOUIJNIFS GSPNCFJOHUPPJOWPMWFEXJUIUIFFWFOUT5IFFYDFSQUTSFQSF TFOUFEGPS)BOVT[LJFXJD[°EJGGFSFOUEFHSFFTPGUSVUI±GPSFY BNQMFUIF4IBLFTQFBSFUFYUXBTB°SFBMCJPMPHJDBMUSVUI±BOE UIF"MCFFQBSPEZXBTBO°VOOBUVSBMCJPMPHJDBMUSVUI± 5IFCBTJDTUSVDUVSFPGUIFQFSGPSNBODFBTJUXBTSFIFBSTFE XBTBTGPMMPXT 1SPMPHVF ¥ .JTT+VMJFGSPNUIFCFHJOOJOH UP,SJTUJO±TQBOUPNJNF ¥ 5IFQSPQPTBMTDFOFGSPNUIFTFDPOEBDUPG UIF5BNJOHPGUIF4ISFXCZ4IBLFTQFBSF ¥ .JTT+VMJFGSPN,SJTUJO±TQBOUPNJNF UP+VMJFBOE+FBO±TJOUFSDPVSTF ¥ 5IFFOETDFOFGSPNUIFTFDPOEBDUPG 8IP*T"GSBJEPG7JSHJOJB8PPMG CZ"MCFF ¥ 5IFTUPSZPGUIF'BMM *.PT¬ ¥ ¬*OUFSNJTTJPO¬ ¥ .JTT+VMJFUPUIFFOE ¥ &QJMPHVF 5IF QSFGBDF GPS .JTT +VMJF XBT EFWFMPQFE JOUP B QSPMPHVF GPSUIFQFSGPSNBODF5IFZJOWFOUFETJYDIBSBDUFSTXIPEJT DVTTFEUIFBUFSBOEVTFERVPUFTGSPNUIFQSPMPHVFBTBXBZ UPQSFTFOUEJGGFSFOUBUUJUVEFTBCPVUJU5IFSFXBTBNJEEMF BHFEUIJOLFSXIPMFEUIFDPOWFSTBUJPOUXPDZOJDBMBDUSFTT FTBDPOTFSWBUJWFGFNBMFTQFDUBUPSBZPVOHGFNBMFTUVEFOU XIPXBTFBHFSUPEJTDVTTJOUFMMJHFOUMZBOEBDPNNPONBO 0OFPGUIFBDUSFTTFTXBTUPSFQSFTFOUUIFIBSBLJSJEJTDVTTFE JO4USJOECFSH±TQSFGBDF"GUFSBNPNFOUPGSFBMJTUJDIPSSPS PO TUBHF TIF XPVME SFWFBM JU BT B UIFBUSJDBM USJDL TIPXJOH UIFVTFPGBSUJ¹DJBMCMPPEFUD5IJTXPVMENBLFJUDMFBSGSPN UIFCFHJOOJOHUIBUUIFQFSGPSNBODFXBTEFBMJOHXJUIUIFBU SJDBMJUZJUTFMG 5IF QSPMPHVF XBT BMUFSFE BOE EFWFMPQFE JO TFWFSBM XBZT CVU )BOVT[LJFXJD[ EFDJEFE UP MFBWF JU PVU POF EBZ CFGPSF UIFQSFNJFSF*OTUFBEUIFZTUBSUFEUIFQFSGPSNBODFXJUIB TIPSURVPUBUJPOGSPNUIFQSFGBDFXIJDIDBNFGSPNBMPVE TQFBLFSBOEXBTTQPLFOJO4XFEJTIBTJGJUXFSFCFJOHSFBE CZ4USJOECFSH 5IF5BNJOHPGUIF4ISFX 8IFO+FBOBOE+VMJFIBEMFGUUIFLJUDIFOJOPSEFSUPHPEBOD JOH ,SJTUJO±T QBOUPNJNF XBT SFQMBDFE CZ B TDFOF GSPN 4IBLFTQFBSF±T5IF5BNJOHPGUIF4ISFX5IFTDFOFVTFEXBT UIFPOFJOXIJDI1FUSVDIJPQSPQPTFTUPUIFCBEUFNQFSFE ,BUIBSJOB *U XBT SFBMJ[FE BT B QIZTJDBM ¹HIU GVMM PG BDUJPO BOEIVNPSBOE,SJTUJOXBTTJUUJOHPOUIFCFODIXBUDIJOH JU ¥,BUIBSJOB UISPXT B QJMMPX BU 1FUSVDIJP¥ 1FUSVDIJP HSBTQT ,BUIBSJOBCZIFSCFMU8IJMFTIFJTQVMMJOHBXBZIFMPPTFOTIJT HSJQBOETIFGBMMTPOIFSCBDL1FUSVDIJPIJEFTCFIJOEBTDSFFO ,BUIBSJOBIJUTUIFTDSFFOXJUIIFS¹TUBOE1FUSVDIJPQSFUFOET UPGBMMPOUIFHSPVOE'SPNUIFSFIFHSBTQTBUUIFXPNBO±TBO LMFTUBOETVQBOENBLFTUIFTDSFFOGBMMVQPO,BUIBSJOBXIP UIFOLJDLTUIFTDSFFOBOEUIFNBOBXBZ ,BUIBSJOBTJUTPOUIFUBCMF¥1FUSVDIJPDSBXMT POIJTTUPNBDIVOEFSUIFUBCMF¥,BUIBSJOB CFOET EPXO UP ESBX B GBDF PO UIF CBDL PG IJTUSPVTFSTXJUIBQJFDFPGDIBML¬IFUVSOT BOEHSBTQT,BUIBSJOBCZIFSGFFU¬TIFHSBTQT 1FUSVDIJPCZIJTGFFU¬UIFNBOSFMFBTFTIJT PUIFS IBOE BOE UJDLMFT UIF XPNBO PO IFS TPMF ¬ TIF MBVHIT IFS HSJQ MPPTFOT 1FUSV DIJP TUBOET VQ BOE UBLFT ,BUIBSJOB CZ IFS GFFUTPUIBUTIFJTDSBXMJOHPOIFSIBOETMJLF BXIFFMCBSSPXJOPSEFSUPNPWFIFSPGGUIF TUBHF,SJTUJOXBUDIFTUIJTUBNJOHPGBXPN BOGSPNUIFCFODI 8IP*T"GSBJEPG7JSHJOJB8PPMG 5IF EBODF PG UIF QFBTBOUT XBT SFQMBDFE CZ UIF MBTU TDFOF GSPNUIFTFDPOEBDUPG8IP*T"GSBJEPG7JSHJOJB8PPMG CZ "MCFF)FSF.BSUIBBOE/JDLXFSFESJWFOUPUIFJSMPWFBGGBJS CFDBVTFPGUIFJOEJGGFSFODFPG(FPSHF5IFJEFBXBTUPTIPX NPEFSO BDBEFNJD QFPQMF QMBZJOH DIJMEJTI TFYVBM HBNFT XJUIPVUIBWJOHDPOUBDUXJUISFBMHFOVJOFDIJMEIPPE.BSUIB BOE/JDL±TTFEVDUJPOTDFOFTUBSUFEJOUIFTUZMFPG°BXFTU FSO NPWJF± 5IF BDUPST BQQSPBDI FBDI PUIFS MJLF DPXCPZT UIFJSIBOETQPJTFEUPQVMMPVUUIFJSSFWPMWFST5IFJOTUBODF XIFSF.BSUIBBQQSPBDIFT/JDLXBTUIPVHIUPGBTBQBSPEZ GSPNUIFTDFOFXIFSF+FBOLJTTFT+VMJF±TIBOE)BOVT[LJF XJD[XBOUFEUPTIPXUIBU"MCFFEJEO±UVOEFSTUBOEBOZUIJOH BCPVUMPWF*OPSEFSUPFNQIBTJ[FUIFNFDIBOJDBMOBUVSFPG UIFFSPUJDCFIBWJPS.BS UIBTUSPLFT/JDL±TCBDL BTJGJUXFSFEPVHITIF FWFO VTFT UBMDVN QPX EFS 5IF NBJO BDUPST UPPLPGGUIFJSTIJSUTBOE TLJSUT XIJMF UIF PUIFST MPPLFE BU UIFN CPSFE JOEJDBUJOHUIBUNFSFTFY JTCPSJOH 5IF'BMM 5IFCJCMJDBMTUPSZBCPVUUIF'BMMPG"EBNBOE&WFXBTSFBE CZBOBOHFMBOEXBTBDDPNQBOJFECZFMFDUSPOJDSPDLNVTJD 5IFBDUSFTTXBTESFTTFEMJLFBMJUUMFHJSMBUB$ISJTUNBT1BSUZ 4IFXBTDBSSZJOHIFSXJOHTPOIFSBSNTJODFBOBOHFMEPFT OPUOFFEUIFXJOHTXIFOXBMLJOH POUIFFBSUI4IFBMTPBOOPVODFE UIFJOUFSNJTTJPO 5IF&QJMPHVF 5IFQFSGPSNBODFXBTQMBOOFEUP FOE XJUI B ¹DUJWF JOUFSWJFX XJUI 4USJOECFSHCBTFEPOUIFQSFGBDF PGIJTBOUIPMPHZPGTIPSUTUPSJFT (JGUBT "GUFS UIBU UIF BDUPST XFSF UPHBUIFSBSPVOEUIFCPEZPG+VMJF JO PSEFS UP EJTDVTT MPWF 'JOBMMZ UIFQMBZXSJHIUXPVMEQSFTFOUIJT NBOJGFTUP °5IF 3JHIUT PG 8PN FO± XIJMF PUIFST MJTUFOFE EJTJO UFSFTUFEMZ 5IJT FQJMPHVF XBT SF NPWFEBMPOHXJUIUIFQSPMPHVF 53 ).' 4(%3 # 2% %.3 )BOVT[LJFXJD[ QMBDFT +VMJF CFIJOE UIF TDSFFO UP XBUDI +FBO +VMJFEJTBQQFBSTDPNQMFUFMZXIFOTIFBTLTBCPVUUIFOBNFPG UIF ZPVUI CFMPWFE UP +FBO¥+VMJF IBT UP TUBOE PO UXP DPVO UFSXFJHIUTJOPSEFSUPIBWFIFSIFBEWJTJCMFBCPWFUIFTDSFFO 5IFJNBHFFYQSFTTFTUIFNFOUBMNPEFPGUXPQMBZJOHDIJMESFO 5IFTUBHFTFSWBOUCSJOHTBºPXFSUP+FBOBOEPOMZ+VMJF±TIBOE SFBDIFTGSPNCFIJOEUIFTDSFFOUPUBLFJU 8IFO+FBODPOGFTTFTIBWJOHIFBSE+VMJF±TEJTDVTTJPOTBOEIJOUT BUIJTLOPXMFEHFBCPVUUIFTUSBOHFFSPUJDSJUVBMTCFUXFFO+VMJF BOE IFS ¹BODn IF TVEEFOMZ QVMMT UIF TDSFFO BXBZ GSPN +VMJF BOETIFJTTFFOTUBOEJOHPOUIFDPVOUFSXFJHIUTBTJGPOTUJMUT +FBOHPFTCFIJOEUIFTDSFFOBOEXJUIUIFMJOF®*DBVHIUTJHIU PGBQJOLESFTTBOEBQBJSPGXIJUFTUPDLJOHTUIBUXBTZPV¯IF QPTJUJPOTBOPUIFSTDSFFOCFIJOE+VMJFTPUIBUUIFEBVHIUFSPG UIF$PVOUJTTJUVBUFECFUXFFOUXPTDSFFOT*OUIJTXBZIFDPVME XIJTQFS IJT MZSJDBM NFNPSJFT JOUP +VMJF±T FBS CVU BU UIF TBNF UJNFSFNBJOEFUBDIFEGSPNIFS 5IFESFBNBCPVU4XJU[FSMBOETIPVMECFQSFTFOUFEMJLFBDIJME IPPE ESFBN BCPVU CFJOH JO QBSBEJTF BOE BTTFSU JUTFMG BT B TUSPOHQSPUFTUBHBJOTUXIBUIBTIBQQFOFEJOSFBMJUZ5IFPSJHJO PGUIFESFBNTTIPVMECF¹HVSFEPVUGPSJOTUBODFCZEBODJOH 5IFBDUJPOTIPVMECFTPNFUIJOHUIBUIBTSFNBJOFEBOJOTUJODU GSPNDIJMEIPPE4PNFCPEZTVHHFTUFEQMBZJOHIPQTDPUDI¬)B OVT[LJFXJD[BTLFEGPSBQJFDFPGDIBML)FUFTUFEJUPO UIF ºPPS BOE UIFO BTLFE +VMJF UP ESBX IFS JEFB PG 4XJU[FS MBOE PO UIF SJHIU TJEF 4IF ESFX NPVOUBJOT IPVTFT USFFT ºPXFSTBOEBSBJMSPBE)BOVT[LJFXJD[UPMEIFSUPDPOUJOVF TP UIBU UIF ESBXJOHT TVSSPVOEFE IFS PO UIF HSPVOE MJLF B DJSDMF¥+FBOBOE,SJTUJODBNFDMPTFSUPMPPLBU+VMJF±TESBX JOHT+FBOTUFQQFEPOUIF°SBJMSPBE±+VMJFFJUIFSIBEUPQVTI IJNCBDLPSESBXPOIJTTIPF5IFBDUSFTTGPVOEUIFGPSNFS SFBDUJPO BT NPSF OBUVSBM )BOVT[LJFXJD[ XBT JOUFSFTUFE JO UIFPUIFSPOF 5IFFOETDFOFPGUIFQMBZ +FBOTUBZTUPMPPLBU+VMJF±TDIBML ESBXJOH)FUBLFTBSBHBOEHPFTUPDMFBOJUBXBZ5IFTQPU MJHIU XBT EJSFDUFE POUP UIJT QBSU PG UIF TUBHF ¬ PUIFS MJHIUT XFSFTXJUDIFEPGG5IFMBTUUIJOH+FBOXJQFTBXBZJTUIF°TVO± ESBXO CZ +VMJF¥ " XFU DJSDMF BQQFBST PO UIF ºPPS XIJDI TIJOFT JO UIF MJHIU +FBO MPPLT BU JU MJLF B NJSSPS BOE UIFO TUBOETVQTMPXMZBGUFSXIJDIUIFMJHIUTBSFUVSOFEEPXO 4(%2 %#%04) /. /FXTQBQFSDSJUJDTQBJEBMPUPGBUUFOUJPOUP®4USJOECFSH ¯ BOEUIFJSSFTQPOTFTXFSFNBJOMZQPTJUJWFTUSFTTJOHUIFEJG GFSFODFPG®4USJOECFSH ¯UPNBJOTUSFBN'JOOJTIUIFBUFS 5IF SFBTPO GPS UIF QSPQPTFE XFBLOFTTFT XBT NPTUMZ QVU POUIFFEVDBUJPOBMBOEFYQFSJNFOUBMPSJFOUBUJPOPGUIFQSP EVDUJPO 4PNF DSJUJRVF XBT EJSFDUFE UPXBSET UIF JODPIFS FODF PG UIF QFSGPSNBODF BOE UIF JSSFMFWBODF PG UIF JOUFS MVEFT 5IFNPTUTUBSUMJOHQFSGPSNBODF*TBXJOUIF5IFBUFS'FTUJWBM ZPVPOMZTFMEPNSVOJOUPUIFBUFSXJUITVDIJOUFOTJUZ " IVHF QFSGPSNBODF ºBTIJOH XJUI FMFDUSJDJUZ HMPXJOH XJUI TUSPOH DPMPST B CSFBUIJOH BOE QBOUJOH QFSGPSNBODF 5IFBUFS XJMESVUIMFTTBOEUSFNCMJOHUIFBUFSFTQFDJBMMZUIFBUFSCZ)B OVT[LJFXJD[ 5IFNFBOTVTFEUPNBLFUIFQFSGPSNBODFGSFTIUIFTUSPOHWJ TVBMJUZ UIF BWPJEBODF PG QFEBOUJD QTZDIPMPHJDBM BOBMZTJT BOE UIFCSFBLJOHPGUIFTUBHFJMMVTJPOEJEOPUTUBSUMFXJUIJUTOFX OFTTCVUQSPEVDFETPNFFTQFDJBMMZUPVDIJOHNPNFOUT - )3 3 *5,)%" 9(! .53 :+)% 7) #: ).4! -0%2 %% .4% !44 %2 ) 5IF OFYU ZFBS .JTT +VMJF XBT SFTUBHFE CZ )BOVT[LJFXJD[ BOEUIFTBNFMFBEJOHBDUPSTJOBSFEVDFEBOENPSFUSBEJ UJPOBM GPSN JO 5BNQFSF 5IFBUSF 3JUWB 7BMLBNB QMBZFE UIF SPMFPG,SJTUJOBOEUIFTDFOPHSBQIFSXBT6MMB4FMJOIFJNP XIPXBTUIFOQFSNBOFOUMZFOHBHFEBU5BNQFSF5IFBUSF 5IF MFBEJOH BDUPST QBSUJDJQBUJOH JO CPUI QSPEVDUJPOT SF NBSLFEUIBUUIFQMBZXBTDPNQMFUFMZSFEJSFDUFE5IFJOUFS NJTTJPOXJUIUIFUFYUTCZ"MCFFBOE4IBLFTQFBSFBOEUIF FYDFSQUTGSPNUIF#JCMFXFSFMFGUPVU5IFTDFOPHSBQIZXBT OPXBNPSFSFBMJTUJDSFQSFTFOUBUJPOPGUIF$PVOU±TLJUDIFO 5IFTUBHFXBTTNBMMFSBOEUIFBDUPSTDPVMEVTFUIFXBMMT BOEEPPSTPGUIFCVJMEJOH5IFSFXBTBMTPBMJWFKB[[CBOE BOEUIFMJHIUOJOHXBTEFTDSJCFEBTFYQSFTTJWFBOEFGGFDUJWF JOUIFSFWJFXT 1BBWPMBJOFO ,PIP ,PIP¬ 4BMPTBBSJ -VLBMB 4BMPTBBSJ -VLBMB -VLBMB 4BMPTBBSJ 7VPMMF 4BMPTBBSJ 4BMPTBBSJ¬ 4BMPTBBSJ 4BMPTBBSJ 4BMPTBBSJ 'BCSJUJVT 7FJTUjKj 44 "QQFOEJY - ) 3 3 * 5 , ) % ) . 4 ( % 4 5 2 + 5 3 7 % $ ) 3 ( 4 ( % !4 % 2 5IFUPVSJOHQSPEVDUJPOPG.JTT+VMJFIBEJUTQSFNJFSFBUUIF5VSLV4XFEJTI5IFBUFSa45 PO/PXFNCFS 5IFSFBGUFSJUXBTQFSGPSNFEUJNFTJO5VSLVBOEUIFSFHJPOBOEXBTTFFOCZTQFDUBUPST 4(%#! 3 4! .$ #2 %7 'SzLFO+VMJF .BSKPSJUB)VMEFO +FBO -BTTF'BHFSTUSzN ,SJTUJO +BOJOB#FSNBO %JSFDUJPO "OOFUUF"SMBOEFS 4DFOPHSBQIZ 5PWF"IMCjDL $PTUVNFT 5PWF"IMCjDL*SJT-JOLPSBOUB .BJKB-JJTB'PSTTn 1SPQT .BSHBSFUIB1BMNCFSH 4UBHFUFDIOJDT .BUUJ#FSH1FLLB"BMUP7jJOz-BBLTP -JHIUOJOH 0TNP-FJOPOFO#JSHFS#FSHGPST 1SPHSBN "OOFUUF"SMBOEFS5PWF"IMCjDL 1IPUPHSBQIZ .BUUJ,JWFLjT 1PTUFS 5PWF"IMCjDL .VTJDGSPNUIFSFDPSE0SHBOBOE1BOQJQFCZ(FPSHF ;BN¹SBOE.BSDFM$FMMJFS aCP4WFOTLB5FBUFSO 4/6%! (," ¯ #+ CPSO 5IFTDFOPHSBQIFS5PWF"IMCjDLHSBEVBUFEGSPNUIF4DIPPM PG*OEVTUSJBM"SUTJOBGUFSXIJDITIFXPSLFEXJUIUIF /BUJPOBM 5IFBUSF BTTJTUJOH UIF PMEFS TDFOPHSBQIFST NBL JOH IFS PXO EFTJHOT BOE IFMQJOH XJUI NBSLFUJOH *O UIF FBSMZT"IMCjDLTUVEJFEGPSUXPZFBSTBU:BMF6OJWFSTJUZ JOUIF645IFSFTIFFBSOFEB.BTUFSPG"SUTJOTDFOPHSB QIZBOESFUVSOFEUP'JOMBOEJO4IFUIFOXPSLFEGPS UIF 5BNQFSF 8PSLFST± 5IFBUSF CVU MFGU JO GPS 5VSLV EVFUPGBNJMZSFBTPOT4IFTUBSUFEBUa45JOBVUVNO XJUI.JTT+VMJF4IFTUBZFEUIFSFGPSUFOZFBSTCVUXBTBMTPB HVFTUTDFOPHSBQIFSGPSTFWFSBMUIFBUFST/PXBEBZTTIFIBT TFUBTJEFIFSTDFOPHSBQIJDDBSFFS4IFJTDVSSFOUMZSVOOJOH B DPOTVMUJOH FOUFSQSJTF UIBU EFTJHOT XFCTJUFT )FS MBUFTU TDFOPHSBQIZXBT5IF8JOEJOUIF8JMMPXTBUa45 ± " / 3 6%.3 + ! 4%!4%2 .± 3 4 n45 2 + 5 3 7%$ )3 (4(%!4%2 5IF5VSLV4XFEJTI5IFBUFSaCP4WFOTLB5FBUFSOa45 JT MPDBUFE JO 'JOMBOE±T PMEFTU UIFBUFS CVJMEJOH EBUJOH GSPN 5IFCFBVUJGVMCBSPRVFWFOVFIPVTFEEJGGFSFOUUIFBU SJDBM BDUJWJUJFT JO UIF UI DFOUVSZ "NPOH UIFN XBT UIF ¹STU EPNFTUJD 4XFEJTITQFBLJOH UIFBUFSHSPVQ JO 'JO MBOE DBMMFE 4WFOTLB *OIFNTLB 5FBUFS XIJDI XBT GPVOEFE JO5VSLVJO*UCFDBNFaCP4WFOTLB5FBUFSJOBOE JUJTTUJMMLOPXOCZUIJTOBNF#ZJUIBEHSPXOJOUPB NFEJVNTJ[FEUIFBUFSXJUIFNQMPZFFT a45XBTPOFPGUIF¹WFQSPGFTTJPOBM4XFEJTITQFBLJOHUIF BUFSTJO'JOMBOEBOEUISFFPGUIFNa45UIF7BBTB4XFE JTI5IFBUFSBOE4LPMUFBUFSO QSPEVDFEUPVSJOHQFSGPSNBOD FT 5IF 4XFEJTITQFBLJOH NJOPSJUZ JO 'JOMBOE XBT JOa45IBEUSBEJUJPOBMMZDMPTFDPOUBDUTXJUI4XFEFO CVU NBOZ 'JOOJTITQFBLJOH EJSFDUPST BOE TDFOPHSBQIFST BMTPWJTJUFEUIFSF5IFUFDIOJDBMTUBGGXBTNPTUMZ'JOOJTI TQFBLJOHCVULOFXFOPVHI4XFEJTIUPHFUCZ 5IF a45 TUBHF JT B CBSPRVFTUBHF XJUI B IPSTFTIPF TIBQFE EFDPSBUFE BVEJUPSJVN 5IF XJEUI PG UIF QSPTDF OJVN PQFOJOH JT BCPVU NFUFST *O UIF CVJMEJOH XBTJOVSHFOUOFFEPGSFOPWBUJPOXIJDIXBTDBSSJFEPVUJO UIFNJEEMFPGT5IJTSFOPWBUJPOTBXUIFBEEJUJPOPGB TNBMMTUVEJPTUBHF .JTT +VMJF IBT CFFO QFSGPSNFE JO a45 JO BOE %VSJOHUIF¬TFBTPOa45IBEGPMMPXJOHQMBZTJO JUTSFQFSUPJSF "VHVTU4USJOECFSH'SzLFO+VMJF¬BUPVSJOHQMBZ -VEWJH)PMCFSH+FQQFQlCFSHFU¬BUPVSJOHQMBZ %BMF8BTTFSNBO3JEEBSFOGSlOMB.BODIB 5IF.BOPG-B.BODIB ¬BNVTJDBM "NVTJDBMTIPX5JMMTBNNBOT5PHFUIFS #P$BSQFMBO7BOESBOEF4LVHHB 5IF8BOEFSJOH4IBEPX ¬BUPVSJOHQMBZ 5IFNBRVFUUF5PWF"IMCjDL 4(%4/ 5 2 ).' !#4)6)49 4(%3 #%./' 2 !0(9/ &- ) 33*5,) % -JLFNPTU'JOOJTIUIFBUFSTa45IBEBMPOHUSBEJUJPOPGUPVS JOH*OJUXBTHSBOUFESFHJPOBMUIFBUFSTUBUVTPCMJHJOH JUUPUPVSJOUIFTVSSPVOEJOHBSFBTBOEJUXBTHSBOUFEFYUSB TVCTJEZGSPNUIFTUBUFGPSUIBUQVSQPTF5IJTSFHJPOBMUIF BUFSTZTUFNXBTFTUBCMJTIFEMJUUMFCZMJUUMFJO'JOMBOEEVSJOH UIFTBOET*UTSPPUTXFSFJOUIFPMEBNBUFVSUIF BUFSUSBEJUJPOBOE7PMLTUIFBUFSJEFPMPHZCVUJUXBTBMTPJOºV FODFECZUIFTHSPVQUIFBUFSNPWFNFOU 5IFTFUDPOTJTUFEPGºBUTUZMJ[FEUSFFTDVUPVUPGQMZXPPE #FUXFFOUIFXJOEJOHCSBODIFTUIFSFXBTUVMMFXIJDIDPVME CF MJU FJUIFS GSPN UIF GSPOU PS GSPN CFIJOE 5IJT MJHIUJOH DPVMEDIBOHFUIFWJTVBMDIBSBDUFSPGUIFUSFFT5IFLJUDIFO GVSOJUVSF XBT QBSUMZ GBTUFOFE UP UIF USFFT BT JG UIFZ XFSF HSPXJOHPVUPGUIFN5IFSFXBTBWBVMUFEXJOEPXGSBNFB TUPWFBUBCMFTPNFDIBJSTBOEBCMPDLPGXPPE "UUIFUJNFUIFZXFSFXPSLJOHPO.JTT+VMJFUIFSFXBTBO JOUFOTJWF EFCBUF HPJOH PO BCPVU UIF SFHJPOBM UIFBUFS TF MFDUJPOQSPDFTT/BNFTDPMMFDUFEJOBOBQQFBMUPUIFTUBUF PO CFIBMG PG UIF a45 XIJDI XBT DPNQFUJOH XJUI 7BBTB 4XFEJTI5IFBUFS8BTB4WFOTLB5FBUFSO 5IFZ¹OBMMZCPUI BDIJFWFE SFHJPOBM TUBUVT TJODF UIF TVCTJEZ XBT EJWJEFE BNPOHUIFN 5IFSFHJPOPGa45JODMVEFEUIFEJTUSJDUTPG5VSVONBB"I WFOBONBB BOE -jOTJ6VTJNBB 5IFSF XFSF TPNF UPXOT XJUI B 4XFEJTITQFBLJOH NBKPSJUZ MJLF ,BSKBB 5BNNJTBB SJ)BOLPBOE.BBSJBOIBNJOBCVUBHSFBUQBSUPGUIFSF HJPOBMBVEJFODFDPOTJTUFEPGSVSBMGBSNFSTBOE¹TIFSNFO MJWJOHPOUIFDPBTUPSJOUIFBS DIJQFMBHP 5IF UPVSJOH QFSGPSNBODFT PG .JTT +VMJF UPPL QMBDF JO /BVWP 7jTUBOGKjSE %BMTCSVL ,BSKBB )BOLP BOE UIFSF XFSF UISFF TIPXT JO .BBSJBOIBNJOB 5IF ¹STU UISFF NFOUJPOFE SFHJPOT BSF SVSBM DPNNVOFT JO UIF BS DIJQFMBHP BOE UIF PUIFS UISFF BSFTNBMMUPXOTXJUIB4XFEJTI TQFBLJOH NBKPSJUZ 5IF SFTU PG UIFQFSGPSNBODFTPVUPG XFSFJOa45±TIPNFWFOVF &WFSZUIJOH PO TUBHF XBT QBJOUFE EBSL SFE B TIBEF EF TDSJCFEBTPYCMPPE5IFSFEDPMPSPGUIFTFUXBTNPUJWBUFE CZUIFEJSFDUPS"SMBOEFS±TJEFBUIBULJMMJOHUIFCJSETZNCPM J[FEUIFJNQPTTJCJMJUZPG+VOHJBOUSBOTDFOEFODFUIFVOJUZ PGDPOTDJPVTBOEVODPOTDJPVTNJOE 5IFTFUIBEUPCFNPEJ¹FEUPTVJUUPVSJOHQVSQPTFT5IF BNPVOU BOE QMBDJOH PG UIF USFFT DPVME CF WBSJFE 5IFSF XFSFUXPEJGGFSFOUTUBHFºPPSTPOFDIFDLQBUUFSOFENBEF PG IBSECPBSE GPS UIF IPNF WFOVF BOE BOPUIFS NBEF PG QBJOUFEGBCSJDGPSUIFUPVSOnT 5IFTDFOPHSBQIFS"IMCjDLSFDBMMFEUIFNBLJOHPGUIFTDF OPHSBQIZ 5PWF"IMCjDL *OUIFTFDPOEBDUUIFSFXBTNPSFTQFFE8IFO +VMJFDBNFXJUIUIFDBOBSZCJSEJUXBTBMNPTU ¥ OPU DPNFEZ CVU UIFSF XBT B DPNJDBM FMF NFOU*UJTRVJUFBCTVSE*NFBOUIJTUSJQXJUI UIF DBOBSZ CJSE BOE UIF MBTU DIBODF¥ 5IF XBZJOXIJDIXFEJEJUJOUIFQFSGPSNBODFXBT NVDIMJLFBGBSDF:PVDPVMETFFJUXIFOTIF FOUFSFEUIFTUBHFJOIFSMBDZESFTT ""5IFNVSEFSPGUIFDBOBSZCJSEJTUIFEF DJTJWFBDU -(*UXBTMJLFUIFNVSEFSPG+VMJF *GFMUUIBUJUXBTOBUVSBMUPDPNCJOFUIFJEFBUIBUUIFDIBOHF PGUIFUJNFPGUIFEBZXPVMECFTFFOUISPVHIUIFMFBWFTPGUIF USFFT¥5IFUSFFTXFSFºBUJOUIBUXBZUIFZDPVMECFDPNCJOFE JOPSEFSUP¹MMUIFTQBDFBOEUIFFOWJSPONFOU5IFJEFBXBTUIBU UIFUSFFTDPVMECFNBEFIJHIFSPSTNBMMFS¥*EPOPUSFNFNCFS BOZNPSF XIFUIFS UIF TJ[F PG UIF USFFT DPVME CF DIBOHFE PS XIFUIFSXFKVTUNBEFCJHHFSBOETNBMMFSUSFFT -()PXXBTUIFTFUGPS.JTT+VMJFNBEF 8BTJUKVTUQMZXPPE BOEUVMMF 5":FTXFUPPLXIBUXFIBEUIFUIJOOFTUQMZXPPE5IFQSBD UJDFXBTMFU±TUBLFXIBUXFIBWF8FEJEOPUIBWFBOZCJHSF TPVSDFT5IFBNPVOUPGUVMMFXBTRVJUFTNBMMJUJTMJLFMZUIBU* KVTUXFOUUPUIFXBSESPCFBOEQJDLFETPNFUVMMFUIBUIBQQFOFE UPCFUIFSF5IFO*SFNFNCFSUIBUXFQJDLFEGSPNBKVOLZBSE BVUIFOUJDQMBUFTUPUIFXPPETUPWF*DBOTUJMMIFBSJUNZFBST UIFIBUDIXBTHFOVJOF*OTPNFTDFOFUIFZQVUXPPEJOUPUIF TUPWF8FIBEBHFOVJOFCVUDIFS±TCMPDLGSPNTPNFXIFSF¥"OE UIJTTJOLBOEUIFXPSLUBCMFNVTUIBWFCFFOGPVOETPNFXIFSF* SFNFNCFSUIBUPOFPGUIFDIBJSTXBTNZPXOXIJDI*IBEHPUJO BOBVDUJPO¥BMPOFMZDIBJSUIBUKVTUGFMUOJDFUIFSFPOTUBHF -("OEFWFSZUIJOHXBTQBJOUFESFEJOUIFTFU .BUUJ,JWFLjT 5":FTFWFSZUIJOHUIBUDPVMECFQBJOUFE 4(%$ )2 %#4)/ . 5IF EJSFDUPS "OOFUUF "SMBOEFS EFTDSJCFE UIF QFSGPSNBODF BOEEJSFDUJPO "" 5IF QFSGPSNBODF CFHBO XJUI B QBOUPNJNF XIFSF +VMJF BOE ,SJTUJO EBODFE UPHFUIFS XFBSJOH VOEFSXFBS GSPN UIF CF HJOOJOHPGUIFDFOUVSZ*UXBTMJLFBOFYFSDJTFXIFSFPOFJTTVC PSEJOBUFBOEUIFOUIFZTXJUDISPMFT5IF¹STUBDUXBTQVSFOBU VSBMJTN¥ 'PS FYBNQMF +FBO MFBOT PO UIF TUPWF BOE TVEEFOMZ SFBMJ[FTUIBUJUJTIPU¥5IFSFXBTBMTPBTDFOFXIFSF+FBOJTTJU UJOHPOBCFODIBOE+VMJFQPVSTTPNFXJOFPOIJTIFBE)FUIFO UBLFTPGGUIFXIJUFTIJSU ""/PUMJLFUIFNVSEFSPG+VMJFCVUJUTZN CPMJ[FE UIF EFTUSVDUJPO PG IPQF BOE UIF JNQPTTJCJMJUZ PG USBO TDFOEFODF 0G DPVSTF UIJT DBO CF TFFO UP CF USVF JO +VMJF±T EFBUICVUTIFXBTOPUBTNVDIBWJDUJN8FFNQIBTJTFEUIF UIFNFPGTFYVBMJUZBOEEFBUIXIFSFBTUIFDMBTTJDBMTUSFTTJTPO NJTT+VMJFBOEUIFTPDJBMDMBTTTUSVDUVSF8FDPOTJEFSFEUIJTUPP GSPNUIFTUBOEQPJOUPG+FBO#VUXIBU*XBTJOUFSFTUFEJOXBT UIFTUSVHHMFGPSTFYVBMQPXFS*UXBTBSFQSFTFOUBUJPOPGBTFMG EFTUSVDUJPOCVUOPUUIBUPGBEFHFOFSBUFEVQQFSDMBTT*OUIF FOE TDFOF +VMJF JO B XBZ GPSDFT +FBO UP IZQOPUJ[F IFS ¬ JU JT UIFSFJOUIFUFYUUPP 5IFSF XBT B LJOE PG NVMUJTFYVBMJUZ UPP * LOPX UIBU TPNF CPEZ JOUFSQSFUFE UIF ESBNB UP JODMVEF B MFTCJBO SFMBUJPOTIJQ CFUXFFO+VMJFBOE,SJTUJO*EJEOPUSFBMMZTFFUIJTCVU*EJEGFFM UIBU TPNF TPSU PG USJBOHMF FYJTUFE CFUXFFO UIF UISFF DFOUSBM DIBSBDUFST5IFOPUJPOPGBMMUISFFPGUIFNMJWJOHUPHFUIFSBOE FTUBCMJTIJOHBIPUFMXBTGBSDJDBM"OE*IBEQPTJUJWFGFFECBDL GSPN DPMMFHFT XIP XFSF JOUFSFTUFE JO TFFJOH UIBU ,SJTUJO XBT IBWJOHGFFMJOHT¥ * SFNFNCFS XIFO UIF UIFBUFS NBOBHFS .BMWJVT DBNF UP MPPLBUUIFSFIFBSTBMTBOEIFXPOEFSFEXIZUIFSFXBT¬BOE * XPVMEO±U IBWF VTFE UIJT XPSE UIFO ¬ B TBEPNBTPDIJTUJD FM FNFOU BO FSPUJDJTN UIBU XBT BHSFTTJWF )F UIPVHIU UIBU JU TIPVMEO±U CF UIBU XBZ * SFNFNCFS UIBU UIF BDUPST EFGFOEFE NZJEFB 8FIBEBHPBMUPOPUDIBOHFUIFUFYUJOBOZXBZBOEXFUBMLFE KVTUPME4XFEJTI5IFPOMZDIBOHFXBTXJUIUIFTDFOFXIFSFUIF DFMFCSBUJOHDSPXEDPNFTJO*UXBTDIBOHFEUPBQBOUPNJNF CZ,SJTUJO"OEUIBUXBTJOGBDUPOFPGUIFCFTUTDFOFT8IFO +FBOBOE+VMJFBSFTVQQPTFEUPCFNBLJOHMPWF,SJTUJOJTBMPOF JOUIFLJUDIFOBOEXBTIFTIFSTFMGJOBXBTICBTJO*UXBTBWFSZ FSPUJDTDFOFBQFSTPOXBTIJOHIFSTLJOXJUIBTQPOHFBOEBMM UIFXIJMFUIFBVEJFODFJTBXBSFUIBUUIFPUIFSUXPDIBSBDUFST BSFIBWJOHTFY¥ 4DFUDICZ5PWF"IMCjDL 4DFUDIFTCZ"OOFUUF"SMBOEFS 2 %#! ,,).' 4(%02 / " ,%-3 / & 02 / $ 5 #4)/ . 5IFTDFOPHSBQIFS5PWF"IMCjDL *XPVMEDPNQBSFEPJOHTDFOPHSBQIJFTUPQBJOUJOHJDPOTPSEP JOHFUDIJOHTJOHSBQIJDT5IFMJNJUTBOEUIFGBDUTUPCFUBLFO JOUPBDDPVOUTIPVMETFSWFBTWFIJDMFTGPSDSFBUJWJUZSBUIFSUIBO TVQQSFTTJU *U JT BMTP HPPE UP IBWF JO NJOE UIF UPPM CPY PG USBEJUJPOT¥ 4PNFUJNFT *±N TVTQJDJPVT XIFO ZPVOH EJSFDUPST ¹OE CMPXJOH OFX XJOET TP JNQPSUBOU BOE * NBLF TBSDBTUJD SFNBSLT UIBU UIJTJEFBDPNFTGSPNUSJDLCPYOVNCFSPS¥*IBWFPGUFO TBJEMFU±TUBLFUSJDLOVNCFSBOEUVSOJUVQTJEFEPXO8IBU *NFBOCZUIJTJTUIBUUIFSFBSFBMJNJUFEOVNCFSPGUSJDLTCVU UIFZDBOBMXBZTCFVTFEBHBJOJOOFXDPOUFYUT *USZUPUBLFUIFWJFXQPJOUPGUIFTQFDUBUPS5IFZEPOPUIBWF BOZ¹YFEJEFBTJODFUIFZEPO±ULOPXUIFUFYU*GZPVQVTITPNF ¹YFEJEFBPOUPUIFNUIFOJUIBTUPDSFBUFOFXVOEFSTUBOEJOH BCPVUUIFQMBZ*MPOHFEGPSUIJTJOUIFTUBHJOHGPS"OOFUUF"M UIPVHITIFGPVOETPNBOZEJGGFSFOUFMFNFOUTJOUIFTDSJQUTIF TIPVME IBWF EFWFMPQFE B TUSVDUVSF UIBU XPVME DPNNVOJDBUF UIFN¥5IBUJTUIFXBZZPVUFMMBTUPSZUPUIFTQFDUBUPS 4PMVUJPOTBSFOJDFSJGUIFZBSFOBUVSBMBOEZPVIBWFOPUKVTU HMVFE PO TPNFUIJOH UIBU JT HPPEMPPLJOH 5IBU BQQSPBDI TIPVMECFSFTFSWFEGPSNVTJDBMTXIFSFUIFWJTVBMJUZIBTBSPMF PG JUT PXO 5IFSF ZPV QSPWJEF B GFBTU GPS UIF FZF BOE FOUFS UBJOXJUIJU UIJOH VOCFMJFWBCMF * KVTU TIVU NZ FBST 0GUFO EJTDVTTJPOT IBQQFO UIBU IBWFOPUIJOHUPEPXJUIBOZUIJOHBOE UIFTQFDUBUPSXPO±UVOEFSTUBOEUIFN FJUIFS*GUIFTQFDUBUPSEPFTO±UVOEFS TUBOEUIFNUIFZEPOUNBUUFS'PSFY BNQMF * HPU OFSWPVT JO UIF SFIFSTBMT CFDBVTF * DPVME OPU VOEFSTUBOE "O OFUUF±T BOBMZTJT BCPVU NJTT +VMJF BOE UIF NBJE IBWJOH B MFTCJBO SFMBUJPO TIJQ 5IFSF XBT BO FMFNFOU PG QBO UPNJNF JO UIF SFIFSTBM QFSGPSNBODF XIFSFUIJTXBTFYQSFTTFE*EFDJEFEUIBU*EJEO±UDBSFUPXBUDI BOZNPSF*IBECFUUFSUIJOHTUPEP*OIJOETJHIU*TNJMFBUNZ TFMG*XBTTUJMMTPJOºFYJCMFBUUIBUUJNF¥ 5IFEJSFDUPS"OOFUUF"SMBOEFS *IBWFBNFNPSZUIBUUIFDPXPSLXJUI5PWFXBTWFSZQBJOMFTT #VUJUIBEUPEPXJUIUIFGBDUUIBUOPUIJOHIBQQFOFEJOUIFTFU .ZQSPCMFNTDPODFSOFEUIFBDUPST #VUUIFSFXBTBMTPBEJTBQQPJOUNFOU*XBTTPUSVTUGVMUIBUXF XFSFHPJOHUPIBWFBLJUDIFOXIJDIUSBOTGPSNFEJOUPBXPPE*U EJEO±UMPPLRVJUFMJLFUIBU -( %JE ZPV GFFM UIBU 5PWF QSPNJTFE NPSF UIBO DPVME CF EPOF "" 5IBU JT BMXBZT UIF XBZ XIFO ZPV UBML BCPVU ZPVS JEFBT 8IFOUIFZBSFDBSSJFEPVUJUJTOFWFSFYBDUMZIPXZPVJOUFOE FE UIJOHT UP CF .Z LOPXMFEHF BCPVU UIJOHT UIBU DPVME CF BDIJFWFEUISPVHITDFOPHSBQIJDNFBOTXBTNJOJNBM¥ *G*USZUPBOBMZ[FJUOPX¥*UXBTUIFSFMBUJPOTIJQCFUXFFOUIF UVMMFBOEQBTUFCPBSEPSQMZXPPE¥5IJTQSPWFTIPXIFMQMFTT* XBT*EPO±UFWFOLOPXXIBUNBUFSJBMJUXBT5IFQMZXPPEDPW FSFEWFSZMBSHFBSFBT¥ 5IJOLJOHOPXJUXBTWJTVBMMZBOEBTBXIPMFNVDINPSFBO nQPRVFQMBZUIBOJUXBTNFBOUUPCF * GFFM UIF TBNF XBZ BT 4FQQP /VSNJNBB XIP IBT UBVHIU NF B MPU 8IFO * BTLFE IJNIPX*XPVMELOPXXIBUJUXJMMMPPLPO TUBHF IF TBJE UIBU JG ZPV IBWF FWFSZUIJOH UIFSF JO UIF NBRVFUUF ZPV KVTU GPMMPX JU &WFO JG ZPV IBWF UP TPMWF PVU BMM NBUFSJBMT BOETDBMFTPOUIFXBZJUJTHPJOHUPCFFY BDUMZMJLFJUJTJOZPVSNBRVFUUF"OE*IBWF SFBMJ[FEUIBUWFSZNBOZUJNFT -("OOFUUFXBTJOUFSFTUFEJOUIFQTZDIPM PHZPG+VOH%PZPVSFNFNCFSIBWJOHQBS UJDJQBUFEJOUIFTFEJTDVTTJPOT 5"*NJHIUIBWFCVU*IBWFNZGFFUTP¹SN MZ PO UIF HSPVOE BOE XIFO * IFBS TPNF &EXBSE.VODI5IF%BODFPG-JGF #/ 3 45 - %3 5" * SFNFNCFS BMTP UIBU .BSKPSJUB <UIF BDUSFTT QMBZJOH +V MJF>IBECFBVUJGVMPMEVOEFSXFBS*SJT<UIFXBSESPCFLFFQFS>MFU NFIBWFBTNBOZHFOVJOFDMPUIFTBTXBTQPTTJCMF5IFSFXBT BTDFOFXIJDIXBTOPUJOUIFTDSJQUXIFSF.JTT+VMJFUPPLPGG BMPUPGIFSDMPUIFT4IFIBEHFOVJOFVOEFSXFBSPOBOEUIFZ XFSFKVTUXPOEFSGVM 5IFEJSFDUPS"OOFUUF"SMBOEFSVTFEUIFQBJOUJOHTPG&EXBSE .VODIBTBWJTVBMNPEFMGPSUIFTUBHF¹HVSFTGPS.JTT+VMJF "SMBOEFSDPNNFOUFEPOUIFQBJOUJOH -PPLBUUIJT"XIJUFXPNBOBSFEXPNBOBOEBCMBDLXPN BO¥)PXFWFS+VMJFOFWFSXPSFSFEDMPUIFTTIFXBTJOXIJUFBMM UIFUJNF,SJTUJOXBTJOCMBDL &WFSZUIJOH XBT CMBDLBOEXIJUF FYDFQU UIBU UIF TFU XBT UIF SFEPGPYCMPPE1FSIBQT,SJTUJOXBTXFBSJOHTPNFUIJOHMJHIUB MJHIUCMVFPVU¹UCFGPSFTIFXPSFCMBDL"OE*HVFTT+VMJFXBTOPU JOXIJUFGSPNUIFCFHJOOJOH 4(%0/ 3 4%2 5"8FBSHVFEBCPVUUIFQPTUFS4IFXBOUFEUIJTCJSEFWFOUP EBZ*EPO±ULOPXXIBUJUJT*IBEBOJEFBUIBUUIFSFTIPVMECFB CPPUBSJEJOHCPPUCVUTIFSFGVTFEQPJOUCMBOL"OE*XPVMEOPU IBWFIBEBOZUIJOHBHBJOTUUIJTJGTIFDPVMEIBWFUPMENFXIZ ""*EPO±UMJLFJUWFSZNVDICFDBVTFOPX+VMJFJTUIJTLJOEPGB IBSQZ4IFIBTCFFONBEFJOUPBDBOBSZCJSECVUUIBUJTTPNF IPXEBOHFSPVT:PVLOPXUIBUJTOPUBTBDSJ¹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¹FE 5IF TDFOPHSBQIZ XBT EJTDVTTFE WFSZ TIPSUMZ JO NPTU SF WJFXT5XPPGUIFDSJUJDTNFOUJPOFEUIFUPVSJOHBTBOFYDVTF GPSUIFNJOPSTIPSUDPNJOHTPGUIFTDFOPHSBQIZ 5IFGBJSZUBMFMJLFDPVMJTTFTCZ5PWF"IMCjDL¥5IFSFVOEFSUIF EFDPSBUJWF USFFT )BOTBOE (SFUFMHFU MPTUBHBJOBOE BSSJWFBU UIFXJUDI±THJOHFSCSFBEIPVTF 5IFXIPMFTUBHFDPOTUSVDUJPONBEFCZ5PWF"IMCjDLIBTUIFBU NPTQIFSFPG.JETVNNFS5IJTDBOCFDPOTJEFSFEBTBTVDDFTT GVMTPMVUJPOTVQQPSUJOHUIFDPOUSBEJDUJPOBSZFGGFDUPGUIFQMBZ 5IFTFUXBTWFSZTJNQMFCVUDBQUVSFEXFMMUIFTMJHIUMZNBHJDBM BUNPTQIFSFPG.JETVNNFS 5PWF "IMCjDL±T TDFOPHSBQIJD TPMVUJPO IBT OPU CFFO FOUJSF MZGBJUIGVMUP4USJOECFSH±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±TTMBVHIUFSJOHPGUIFGSJHIU FOFE TFYVBM XPNBO XIP DIBOHFT JOUP B TFMGEFTUSVDUJWF WBN QJSFTVDLJOHJUTPXOCMPPE 5IFQBSBMMFMTCFUXFFO.JTT+VMJFCSJMMJBOUMZQFSGPSNFECZ.BS S KPSJUB )VMEnO BOE &EXBSE .VODI±T GFNBMF WBNQJSFT BSF PCWJPVT¥ 5IFMPWFTDFOFCFDPNFTBOFNCSBDFXJUIEPPN*OUIF¹OBM TDFOFTIFQBMFBTBDPSQTFBOEIFSSFEIBJSIBOHJOHMPPTFIBT ¹OBMMZDIBOHFEUPUIFJNBHFPGBXIPSFWBNQJSFXIPIBTUP EFTUSPZIFSTFMGJOBTPDJFUZXIJDIEPFTOPUMFBWFBOZPUIFSEPPS PQFO¥ *UJTUZQJDBMGPSUIFEJSFDUPSUPDSFBUFWJTVBMMZCFBVUJGVMBOEDPN QMFUF JNBHFT GPS FYBNQMF UIF TDFOF XIFSF .JTT +VMJF TIBL JOH XJUI QBTTJPO TUBOET JO GSPOU PG +FBO CPPUT BOE B CVSO JOHDBOEMF "OOFUUF"SMBOEFS 5IJTJTUIFWJTVBMXPSMEXIJDI*XJTIFE UPIBWFUIFSF*IBWFDIPTFOUIFTFQJD UVSFTUIJTLJOEPGUJNFMFTTNBOXPNBO UIJOHT 4(%$ )2 % # 4/ 2 |3 ! .! ,9 3)3 'SPNUIFSFIFBSTBMEJBSZ &SPUJDTBXBZPGDPNQFOTBUJOH GPSUIFFTTFODFPGMJGF *OUFSDPVSTFBTBEJWJOFTFSWJDF 5IFNZUIPGGFNBMFNBTPDIJTN 8IFONPUIFSFBSUIBOEGBUIFSIFBWFOXFSF TFQBSBUFEUIFOJUBMMXFOUXSPOH 5P¹OEPOFTXBZIPNFUPUIFFTTFOTFPGMJGF JOUIFNJEEMFPGBEFBUIDVMUVSF 5PCFMPOHUPMJGFOPUUPCFBDPH NFNCFSPSQBSU 5PXJQFPOFTFMGPVUXJUIPVU XJQJOHPOFTFMGPVU .BUUJ,JWFLjT 5IF+VOHJBOBOBMZTJTXBTFYQSFTTFECZ"SMBOEFSJOUIFQFS GPSNBODFQSPHSBN * SFNFNCFS UIBU UIJT XBT UIF LFZ UP EFTUSPZ UP BOOJIJMBUF POFTFMG XJUIPVU BOOJIJMBUJOH POFTFMG :PV DBO VOEFSTUBOE JU UISPVHI+VOHUPEFTUSPZPOFTFMGJOUIFTFOTFPGEFTUSPZJOHPOF±T FHPXJUIPVULJMMJOHPOFTFMGBOEEFTUSPZJOHPOF±TCPEZ*UXBT UIBUUSBJOPGUIPVHIUBCPVUEFTUSVDUJPOUIBU*SFNFNCFS+VMJF JTOPUBWJDUJNPGDJSDVNTUBODFTOPSBWJDUJNPGIFSTPDJBMDMBTT OPS B WJDUJN PG UIF +FBO±T TFEVDUJPO CVU UIBU TIF DPOTDJPVTMZ LJMMTIFSTFMG .BUUJ,JWFLjT "SMBOEFSFYQMBJOFEUIFTFMJOFT ,SPPL ,PTLJ7BJUUJOFO "SMBOEFS "IMCjDL "SMBOEFS "IMCjDL "SMBOEFS "IMCjDL "SMBOEFS 7VPSJ *UjSBOUB 8BMMFO 3zOOIPMN +BOTTPO 5IFQSPHSBN "OOFUUF"SMBOEFS "SMBOEFS .BUUJ,JWFLjT "QQFOEJY - ) 3 3 * 5 , ) % ) . + / - 4 % !4 4 % 2 ) .JTT+VMJFQSFNJFSFEJO,0.UFBUUFSJ4FQUFNCFS*UXBTQFS S GPSNFEJOBWFOVFDBMMFE,JOP$BCBSFUBOEJUXBTMBUFSNPWFEPWFSUP UIF,PJUUPWFOVF*UIBEQFSGPSNBODFTXJUIJOUIF¬TFBTPO BOEXBTTFFOCZTQFDUBUPST 4(% #! 3 4! .$ # 2 %7 .JTT+VMJF .BSKB-FFOB,PVLJ +FBO ,BSJ)BLBMB ,SJTUJO &SKB.BOUP 5IFWJPMJOQMBZFS 3BVOP4BMNJOFO %JSFDUJPO -BVSB+jOUUJ 4DFOPHSBQIZBOEDPTUVNFT .lOT)FETUSzN -JHIUOJOH +VLLB,VVSBOOF 1PTUFS .lOT)FETUSzN 1IPUPHSBQIZ 3BVOP5SjTLFMJO SFDFOUXPSLXBT5IFZDBMMJUMPWFCZ"SOP,PUSPBUUIFUIF BUFS "WPJNFUPWFU*UQSFNJFSFEPO4FQUFNCFS -± .3 (%$ 3 42 ¾ - CPSO .lOT)FETUSzNHSBEVBUFEBTBOJOUFSJPSBSDIJUFDUGSPNUIF 4DIPPM PG *OEVTUSJBM "SUT JO )F TUBSUFE NBLJOH TDF OPHSBQIJFT GPS UIF )FMTJOLJ 4UVEFOU 5IFBUFS JO BOE CFDBNFUIFSFHVMBSTDFOPHSBQIFSGPS ,0.UFBUUFSJGSPNUIF HSPVQ±TJODFQUJPOJO)FIBEBDIBSBDUFSJTUJDTUZMFPG IJTPXOXIJDICFDBNFB ,0.UFBUUFSJIBMMNBSL)FETUSzN XBTSFTQPOTJCMFGPSBMNPTUBMMTDFOPHSBQIJFTJO ,0.GSPN UPBOE.JTT+VMJFXBTIJTMBTUXPSLUIFSF"GUFS MFBWJOH ,0.)FETUSz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jTLFMJO %VSJOHUIFFBSMZTUIF ,0.QMBZTIBEBQPMJUJDBMMZFO HBHFEDBCBSFUTUZMFXIJDISFQSFTFOUFETPDJBMJTTVFTXJUIB DMBTTDPOTDJPVTOFTT .FSKB-JJTB ,BSIV XIP IBT TUVEJFE UIFIJTUPSZPG,0.DPOTJEFSTUIFQFSGPSNBODF ,BBNPTJO BTBQPJOUPGDVMNJOBUJPOXIFSFBGUFSUIFQTZDIPMPHZPG JOEJWJEVBMDIBSBDUFSTDBNFUPUIFGPSF "DDPSEJOHUP,BSIVUIFIBMMNBSLTPGB ,0.QFSGPSNBODF XFSFUIFQSFTFODFPGTUSPOHJOUFSQSFUBUJWFTUBUFNFOUBCPVU UIFQMBZBOEBOBWPJEBODFPGJMMVTUSBUJPO5IFZEFMJCFSBUFMZ JHOPSFEUIFDPOWFOUJPOBMNPEFMTPGSFQSFTFOUBUJPOBOEUSB EJUJPOBMWBMVFTBOETUSFTTFEUIFBCJMJUZUPDPNNVOJDBUFB NFTTBHFCZNFBOTPGUIFQMBZ&WFOXIFOTUBHJOHDMBTTJD QMBZT UIFJS JOUFSQSFUBUJPO XBT PGUFO PSJHJOBM BOE QSPWPDB UJWF 'PS FYBNQMF JO UIFZ QFSGPSNFE 5IF 5FNQFTU CZ 4IBLFTQFBSF JU XBT DBTU TP UIBU BMM UIF TFY SPMFT XFSF SF WFSTFE&YQFSJNFOUBUJPOIBTIPXFWFSBMXBZTCFFONPUJWBU FECZUIFQMBZ±TDPOUFOUT ,0.UFBUUFSJ XBT B UPVSJOH HSPVQ VOUJM XIFO JU HPU JUT ¹STU QFSNBOFOU WFOVF PO )jNFFOUJF *O UIFZ EJE UXPTJUFTQFDJ¹DQFSGPSNBODFTJOBOPMEQPXFSQMBOUJO4V WJMBIUJXIJDIXBTBQJPOFFSJOHFOUFSQSJTFJO'JOMBOE"GUFS UIFMFBTFIBESVOPVUUIFUIFBUFSXBTIPNFMFTTGPSBXIJMF "UUIBUUJNF,0.BMTPIBEFDPOPNJDBMUSPVCMFTBOEIBEUP UFNQPSBSJMZEJTNJTTBMMJUTFNQMPZFFT"OFXWFSZUJOZWFO VFXBTGPVOEJOUIFTVNNFSPGBU'SFESJLJOUPSJJOBO PMENPWJFUIFBUFS5IFZDBMMFEJU,JOP$BCBSFUBOEJUIPVTFE TFWFSBMTNBMMTDBMFQFSGPSNBODFTEVSJOHUIFOFYUGFXZFBST 3BVOP5SjTLFMJO 5PEBZ,JOP$BCBSFUTFSWFTBTUIFWFOVFGPS5FBUUFSJ5BLPNP BOEGPSBMPOHUJNF,0.UFBUUFSJIBTCFFOCBTFEJOBOPUIFS CJHHFSFYNPWJFUIFBUFS 5IF,0.UFBUUFSJQSFNJFSFTEVSJOHUIFZFBSXFSFUIF GPMMPXJOH 4PGKB1SPLPGKFWB-jIFNQjOjLFWjUUjMjIFNQjOjLFWjUUj $MPTFSUPUIF4QSJOH$MPTFSUPUIF4QSJOH %BOJFM,BU[+VTTJ-BJEBTUBMBJUBBOBOE1FESP1BQVNBIB ,BK$IZEFOJVT,VJWJOKBMPJO8JUI%SZ'FFU .JIBJM #VMHBLPW-JJTB 6SQFMBJOFO 4BBUBOB TBBQVV .PT LPWBBO.BTUFSBOE.BSHBSJUB "LV,JNNP3JQBUUJ,BSIVOBJOFO5IF#FBS8PNBO "VHVTU4USJOECFSH.JTT+VMJF )BOOV4BMBNB+VIBOOVTUBOTTJU5IF.JETVNNFS#BMM (FPSH,SFJTMFS5jOjJMUBOB-PMB#MBV5POJHIU-PMB#MBV 6)$% / 34 ), , 3 5IFBVEJFODFFOUFST 5IFPQFOJOHTDFOFPGUIFQMBZ ,SJTUJOBOE+FBOBUUIFCFHJOOJOHPGUIFQMBZ ¬+VMJFFOUFST ,0.UFBUUFSJ JT POF PG UIF CFTULOPXO 'JOOJTI HSPVQUIF BUFST*OUIFTBOEFBSMZTUIFOFXCPSOPGUFOQP MJUJDBMMZPSJFOUFEHSPVQTPQQPTFEDPOUFNQPSBSZNBJOTUSFBN UIFBUFSCFDBVTFUIFZTBXJUBTFJUIFSFMJUJTUIJHIDVMUVSFPS CPVSHFPJTFOUFSUBJONFOU.FSKB-JJTB,BSIVEFTDSJCFTUIFJS NPUJWBUJPOBOEBJNTJOIFSCPPLBCPVU,0.UFBUUFSJ ,0.UFBUUFSJXBTCPSOPVUPGJUTGPVOEFST±EJTTBUJTGBDUJPOXJUI UIF SVMJOH SFQFSUPJSF QPMJDZ JO JOTUJUVUJPOBM UIFBUFST BOE XJUI UIFGBDUUIBUQFSGPSNBODFTXFSFBEESFTTFEUPUIFNJEEMFBOE VQQFSDMBTT BVEJFODFT 5IFZ UIPVHIU UIBU UIF XPSLJOH QFPQMF XFSFEJTFOGSBODIJTFEGSPNUIFUIFBUSJDBMXPSMEQBSUMZCFDBVTF PGUIFJSSFNPUFIPNFEJTUSJDUTCVUBMTPCFDBVTFUIFZXFSFOPU JOUFSFTUFEJOUIFBUFSUIBUEJEOPUEFBMXJUIUIFXPSLFST±MJGF 5IFUIFBUFSSFQSFTFOUFECZUIFHSPVQTTPVHIUPVUJUTBVEJFODFT *UEJEOPUXBOUUPPGGFSBOZFTDBQFGSPNSFBMJUZJOUIFXBZUIF NBJOTUSFBNUIFBUFSEJE1BSUMZCFDBVTFPGUIFOFXJEFBMTQBSU MZCFDBVTFPGQSBDUJDBMSFBTPOTEVFUPUIFDIBSBDUFSPGUIFQFS GPSNBODFWFOVFUIFUIFBUFSPGGFSFEOFJUIFSNFOUBMOPSQIZTJ DBMDPNGPSU 7JEFPTUJMMTBSFUBLFOJO,PJUUPBOEEPOPUDPSSF TQPOEUPUIF,JOP,BCBSFUQFSGPSNBODF 4(%' 2 / 50 4(% !4%2 )$%/ ,/ ' 9 4(%#/ 3 45 - %3 3BVOP5SjTLFMJO "UUIFCFHJOOJOHPGUIFQMBZ+VMJFIBEBXIJUFESFTT8IFO¹STUFOUFS JOHUIFTUBHFTIFQVUBUIJOXIJUFTDBSGPOIFSIFBENVDIMJLFUIF CSJEBM WFJM -BUFS TIF DIBOHFE UP B ZFMMPX USBWFMJOH ESFTT +FBO BOE ,SJTUJOFXFSFXFBSJOHTUZMJ[FEGPMLESFTTFT *O HFOFSBM UIF FYJTUFODF PG TUSJDUMZ QPMJUJDBM UIFBUFS XBT TIPSUMJWFE 5IF QFSGPSNBODF PG 1FUF 2 BU 4VPNFO ,BOTBO 5FBUUFSJJOIBTCFFOTFFOBTUIFJOJUJBUJPOPGBCBDLMBTI BHBJOTUOFXMFGUJTUUIFBUFSUIBUBTQJSFEUPHJWFBMPHJDBMFY QMBOBUJPO BCPVU UIF XPSME 5IF HSPVQT CFHBO UP RVFTUJPO UIFUBSHFUTBOEJNQBDUPGUIFJSBDUJWJUZ5IJTDSJTJTXBTNBEF XPSTFCZFDPOPNJDBMEJG¹DVMUJFTTJODFUIFHSPVQTHPUQSBD UJDBMMZOPTVCTJEJFTJOUIFT"UUIFFOEPGUIFEFDBEF NPTUHSPVQTTPVHIUQFSNBOFOUWFOVFTBOEBOJOUFSFTUJO DMBTTJDXPSLTPGXPSMEMJUFSBUVSFGPMMPXFE5IFQSPEVDUJPOPG .JTT+VMJFXBTFNCBSLFEPOJOUIBUDPOUFYU 4(%- )3 3 *5, )%3 # %./' 2 !0(9 5IF TDFOPHSBQIZ JUTFMG XBT WJTVBMMZ NJOJNBMJTU *U DPVME CFSFEVDFEUPUIFDPODFQUVBMJEFBUIBUQMBDJOHUIFQFSGPS NBODF JO BO VODPOWFOUJPOBM TJUVBUJPO EF¹OFT JUT SFDFQ UJPO 5IFWFOVFPG,JOP$BCBSFUXBTUVSOFEJOUPBDBGFUFSJBXIFSF UIFTQFDUBUPSTXFSFTJUUJOHBUTNBMMUBCMFTESJOLJOHDPGGFF 5IFBDUPSTNPWFEBMMPWFSJOUIFTQBDFXIJDIXBTOPUWJTV BMMZEFDPSBUFEJOBOZXBZ5IFSFXBTPOFUBCMFSFTFSWFEGPS UIFBDUPST*UXBTDPWFSFEXJUIBCMBDL DMPUI BOE UIFSF XBT B CVODI PG ºPX FSTPOJU5IFQIPUPHSBQITSFWFBMUIBU UIFSFXBTBOBSUFYIJCJUJPOJO,JOP$BC BSFU CVU UIF ESBXJOHT XFSF OPU DPO OFDUFEUP.JTT+VMJF 4(% - /6% 4/+/) 44/ 8IFO UIF QFSGPSNBODF XBT MBUFS NPWFEUPUIF,PJUUPTUBHFUIFTFUUJOH XBTDIBOHFETPUIBUBQBSUPGUIFBVEJ FODFXBTTJUUJOHJOUXPOPSNBMTFBUJOH BSFBTGBDJOHFBDIPUIFS5IFSFXFSFUB CMFTPOUIFºPPSTQBDFCFUXFFOUIFN XIFSFSFTUPGUIFTQFDUBUPSTXFSFIBW JOHUIFJSDPGGFFBOEUIFSFXBTBOBJTMF DSPTTJOH UIF NJEEMF PG UIJT TQBDF 5IFSFGPSF UIFSF XBT HSFBUFS TQBDF GPSBDUJOHJO,PJUUPUIBOJO,JOP$BCB SFUBOEUIFTUBHJOHXBTMFTTTDBUUFSFE 5IFSFXFSFBDUVBMMZUXPBVEJFODFTPOF TJUUJOH BU UIF UBCMFT PO UIF ºPPS BOE BOPUIFSJOUIFNPSFDPOWFOUJPOBMTFBU JOH 5IPTF JO UIF MBUUFS HSPVQ DPVME QFSDFJWF UIF GPSNFS HSPVQ BT QBSU PG UIFTUBHJOH 3BVOP5SjTLFMJO 0OPOFFOEPGUIFBJTMFUIFSFXBTBMPX QMBUGPSN XJUI UIF BDUPST± UBCMF 5IJT TQBUJBM BSSBOHFNFOU JO ,PJUUP DPVME CFBTTPDJBUFEXJUIBUISPOFSPPNJOB DPVSUTJODFUIFDIBJSPOUIFQMBUGPSN XBTVTFEUPJNQMZIJFSBSDIZPGQPXFS "UUIFPUIFSFOEPGUIFBJTMFUIFSFXBT QFS5IFBUNPTQIFSFSFNJOEFENFPGBQBSUZSBUIFSUIBOB DBGFUFSJB*UFWFOTVHHFTUFEBXFEEJOHQBSUZXIJDIJTWFSZ DPNNPOMZDFMFCSBUFEPO.JETVNNFS±TJO'JOMBOE 4(%2 %#%04)/ . 5IF.JTT+VMJFUSJBOHMFMPPLFEBUUIFQIFOPNFOPOPGPVSUJNF XJUISVUIMFTTDPVSBHFBOEXJUIPVUQSFKVEJDFT5IFEJSFDUJPOXBT NBSLFE CZ BO VODPOEJUJPOBM BOE SFEVDFE JOUFSQSFUBUJPO 5IF QFSDFQUJPOXBTDPODFOUSBUFEBOEUIFDPOUFOUTDBNFPOMZGSPN UIFTQFDUBUPS±TPXOFYQFSJFODFT ,0.±TTUBSUJOHQPJOUJTBSUJ¹DJBM'SPNUIFQPJOUPGFOUFSJOHUIF TQBDFUIFTQFDUBUPSIBTBGFFMJOHPGGBMTFIPPE 0OFDBOTBZUIBU.JTT+VMJFJO,0.EPFTKVTUJDFUPUIF4USJOE CFSHJBONVMUJQMJDJUZPGEJGGFSFOUMZPSJFOUFETPMVUJPOT 5IFSFTVMUJTBTBCTVSEBTUIFUIPVHIU0STIPVME*TBZEJSFDUMZ EJMFUUBOUJTI¥ .JTT +VMJF JT SFTPMWFE JO UIF JNQPTTJCJMJUJFT PG UIF CBTJD TPMV UJPO *UJTVOOFDFTTBSZUPTBZUIBUUIJTJOUJNBUFTQBUJBMTPMVUJPOJTGBT DJOBUJOHJOUIFDPOUFYUPG.JTT+VMJF¥ &WFOUIFTNBMMFTUNJNFTBOEHFTUVSFTHFUBOFXNPSFJNQPS UBOUNFBOJOHXIFOUIFZBSFTFFOGSPNBOBSN±TEJTUBODF¥5IF QFSGPSNFSTJO.JTT+VMJFTQFBLUPFBDIPUIFSBCPWFUIFIFBETPG UIFBVEJFODFBOEBSFDPOTDJPVTBCPVUJUTQSFTFODF5IFQFSGPS NBODFBDIJFWFTUIVTOFXEFQUI 5IFBDUSFTTQMBZJOH+VMJFXBTEFTDSJCFEBTGPMMPXT .BSKB-FFOB ,PVLJ QFSGPSNFE UIF EFTUSVDUJPO PG UIF VQQFS DMBTTNFNCFSXJUIJOUFOTJUZBOEQPXFSBTJTDIBSBDUFSJTUJDGPS IFS#FDBVTFPGBOJNCBMBODFCFUXFFO+FBOBOE+VMJFZPVDPVME OPURVJUFCFMJFWFUIBU+VMJFXBTTPUBLFOXJUI+FBO .BSKB-FFOB,PVLJJTUIF,0..JTT+VMJFBGBUDPVOUSZHJSMJO IFBUSFQSFTFOUJOHUIFVQTUBSUOPCJMJUZ*OUIFCFHJOOJOHTIFTFMMT 3BVOP5SjTLFMJO 5IFSFDFQUJPOJOUIFOFXTQBQFSTXBTEJWJEFE*OTPNFSF WJFXTUIFJEFBPGQMBDJOHUIFQFSGPSNBODFJOBDBGFUFSJBXBT TFFOBTBGBJMVSFSVJOJOHUIFQFSGPSNBODFXIJMFPUIFSDSJUJDT QSBJTFE UIF NVMUJQMJDJUZ PG WJFXQPJOUT DSFBUFE CZ UIF TUBH JOH IFSTFMG UP +FBO MJLF POF XIP JT WFSZ FYQFSJFODFE PO UIF EBODF DJSDVJUJOVTJOH°MBEJFTDIPJDF±UPIFSBEWBOUBHFXJUIGPSDFBOE DFSUBJOUZ¥ 5IFSFJTMVYVSJBODFTFOTVBMJUZBOEBQPSUJPOPGFSPUJDDIBSHFJO .BSKB-FFOB,PVLJ)PXFWFSIFSIPMJTUJDJOUFSQSFUBUJPOJTPD DBTJPOBMMZ UPP TQBSLMJOH UIF FNPUJPOT DIBOHF UPP RVJDLMZ "U UIFTBNFUJNFTIFMBDLTUIFBOYJFUZXIJDINBLFTIFSTPFBHFS UPPGGFSIFSTFMGUP+FBO¥5IFSFFNFSHFTOPDMFBSJNBHFPGBTVC PSEJOBUFEOPCMFXPNBOMPPLJOHGPSIFSJEFOUJUZ .BSKB-FFOB,PVLJJTBSPCVTU+VMJF4IFJTDMFBSMZOPUOFVSPU JD BOE QBUIPMPHJDBMMZ¹MMFE XJUIIBUF CVU B SFBM IFSPJOF 4IF QVUTFWFSZUIJOHJOUIFHBNFBOETIFSFBMMZEFTFSWFEUPXJO¥ 5IFSF JT B DPOUSBEJDUJPO CFUXFFO UIF TUSFOHUI PG +VMJF QMBZFE CZ,PVLJBOEUIFIBSEQVOJTINFOUTIFJOºJDUTPOIFSTFMGIFS 4USJOECFSHJBOEFTUSVDUJPOCFDPNFTTVEEFOMZBTPOFQPTTJCJMJUZ BNPOHPUIFST .JTT+VMJFCZ.BSKB-FFOB,PVLJSBEJBUFTBOFSPUJDMPOHJOHJO IFSFWFSZDFMM4IFOFFETDMPTFOFTTBOEXBSNUITIFCFHTGPSKVTU POFGSJFOEMZXPSE *OUIFFDTUBTZPGUIF.JETVNNFSOJHIUTIFJTFBTZQSBZ)FSCF JOHDSJFTGPSMPWF ,BSIV¬ ,BSIV¬ ,BSIV¬ 8JLTUSzN &LMVOE 0MMJMB ,BKBWB 8JLTUSzN 4VOERWJTU 8JLTUSzN ,BKBWB 0MMJMB 4VOERWJTU 3BVOP5SjTLFMJO +FBOLJTTFT+VMJF±TTIPF ¬+FBOBOE+VMJFMFBWFUIFTUBHF JOPSEFSUPNBLFMPWF ,SJTUJOJTBMPOFPOTUBHFXIJMF+FBOBOE+VMJF BSFNBLJOHMPWF +FBOBOE+VMJFDPNFCBDL ¬+FBOBOE+VMJFUSZUPTPMWFUIFJSQSPCMFNT ,SJTUJOFOUFSTESFTTFEGPSDIVSDI +VMJFFOUFSTJOIFSUSBWFMJOHESFTTBOE DBSSZJOHUIFCJSEDBHF +VMJFQSPQPTFT,SJTUJOUPMFBWFXJUIUIFNUP 4XJU[FSMBOE ¬5IF¹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± 5IF BUSF BOE +ZWjTLZMj $JUZ 5IFBUFS )F IBT CFFO CPUI QFSNB OFOUMZFNQMPZFEBOEGSFFMBODFE)FJTDVSSFOUMZFNQMPZFE CZ-BIUJ$JUZ5IFBUFSBOEIBTCFFOUIFSFGPSUIJSUFFOZFBST )JTSFDFOUTDFOPHSBQIJFTPOJUTMBSHFTUBHFIBWFCFFOSF TQPOEFE UP FOUIVTJBTUJDBMMZ )F IBT EFTJHOFE TDFOPHSB QIJFTGPSFYBNQMFGPSUIFNVTJDBMT$ZSBOP2VBTJNPEPBOE "OOB,BSFOJOB)JTMBUFTUXPSLXBTUIFTDFOPHSBQIZGPS5IF $IJMESFOPGUIF'BNJMZ#MBEICZ$ISJTUFS,JIMNBOQFSGPSNFE BUUIF4XFEJTITQFBLJOHHSPVQUIFBUFS7JJSVTJUQSFNJFSFE 0DUPCFS 4(%& )..)3 (.!4)/ .! ,4(%!42 % 5IFOBNFPG'JOOJTI5IFBUFS4VPNBMBJOFOUFBUUFSJ GPVOE FEJOCFDBNFUIF'JOOJTI/BUJPOBM5IFBUSF4VPNFO ,BOTBMMJTUFBUUFSJ JO XIFO JUT OFX CVJMEJOH XBT DPN QMFUFE*UQMBZFEBDFOUSBMSPMFJOUIFGPSNBUJPOPGUIFOB UJPOBMJEFOUJUZBOEUIFDVMUVSBMFTUBCMJTINFOUPGUIF'JOOJTI MBOHVBHF QSJPS UP UIF FYJTUFODF PG BO JOEFQFOEFOU 'JOO JTITUBUFBOEMBUFSEVSJOHUIFOBUJPOBMJTUNPWFNFOUJOUIF T BOE T 5IF /BUJPOBM 5IFBUSF IBT USBEJUJPOBMMZ CFFOTFFOBTUIFNBJO'JOOJTITQFBLJOHTUBHFTFSWJOHBT BOFYBNQMFGPSPUIFSUIFBUFSTJOUIFDPVOUSZ&NQMPZNFOU UIFSFIBTCFFOTFFOBTUIFBSUJTUJDIJHIQPJOUPGBOBDUPS±T DBSFFS " HSPXJOH DPNQFUJUJPO XJUI )FMTJOHJO ,BOTBOUFBUUFSJ MBU FS UIF $JUZ 5IFBUFS PG )FMTJOLJ FNFSHFE BGUFS UIF XBS QF SJPE0OFXBZPGSFFTUBCMJTIJOHUIF/BUJPOBM5IFBUSF±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j %BODFST 6MMB-BVSJP"OV1BOVMB 1BVMJ+VOOPOFO*TUP5VSQFJOFO 4(%3 45 $ )/ 3 4!' %7),,%.3 !5 .! "UIJSEDPOTJEFSBCMZTNBMMFSTUBHFDBMMFE8JMMFOTBVOBXBT FTUBCMJTIFE BU UIF /BUJPOBM 5IFBUSF EVSJOH ,BJ 4BWPMB±T NBOBHFNFOUQFSJPE¬XIJDIXBTNBSLFECZSF NBSLBCMFHSPXUIBOESFOFXBMPGUIFUIFBUSF±TQFSTPOOFM)F XBTQBSUJDVMBSMZQSBJTFEGPSGBWPSJOHOFXEPNFTUJDESBNB BOEIFBMTPPWFSTBXUIFPQFOJOHPGBGPVSUITUBHFJO 0NBQPIKBXJUIPOMZ¬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¬ XBTUIFGPMMPXJOH 6)$%/ 34 ) ,,3 5IFPQFOJOHTDFOFQFSGPSNFECZUIFEBODFST +FBOBOE,SJTUJOJOUIFLJUDIFOBUUIFCFHJOOJOH PGUIFQMBZ ¬+VMJFFOUFST ,SJTUJOJTBMPOFJOUIFLJUDIFOXIJMF+FBOBOE +VMJFBSFEBODJOH ¬+FBOBOE+VMJFBSFºJSUJOH +FBOLJTTFT+VMJF±TTIPF ¬+FBOBOE+VMJFEFDJEFUPHPUP+FBO±TSPPN 5IFEBODFSTQFSGPSNXIJMF+FBOBOE+VMJFBSF NBLJOHMPWF ¬+FBOBOE+VMJFBSFCBDLJOUIFLJUDIFOBGUFS NBLJOHMPWF ¬+FBOBOE+VMJFUSZUPTPMWFUIFJSQSPCMFNT ,SJTUJOFOUFSTESFTTFEGPSDIVSDI +VMJFFOUFSTJOUSBWFMJOHESFTTBOEDBSSZJOHUIF CJSEDBHF ¬+FBOLJMMTUIFCJSE +VMJFQSPQPTFT,SJTUJOUPMFBWFXJUIUIFNUP 4XJU[FSMBOE ¬5IF¹OBMTDFOFTPGUIFQMBZ ,!2'% 34!'% 8JMMJBN 4IBLFTQFBSF ,BSJ+VOOJLLBMB ,JOH-FBS"OUPO$IFDIPW5IF$IFS SZ 0SDIBSE +PIBOO /FTUSPZ ¬ 5PN 4UPQQBSE 1BSBBUJQjJWj 5IF %BZ PG UIF1BSBEF 3 - ! , , 3 4!' % (FPSHFT'FZEFBV)FS SB.FUTjTUjj"OUPOJP#VFSP7BMMFKP 5BSJOB LBJNBBOJTUB 5IF 4UPSZ BCPVU B $BJNBO "OUUJ 5VVSJ .BOOFSIFJN 1VPMBTTB.BOOFSIFJNJO1PMBOE 7),,%.3!5.! 1BUSJDL4TLJOE#BTTP WJVMV5IF#BTT &FWB-JJTB.BOOFS 4POBBUUJ QSFQBSPJEVMMF QJBOP 4POBUB GPS B QSFQBSFE QJBOP "OOF )BCFDL "CBOFDL 5TFIPW +BMUBMMB $IFDIPW JO +BMUB "VHVTU4USJOECFSH.JTT+VMJF UIFNJOBTNBMMTQBDF5IFTDFOPHSBQIZXBTEPOFJOQJFDFTUIBU PWFSMBQQFEFBDIPUIFSBOEUIFZEJEO±UUBLFNVDITQBDF"OE UIFTDSFFOTCBMBODFECZUIFNTFMWFT 5IFºPPSXBTBTMJHIUMZTMBOUJOHQMBUGPSNXJUIBGBMTFQFSTQFD UJWF5IFCPBSETOBSSPXFEBTUIFZBQQSPBDIFEUIFCBDLPGUIF TUBHF0OFCZPOFFBDICPBSEXBTTIBQFEXJUIBQMBOF5IFSF XFSFTQPUMJHIUTVOEFSUIFºPPSBOEUIFSFXBTBPOFDFOUJNFUFS HBQCFUXFFOBMMUIFCPBSET5IFOUIFSFXBTBXIJUFDMPUIVO EFSUIFºPPSXIJDISFºFDUFEUIFMJHIUFWFOMZUISPVHIUIFHBQT¥ 5IFGSPOUFEHFPGUIFº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¥ 8F VTFE QPMZTUZSFOF BOE JUT TVQQPSUJOH TUSVDUVSF XBT NBEF GSFFIBOE XJUI TUFFM UVCJOH *U XBT NBEF TP UIBU XIFO MJHIU DBNFGSPNUIFCBDLJUXPVMEMPPLMJLFUSFFUSVOLTBOECSBODI FT5IJTXBTUIFTUSVDUVSFPGUIFHBSEFO#ZIFBUJOHUIFQPMZ TUZSFOFTIFFUXJUIBCMBTUPGIPUBJSXFNBOBHFEUPDSFBUFUIF DPOWFYJSSFHVMBSTIBQFT5IFOXFQPMJTIFEUIFNXJUIEJGGFSFOU XIFFMTBOEVTFETQSBZQBJOUPOTPNFQBSUTPGJUTPUIBUUIF MJHIUXPVMEHFUDBVHIUUIFSF ,BSJ+VOOJLLBMB ,BSJ+VOOJLLBMBSFDBMMFE -()PXEJEZPVFOEVQVTJOHUIJTNBUFSJBM ,+*EPO±USFNFNCFSBUBMM*XPVMEBMNPTUUIJOLUIBUUIFNB UFSJBMXBTDIPTFOCFDBVTFPGUIFTQBDFJUTFMGJUTEJG¹DVMUGPSN XIJDIJTPCMPOH*UJTBMJUUMFXFEHFMJLFUPP ,+:FTJUXBTOBSSPX<JOPOFEJSFDUJPO>BOEXJEF<JOUIFPUIFS EJSFDUPS>UIFSFXBTOPEFQUI"OPUIFSSFBTPOGPSUIFUSBOTQBS FODZPGUIFXBMMTXBTUIBUXFIBEUPIBWFUIFCBDLMJHIUTUIFSF .BZCF XF TIBQFE UIFN MJLF UIBU JO PSEFS UP CF BCMF UP TUPSF ,BSJ+VOOJLLBMB -(5IFTQBDFGPSBDUJOHNVTUIBWFCFFOWFSZOBSSPX ,BSJ+VOOJLLBMB 5IJTQPTUFSXBTNBEFCZNF 5IFSFXBTBOPUIFSPOFNBEF CFDBVTF UIF UIFBUFS NBOBH FS 4BWPMB UIPVHIU UIJT XBT UPP JOEFDFOU " HSBQIJD BSU JTUXIPIBENBEFQPTUFSTGPS UIFN CFGPSF NBEF UIF NPSF EFDFOUWFSTJPO0SJHJOBMMZUIJT CJSEMPPLFEFWFONPSFMJLFB QFOJT*IBEUPDIBOHFJU 4(%2 %#%04)/ . 5IF SFWJFXT XSJUUFO BCPVU .JTT +VMJF JO 8JMMFOTBVOB DPO UBJOFEWFSZDPOUSBEJDUPSZPQJOJPOTBCPVUBMNPTUFWFSZUIJOH 5IFEJSFDUJPOXBTBTXFMMQSBJTFEGPSJUTJOUFSFTUJOHJOUFSQSF UBUJPOCVUXBTBMTPBDDVTFEGPSBMBDLPGJU4PNFSFWJFXFST FOKPZFEUIFWJTVBMBOEBVEJUJWFXPSMEPUIFSTGPVOEJUEJT UVSCJOHBOETUSBOHF +VMJFBU8JMMFOTBVOBJTJOJUTVODPOWFOUJPOBMJUZBGBTDJOBUJOHFY QFSJFODF 5IF QFSGPSNBODF RVJDLMZ SFWFBMT UIBU JUT DPNQPOFOUT BSF OPU HVJEFE CZ BOZ IPMJTUJD UIPVHIU 4JODF UIFTF DPNQPOFOUT BSF CPUIBOFNJDBOEVOJOUFSFTUJOHUIFTQFDUBUPS±TPOMZPQUJPOJTUP FOUFSUBJOIFSTFMGXJUI3JTUP"BMUPOFO±TQFSGPSNBODF *O.JTT+VMJFZPVDBODPODSFUFMZFYQFSJFODFIPXBGSFTISFBMJ[B UJPOPGBDMBTTJDBMQMBZDBOSFºFDUUIFFSBWBMVFTBOEQSPCMFNT PGJUTQFSGPSNFST.JTT+VMJFCZ"VHVTU4USJOECFSHIBTSFDFJWFE FYBDUMZ UIJT LJOE PG UPOF BOE FNQIBTJT VOEFS UIF EJSFDUJPO PG 0MMJ5PMB *OUIJTQSPEVDUJPOXIBU.JTT+VMJFDBOTBZUPVTJOUIFIFSFBOE OPXSFNBJOTBNZTUFSZ 5IFEJSFDUPSTLFUDIFTIJT+VMJFWFSZGSBJMMZBMNPTUTUFSFPUZQJDBMMZ 5IFUSBDFPGIJTXPSLJTWFSZOFBUBOEQSPGFTTJPOBM5IFEJSFDUJPO IPMETUIFQMBZUPHFUIFSXFMMCVUJUDBOOPUBOTXFSUIFRVFTUJPO XIZUIFZIBWFTUBHFEKVTU.JTT+VMJF¥5IJTUJNFUIFJOUFSQSFUB UJPOPG.JTT+VMJFJTVO¹OJTIFE/PUJOUFSNTPGJUSFIFBSTBMQSP DFTTCVUJOJUTBOBMZUJDBMBDDVSBDZ 5IFJOUFSQSFUBUJPOPG.JTT+VMJFBUUIF/BUJPOBM5IFBUFSJTFY USFNFMZJOUFSFTUJOH6OGPSUVOBUFMZUIFQFSGPSNBODFTEPOPUSJTF UPUIFMFWFMPGUIFJOUFSQSFUBUJPOPOBUFDIOJDBMMFWFMZPVLFFQ NJTTJOHHSFBUFSJOUFOTJUZBUJHIUOFTTPGUIFBUNPTQIFSF 0MMJ5PMB±TEJSFDUJPOQJDLTVQPOUIFTNBMMFTUGFBUVSFTPG"VHVTU 4USJOECFSH±TNJTBOUISPQZ5IFBJSWJCSBUFTFWFSTPEFMJDBUFMZJO UIF¹STUTDFOFTCFUXFFOIFS< +VMJF>BOE3JTUP"BMUPOFO5IFBJS TQBSLTXJUIUIFJSFMFDUSJDDIBSHF¥5IFNVTJDCZ1FLLB-BJUJOFO BOEUIFEBODFTCZ"OV1BOVMBDSFBUFBTUSPOHBUNPTQIFSFGPS UIFJSQBSUBOESBJTFUIF/BUJPOBM5IFBUFS±TJOUFSQSFUBUJPOGBS CFZPOEUIFVTVBMTUBOEBSE 5IFESBNBJO8JMMFOTBVOBEJEOPUCMPTTPNUIFCSJMMJBOUTUSVD UVSFCZ4USJOECFSHGBEFEBOEUIFSFXBTOPUFOPVHIUFOTJPOJO UIFSFMBUJPOTIJQCFUXFFOUIFBDUPST -FFOB,MFNFMj 4(%0/ 3 4%2 -FFOB,MFNFMj 5IF QFSGPSNBODF XBT GSFRVFOUMZ DIBSBDUFSJ[FE BT CFJOH GFNJOJTU5IFJOUFSQSFUBUJPOPG+VMJFXBTCMBNFEGPSNBLJOH UIF $PVOUFTT JOUP B XFBL WJDUJN GPS +FBO SBUIFS UIBO UIF TFMGEFTUSVDUJWFMBEZQMBZJOHXJUIIFSPXOEFTUJOZ *OUIJTJOUFSQSFUBUJPO+VMJFDPVMECFDBMMFEBGFNJOJTU+VMJFJTBO JOEFQFOEFOUZPVOHXPNBODPOWJODFEPGIFSPXOEJHOJUZBOE SJHIUTBTBXPNBO5IFTFEVDUJPOPG+FBOJTBOFYDJUJOHHBNF GPS+VMJFBOBUUFNQUUPTVCPSEJOBUFENBOUISPVHIIFSQPXFS 8IFO+FBOTVSGBDFTGSPNUIF¹HIUBTUIFXJOOFS+VMJFCBDLTUP UIFUSBEJUJPOBMGFNJOJOFSPMFTIFJTSFBEZUPBCBOEPOBMMIFS QSFWJPVTJEFBMTBOESFTJHOFEIFSTFMGUPCFJOHBXJGF 'SPNUIFWFSZCFHJOOJOH.BSKVLLB)BMUUVOFOJTGBSGSPNCFJOH CPNCBTUJDBOEBSSPHBOU+VMJFXIPJTCSPVHIUVQMJLFBNBO JTIFSPXO,VMMFSWP<"¹HVSFGSPN'JOOJTINZUIPMPHZNBSLFE CZCJUUFSOFTTCFDBVTFPGCFJOHUSFBUFECBEMZJOIJTDIJMEIPPE> DPMEJOIFSIVNBOSFMBUJPOTIJQTMPOHJOHGPSUIF¹SFUIBUXPVME XBLFIFSVQ4IFJTBMTPGBTDJOBUFECZ+FBO±TSBXNBTDVMJOJUZ CVUBGUFSXBSETBMPOHXJUIIFSIVNJMJBUJPOTIFFYQFSJFODFTUIF FNPUJPOBMQBVDJUZJONBO 5IFDMFBSFTUPSJHJOBMJEFBJOUIFJOUFSQSFUBUJPOJTUIFTPGUFOJOH PGUIFDIBSBDUFSPG+VMJF5IFDPNQVMTPSJMZFNBODJQBUFEEBVHI UFSPGUIF$PVOUEPFTOPUXIJQSBHFPSIBUFJOUIJTWFSTJPO 4IFJTFOEMFTTMZTVCPSEJOBUFEUSBNQMFEEPXOBOEUJHIUMZUJFE UP+FBO±TMFBE *GFMUTPTPSSZGPS+VMJF4USJOECFSHIBTCFFOUVSOFEJOUPBGFNJ OJTUBVUIPSUIBUJTRVJUFBOBDIJFWFNFOU *U XBT KVTU JNQPTTJCMF UP CFMJFWF JO .BSKVLLB )BMUUVOFO UIF UFOEFS UJNJE CMVFESFTTFE MJUUMF HJSM BT .JTT +VMJF B ZPVOH XPNBOBXBSFPGIFSQPXFSBOEQPTJUJPOXPNBOXIPNBEF IFS ¹BODn KVNQ PWFS UIF CBS BOE MBTIFT IJN XJUI B XIJQ UP UIBOLIJN/PGSPNUIFWFSZCFHJOOJOHUIJT+VMJFXBTTVCPSEJ OBUFESJWFOCZIFSCMJOEQBTTJPOVOEFS+FBO±TUIVNCBOECF DBVTFPGUIJTBUPPFBTZQJFDFPGDBLF *O UIJT JOUFSQSFUBUJPO .JTT +VMJF QMBZFE CZ .BSKVLLB )BMU UVOFO JT OPU UIF /JFU[TDIFBO BOUJXPNBO TIF JT PGUFO QPS USBZFE BT ¥ " DMVNTJOFTT BOE IFMQMFTTOFTT SVMF PWFS UIF CF IBWJPSPG+VMJFEVSJOHUIFXIPMFQMBZ5IFGFNBMFJOQVUJOUPUIF JOUFSQSFUBUJPOBOEJUTGFNJOJTUUPOFBSFFBTJMZQFSDFJWFE 5IF +VMJF QMBZFE CZ .BSKVLLB )BMUUVOFO JT FYUSFNFMZ TFOTJ UJWF BOE WVMOFSBCMF XFBL BOE OFVSPUJD BOE SFQSFTFOUFE BT UIFVTFSSBUIFSUIBOUIFVTFE*OUIJTJOUFSQSFUBUJPOIFSQBUI UPTFMGEFTUSVDUJPOXBTEVFUPXFBLOFTTSBUIFSUIBOUPCSPLFO TUSFOHUI +VOOJLLBMB ,PTLJ +VOOJLLBMB 4UlIMIBNNBS &LMVOE ,BKBOUP )FMFOJVT 4JJLBMB 3BVUBMBIUJ 4VOERWJTU 3JUPMBIUJ 3BVUBMBIUJ 4Ul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±T ¹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±TFTUBCMJTINFOU5PHFUIFSXJUI -FP3BJWJPBOE)FJLLJ,VKBOQjjIFXBOUFEUPDSFBUFBOBM UFSOBUJWFUPCJHJOTUJUVUJPOTBOEUIFZTUBSUFEUPQVUPOQFS GPSNBODFTPGBIJHIBSUJTUJDRVBMJUZXJUINJOJNBMSFTPVSDFT 5IFHSPVQPGGSFFMBODFBDUPSTBOEEJSFDUPSTBTTPDJBUFEXJUI 2UFBUUFSJHSFXSBQJEMZ5IFJEFPMPHZUIBUVOJUFEUIFNXBTB DPNNJUNFOUUPNBLJOHQIFOPNFOBMUIFBUFSXJUIQFSTPOBM JOWPMWFNFOU2UFBUUFSJ°T¹STUTVDDFTTXBTBQSPEVDUJPOPG 5IF#PZTPG4LBWBCzMFCZ"OUUJ3BJWJPJO 5IFMFUUFS2BMTPNFBOTUIFNPPOJO'JOOJTI 2UFBUUFSJIBTUXPQFSNBOFOUTUBHFTJOUIFCBTFNFOUPGBO BQBSUNFOUCVJMEJOHJO5zzMz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¬TFBTPO (PHPM¬-BSJO7BSBTUFUUVLVV5IF4UPMFO.PPO 1PKBOMFMVU+VIB7BMLFBQjjOjjOOFMNj 5IF5PZTPGUIF#PZ"4PVOE1MBZCZ+VIB7BMLFBQjj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¹STUQSPEVDUJPONFFUJOH*HBWFVQBRVBSUFSPGNZTBMBSZBT UIFTDFOPHSBQIFSJOPSEFSUPIJSFBTUBHFNBOBHFS )JSJOHBTUBHFNBOBHFSXJUIJOTVDIBTIPSUUJNFBOEXJUITVDI BTNBMMBNPVOUPGNPOFZXBTFYUSFNFMZEJG¹DVMU"MMUIFHPPE BOELJOEIFBSUFEDBSQFOUFSTXFSFBMSFBEZFOHBHFETPNFXIFSF FMTFBOE¹OBMMZ*POMZNBOBHFEUPHFUUFNQPSBSZIFMQGPSUIF DPOTUSVDUJPOXPSL .ZXPSLJOHEBZTCFHBOXJUINFDBMMJOHQFPQMFUPTFFJGUIFZ DPVMETQBSFBOZUJNFUPEPTPNFXPSL*EJEBIVHFBNPVOU NZTFMGBOEDPMMFDUFENBOZPGUIFQSPQT ,BUBSJJOB,JSKBWBJOFO ,BUBSJJOB,JSKBWBJOFO 6)$%/3 4),,3 5IFPQFOJOHTDFOF,SJTUJODVUTBDBCCBHFJOUXP IBMWFTXJUIBIVHFLOJGFPOUIFCVUDIFS±TCMPDL ¬,SJTUJOBOE+FBOBSFFBUJOHJOUIFLJUDIFOBU UIFCFHJOOJOHPGUIFQMBZ ¬+VMJFFOUFST ¬+VMJFXBOUT+FBOUPDPNFBOEEBODFXJUIIFS ¬,SJTUJOJTBMPOFJOUIFLJUDIFO5IFXIJUF PCKFDUXIJDIGBMMTGSPNVQTUBJSTJOUIFQJDUVSF OVNCFSJT+VMJF±TIBOELFSDIJFG ¬+VMJFJOUFSSVQUT+FBOBOE,SJTUJO +VMJFQSPNJTFTOPUUPMPPLXIFO+FBODIBOHFT IJTDPBU ,SJTUJODPODFBMT+FBO±TQSJWBDZXJUIIFSBQSPO ¬+FBOLJTTFT+VMJF±TGPPU +VMJFESJOLTCFFS ¬+FBOIBTHPUTPNFUIJOHJOIJTFZF ¬+FBOBOE+VMJFHPUP+FBO±TSPPN %BSLOFTT8IJMF+FBOBOE+VMJFBSFNBLJOHMPWF FNQUZCFFSDBOTGBMMGSPNUIFDFJMJOHPOUIFºPPS ¬+FBOBOE+VMJFBSFCBDLJOUIFLJUDIFOBGUFS NBLJOHMPWF ¬+FBOBOE+VMJFUSZUPTPMWFUIFJSQSPCMFNT ,SJTUJOFOUFSTESFTTFEGPSUIFDIVSDI ¬,SJTUJOTUBSUTDMFBOJOHUIFLJUDIFO +VMJFFOUFSTJOIFSUSBWFMJOHESFTTBOEDBSSZJOH UIFCJSEDBHF ¬+FBOLJMMTUIFCJSE NZBOEUIFEJTIXBTIFSBOEWBDVVNDMFBOFSXFSFCPVHIU GSPN UIF .ZMMZQVSP )PVTFIPME 4FSWJDF * GPVOE UIF DIBJST BOEUIFUBCMFJOUIF2UFBUUFSJTUPSFSPPN"TNBMMBSNDIBJS XBTGPVOECZUIFEJSFDUPSJOUIFHBSCBHFBOEJUXBTSFVQ IPMTUFSFE 5IF QSPQT XIJDI DPOTJTUFE PG NFUBMMJD LJUDIFO VUFOTJMT LOJGFT LFUUMFT BOE TVDI UIJOHT IVOH GSPN B TIFMG OFBS UIF DFJMJOHBOEXFSFCPVHIUBUºFFNBSLFUTBOE*LFB8FHPU UIFFNQUZCFFSDBOTXIJDIGFMMGSPNUIFDFJMJOHCFUXFFOUIF ¹STUBOETFDPOEBDUGSPN4JMKB-JOF +VMJFFBUTUIFEFBECJSE +VMJFQSPQPTFT,SJTUJOUPMFBWFXJUIUIFNUP 4XJU[FSMBOE ¬5IF¹OBMTDFOFTPGUIFQMBZ 4 (% 3# % ./'2!0(9 & /2 - )33 * 5 , )% 5IFTLZMJHIUXJOEPXXBTQMBDFEJOUIFNJEEMFPG)BMG2JO UIFNJEEMFBJTMFTVQQPSUFECZUIFDPMVNOTBOEXBTBOPS HBOJDQBSUPGUIFBSDIJUFDUVSF5IFUIPVHIUXBTRVJUFTVS SFBMJTUBOETJMMZCVU*EJEOPURVFTUJPOJUGPSPOFNPNFOU * NBEF UIF ¹STU TLFUDI GPS UIF TDFOPHSBQIZ POMZ XJUI UIF TLZMJHIU 5P NF UIF $PVOU XBT QSFTFOU JO UIF UFYU BOE JO °IFBWFO±JOUIFCMVFQBJOUFEIFBWFOMZDMPUICFIJOEUIFTLZ MJHIU5IFSFGSPNIJTFMFWBUFEQPTJUJPOUIF$PVOUDPOUBDUT UIFTFSWBOUTCFMPXIJNCZBSJOHJOHCFMMJOPVSWFSTJPOCZ BOJOUFSOBMQIPOF5IFTLZMJHIUFYUFOEFEUPUIFBVEJUPSJVN DFJMJOHCFDBVTF*XBOUFEUIFXFJHIUPGUIF$PVOUUPBMTPCF BCPWFUIFTQFDUBUPST¥5IF)FMMXBTUIFLJUDIFO5IFSFXBT B¹SFJOUIFHBTTUPWFJOPVSQFSGPSNBODFBTXFMMBTTPPU *OUIJT,SJTUJOXBTDPPLJOHUIF°EFWJMUSZ±UIFBCPSUJWFQPUJPO GPS UIF EPH *O UIJT LJUDIFO UIFSF XBT BMTP B TMBVHIUFSJOH CMPDLJOUIFNJEEMFPGUIFTQBDFXBJUJOHGPSBTMBVHIUFSJOH ,,*DBNFUPUIJOLPGTUBJSTUISPVHIXIJDI+VMJFDPVMESFBDI UIPTFXIPBSFTVCPSEJOBUFECZIFSJUXBTBNFBOTCZXIJDI TIF DPVME MPXFS IFSTFMG * ESFBNU PG TNBMM BOE TMFOEFS TQJSBM TUBJSTCVU*LOFXJUXPVMECFUPPFYQFOTJWFUPCVJMEUIFN8F XFSFMVDLZXFGPVOEUIFNJOBKVOLZBSEJO5BUUBSJTVP 5BOKB"IPMB 5IFTMBVHIUFSJOHCMPDLXBTB¹OEGSPNUIF6OJWFSTJUZJO7JJLLJ±T FYQFSJNFOUBMGBSN¥ * GPVOE PUIFS LJUDIFO GVSOJUVSF MJLF UIF TJOL UIF XBUFS CPJM FSUIFSFGSJHFSBUPSBOEUIFNFUBMMJDXBSESPCFJOUIFSFDZDMJOH DFOUFS 5IF HBT TUPWF XBT CPSSPXFE GSPN UIF 5IFBUSF "DBEF 8IFO TUBHJOH ,BMFWBMB <FBSMJFS JO UIF TBNF TQBDF> * IBE QBJOUFE BMM UIF XBMMT DPMVNOT BOE UIF DFJMJOH PG )BMG2 HSBZ*EFDJEFEUPVTFUIJTHSBZOFTTGPS.JTT+VMJFQBSUMZCF DBVTFPGFDPOPNJDBMSFBTPOTCVUBMTPCFDBVTFUIFDPMPS¹U UFEXFMMXJUIUIFUIPVHIUPGBOVOEFSHSPVOEDFMMBSLJUDIFO 8JUIUIFTNPPUIHSBZUPOF*DPVMEFNQIBTJ[FUIFCBDLXBMM PGUIFPMENBSLFUIBMMXIJDIDPOTJTUFEPGEJGGFSFOUMBZFSTPG HSBZBOECSPXOQBJOUBOEXBTWFSZWJTJCMFJOUIJTTQBUJBM BSSBOHFNFOU¥*IBENJYFEUIFQBJOUNZTFMGPVUPGXIJUF SFEBOEHSFFO3PTDPQBJOU5IJTBMMPXFENFUPDSFBUFBDPM PSUIBUDPVMECFDIBOHFECZNFBOTPGMJHIU*QBJOUFEUIF XPPEFO QBSUT PG UIF GVSOJUVSF XIJUF JO PSEFS UP LFFQ UIF DPMPS TDBMF SFTUSBJOFE ,SJTUJOF±T SFE TIPQQJOH CBH PO UIF XIFSF*¹OENZTFMGDMFBOJOHUIFUBCMFBGUFSUIFFWFOJOHNFBM BOEUIJOLJOHPGTIFXIPNBEFBEJGGFSFOUDIPJDF8IFOCFH HJOHGPSMPWFTIFHPUBSB[PSXIJMF*BNJOBQFSNBOFOUTUBUF PGTUSFTTBOESVTICFDBVTFPGUIFIFBEMPDLPGDBSFFSBOEGBN JMZ+VMJFFYJTUTJONZIFBEBOEXFEJTDVTTXIFUIFSUIFSFJTTVDI B CJH EJGGFSFODF CFUXFFO PVS MJWFT¥4FMGEFTUSVDUJPO JT B XBZ UPFYJTUBOECFBSUIFTUSFTTJOUIJTXPSMEXIJDITUJMMCFMPOHTUP NFO5IFTUSFOHUIPGNBTPDIJTN¥8FMMFOPVHIBCPVUUIBU*U JT*NZTFMGXIPDIPTFNZMPUPSEJE* 4(%#/ 3 45- %3 ,JSKBWBJOFO XSPUF BCPVU UIF DIBSBDUFST BOE DPTUVNFT JO UIFGPMMPXJOHXBZ BOEBCMVFEVTUQBOXPSLFEBTDPMPSTQPUT¥5IFMJHIUEFTJHOFS ,BJTB4BMNJMJUUIFHSBZOFTTPGUIFTFUJOBXBZUIBUCFOF¹UFE UIFQFSGPSNBODFVTJOHDPMEBOEXBSNMBWFOEFSUPOFT *XBOUUPDSFBUFTDFOPHSBQIJFTXIFSFBDUJOHJTQPTTJCMF8IBU NBLFTUIJTEJG¹DVMUJTUIBUZPVDBOOPUTFFUIFNPEFPGBDUJOH CFGPSFUIFQFSGPSNBODFJT¹OJTIFE5IFXBZPGEFTJHOJOHTDF OPHSBQIJFT JT JMMPHJDBM 5IF TDFOPHSBQIFS TIPVME TFF JOUP UIF GVUVSF ,JSKBWBJOFOUBMLTBCPVUIFSSFMBUJPOTIJQUP.JTT+VMJFBOE UPUIFTDFOPHSBQIJDXPSL *BNBXPSLJOHNPUIFSXJUIUISFFDIJMESFO¥5IFSFJTBMPOH EJTUBODFGSPNNZXPSMEUPUIFVQQFSDMBTTJEMFOFTTPGBNBO PSBUUIFUVSOPGUIFDFOUVSZ#FUXFFOXPSLJOHBUNZKPCBOE UBLJOHDBSFPGUIFDIJMESFOBOEIPVTF*IBWFOPUJNFGPSBOZ UIJOH FMTF CVU EBJMZ TVSWJWBM 8F NPEFSO XPNFO DPOTDJPVT BCPVUPVSDBSFFSTBSFOPUFYQFDUFEUPTBWFPVSWJSHJOJUZBOE UPQFSJTIBMPOHXJUIUIFMPTUEJHOJUZXFBSFBMMPXFEUPSFBM J[FPVSTFMWFT¥ 5IFQMBDFJTUIFTBNFGPS+VMJFBOENFUIFLJUDIFO¥5IBU±T 5BOKB"IPMB "U¹STU*EJEOPUNFBOUPNBLFUIFDPTUVNFTFYQSFTTMZNPE FSOCVUXJUIPVUBOZFYQMBOBUJPOUIFXPSMEPGEFTJHOTUBSUFEUP GBTDJOBUFNF¥5IFGBTIJPOBCJMJUZPG+VMJFTUSFTTFEIFSQSJWJMFHF UPXFBSFYQFOTJWFBOEVOQSBDUJDBMDMPUIFT)FSFOEFBWPSUPCF MPWFEJTTIPXOJOIFSEFTQFSBUFBUUFNQUTUPCFGBTIJPOBCMFBU UIFNPNFOUPGIFSDPMMBQTF 5IFEJSFDUPSEFTDSJCFE+VMJFBTIBWJOHBXBWFSJOHTFYVBMJEFO UJUZCFJOHBU¹STUBTFEVDFSBOEGVFMMJOHUIFFWFOUTJOBOJN NBUFSJBMBOETFMGEFTUSVDUJWFXBZ 8IFOTIFDBNFUPTFEVDF+FBO+VMJFXBTXFBSJOHBUSBOTQBS FOUUIJOMJHIUHSFFOMJUUMFESFTTUIFTIPVMEFSTUSBQTPGXIJDI DPVMEOPUTUBZVQ5IFCSBXBTBMTPEJNMZWJTJCMFBTJGXFSF BOBDDJEFOU¥4IFIBEQVUVOEFSIFSESFTTUJHIUTIPSUTXJUIUJ HFSTUSJQFT0WFSPOFTIPVMEFSBOEVOEFSPOFCSFBTUTIFIBE XSBQQFEBUIJOXIJUFLOJUUFETIJSU)FSTIPFTXFSFGPSHPUUFO TPNFXIFSF¥ "UUIFCFHJOOJOHPGTFDPOEBDUBGUFSUIFTFEVDJOHIBEUBLFO QMBDF +VMJF XBT XFBSJOH POMZ B HSBZ MBDF CSB BOE UIF UJHFS TIPSUT *O PSEFS UP DPWFS IFS OBLFEOFTT TIF IBE UBLFO +FBO CMBDLTFSWBOU±TDPBU4IFIBTMPXFSFEIFSTFMG "GUFSIBWJOHTUPMFOIFSGBUIFS±TNPOFZJOPSEFSUPFTDBQFUP -BLF $PNP +VMJF EFTDFOEFE UP UIF LJUDIFO BHBJO 5IJT UJNF TIF XBT ESFTTFE JO B USBWFMJOH ESFTT B USPVTFS TVJU XIJDI SF QFBUFEUIFUPOFTPGWJPMFUHSBZHSFFOBOESFE5IFTVJUXBT GBTIJPOBCMFMVYVSJPVTBOEUJHIU¹UUJOHCVU+VMJFIBEGPSHPUUFO UPQVUBTIJSUVOEFSUIFKBDLFU)FSIBJSXBTNFTTFEVQBOE IFSNBLFVQIBESVO4IFIBESFBMMZIJHIIFFMFETIPFTPOIFS GFFUTIFNPSFUIBOVOQSBDUJDBMGPSUIFUSJQUP-BLF$PNP*U XBTJOUIJTTDFOFUIBU+VMJFDPMMBQTFE.ZJNBHFXBTPGBUPQ DMBTTNPEFMXJUIBOBNQIFUBNJOFIBOHPWFSUIFDPMMBQTFPG BOBENJSFEBOEQSJWJMFHFEQFSTPOXIPNFFUTUIFFYUSFNFFOET PGTVDDFTTBOEEFTUSVDUJPO 8PSETEFTDSJCJOH+FBOXFSFWJTJPOBSZOBSDJTTJTUJDQMFCFJBODP SPOBLJOH¥5IFQPTJUJPOPGBTFSWBOUTIPVMECFTFFOJOIJN )FIBEBCMBDLUBJMDPBUBXIJUFTIJSUXJUIBTUBOEVQDPMMBS CMBDLXFMM¹UUJOHUSPVTFSTBOEBMJHIUEJNMZQBUUFSOFEXBJTU DPBU BOE CMBDL TIPFT 8IFO QPMJTIJOH UIF $PVOU±T CPPUT IF QVUBCMBDLGVMMMFOHUIBQSPOPO¥ 5BOKB"IPMB .JTT+VMJFJO)BMG2JTTUSBOHFMZIZTUFSJDBM5IFEJSFDUPS,B UBSJJOB-BIUJIBTFNQIBTJ[FEUIFTUSVHHMJOHDIBOHFTPGNPPE CZ+VMJFUPPNVDIXIFSFBTUIFTFSWBOU+FBOJTUBNF *OUIFTFDPOEBDUXIFO+FBOIBEQSPNJTFEUPHPUPDIVSDI IF QVU PO B HSBZ UXFFE DPBU *O UIF FOE XIJMF TIBWJOH IF XPSFBCMBDLMFBUIFSKBDLFUPWFSBOEBSFE'FSSBSJDBQXJUI BQFBL ,SJTUJJOBXBTEFTDSJCFECZ,BUBSJJOB-BIUJXJUIXPSETMJLFSF MJBCMFIBWJOHBHPPETFOTFPGIVNPSBHPPEQFSTPOBHPPE XJGF OPU OFDFTTBSJMZ MVDLZ XJUI NFO MJLF B 4XFEJTI IPVTF XJGFJOUIFT¥,SJTUJOB±TBJNXBTUPHFUNBSSJFEUP+FBO BOEUPIBWFBGBNJMZ ,SJTUJOB±T XPSLJOH DMPUIFT XFSF B DMFBO EFDFOU DIFDLFSFE ESFTTXJUIBXIJUFDPMMBSBXIJUFBQSPOBOBUPNJDBMMZNPE FMFETIPFTBOEBQSPUFDUJWFDBQVTFECZXPSLFSTJOGPPEQSP EVDUJPO 5IF QMBZ CFHBO XIFO ,SJTUJOB XBMLFE UISPVHI UIF LJUDIFO UP UIF TMBVHIUFSJOH CMPDL BOE DVU B DBCCBHF JO UXP IBMWFTXJUIBMBSHFLOJGF "UUIFFOEPGUIFQMBZXIFO,SJTUJOBXBTMFBWJOHUPDIVSDI TIFDBNFUPUIFLJUDIFOESFTTFEJOIFSCFTUDMPUIFT0OIFS GFFU TIF IBE CMBDL FYUSFNFMZ IJHIIFFMFE CVU DMVNTZ TIPFT NBEF PG TVFEF PO IFS IFBE TIF XPSF B CMVF DIJGGPO TDBSG TIFIBEHMPWFTPOIFSIBOETBMJHIUQPQMJODPBUPOIFSBSN BCMBDLIBOECBHBOETIFXPSFBUJHIU¹UUJOHIFBWFOMZCMVF ESFTT*OIFSPXONJOETIFXBTHPJOHUPIFBWFO 4(%2 %#%04)/ . 5IF QFSGPSNBODF HPU B HFOFSBMMZ QPTJUJWF SFTQPOTF BM UIPVHIUIFSFXBTTPNFDSJUJDJTNPG+VMJF±TFYDFTTJWFIZT UFSJB 5IFCFTUQBSUPGUIFQFSGPSNBODF±TOBUVSBMJTNJTUIBUFBDIPG UIFTQFDUBUPSTJTBTJNJMBSDPOHMPNFSBUF8FBSFDPOTUSVDUFE CZXIBUJTBSPVOEVT5IFQFSGPSNBODFCZ2UFBUUFSJDBOGPS HPPESFBTPOCFEFTDSJCFEBTDPOTUSVDUJWF +VMJF QMBZFE CZ 4BMP UFFUFST PO UIF FEHF PG NBEOFTT )FS CMBDLMJOFEFZFTTUJDLJOHPVUIBJSBOEIBMGOBLFEOFTTUFMMUIF USBHFEZ BMNPTU MJLF B NFMPESBNB 4IF OP MPOHFS TFFNT UP IBWFBIFBMUIZSFMBUJPOTIJQUPUIFPVUFSXPSMEPSUPIFSTFMG )FOSJJLLB4BMP±T+VMJFJTBOFYUSFNFMZEJTHVTUJOHGFNBMFNVDI MJLFIPX4USJOECFSHEFTDSJCFEIFSBUIJTNPTUNJTPHZOJTUJD+V MJFJTBDPRVFUUFCMPPETVDLFSXIP¹TIFTPUIFSQFPQMFJOUPIFS PXOOFUXJUIBOJSSFQBSBCMFOFFEGPSQPXFS4IFTQSFBETQPJ TPOBSPVOEIFSTPUIBUJU¹MMTUIFXIPMFTQBDF 5IFTDFOPHSBQIZXBTQBJEBMPUPGBUUFOUJPOUP 5IFEFMJDBUFMZGVMMCPEJFEBDDVSBUFBOECFBVUJGVMLJUDIFOTDF OPHSBQIZ CZ ,BUBSJJOB ,JSKBWBJOFO XJUI JUT SFGSJHFSBUPS BOE HBT TUPWF BOE NBOZ GBTDJOBUJOH MJUUMF UIJOHT JT TJUVBUFE CF UXFFOPMEBOEOFX5IFDPTUVNFTCZ,JSKBWBJOFOBSFRVJUF DPOUFNQPSBSZ&TQFDJBMMZUIFDSFBUJPOTEPOFGPS+VMJF)FOSJJL LB4BMPBSFCFBVUJGVMBOEFYDJUJOH,SJTUJOB±TDIVSDIPVU¹U XIJDIJTBTUPOJTIJOHMZCMVFBOEXJUIIJHIIFFMTMPPLTBTJGJU DBNFEJSFDUMZGSPNBTIPQXJOEPX *O UIJT TQBDF BOE TJUVBUJPO UIF QMBZ CZ 4USJOECFSH JT TPNF UJNFTESJWFOUPUIFFEHFTPGDSFEJCJMJUZ *O ,JSKBWBJOFO±T TDFOPHSBQIZ OBUVSBMJTN JT QSJNBSJMZ QVU BU UIFTFSWJDFPGBDUPSTXJUIPVUBOZJMMVTUSBUJWFJOUFOUJPOT .BZCF UIF TDFOPHSBQIZ IFMQT VT UP DPOTJEFS UIF XBZT JO XIJDIUIFQMBZ±TNPSBMDPEFTUJMMDPODFSOTVTUPEBZ5IFIV NBOFWPMVUJPOEPFTOPUIBQQFOXJUIUIFTBNFTQFFEBTUFDI OPMPHZ PVS DPOTDJFODF BOE VODPOTDJPVTOFTT SFNJOET VT PG NPSFQSJNJUJWFOFFET /BUVSBMMZ UIF QBTTJPOT JO UIF DFMMBS LJUDIFO CSJOH UP NJOE 'SFVEJBOUIFPSJFTBCPVUUIFTUSVDUVSFTPGUIFIVNBOVODPO TDJPVTOFTTBOECBTJDTFYVBMJUZ¥ 5IF QPTUNPEFSO EJWFSTJUZ JO ,BUBSJJOB -BIUJ±T EJSFDUJPO BOE UIFWJTVBMEFTJHOCZ,BUBSJJOB,JSKBWBJOFOJTQSPCBCMZWFSZEF MJCFSBUFCVUUPNZNJOEUIFJSUIFBUSJDBMJUZVOEFSMJOFTUIFUFN QPSBMJUZPGUIFUFYUVOOFDFTTBSJMZ 5IFTDFOPHSBQIZBOEDPTUVNFTPG.JTT+VMJFBSFDPOUFNQP SBSZ*UJTOPUPGHSFBUJNQPSUBODFCVUPOUIFPUIFSIBOE7JD UPSJBO DPTUVNFT JO UIFJS JOIJCJUFE OBUVSF BOE JNQMJDJUOFTT XPVMEIBWFCFUUFSTIPXOUIFBOYJFUZBOEQBJOJOUIFHBNFPG IVNBOSFMBUJPOTIJQT ,JSKBWBJOFO ,JSKBWBJOFO ,JSKBWBJOFO ,JSKBWBJOFO ,JSKBWBJOFO ,JSKBWBJOFO ,JSKBWBJOFO ,JSKBWBJOFO .FSJ -FIUPOFO 5VPNJOFO ,PTL ,BKBWB .FSJ -JOOBWVPSJ -FIUPOFO 5VPNJOFO