Upon finally reading the article of Dramaturgy on Non-Realism, I've come up with a new (revised) edition of how I would go about dramaturging Mad Forest. One of the things that I'd look into would be the issue of double-casting (or rather, triple-, quadruple-, etc. casting). From the article I was reminded of non-realism's emphasis on the players being only figures, not real characters. I'd have to analyze which of the parts should be double-cast to create the greatest effect. I noticed in the book of Mad Forest that of the members of the original cast, many of them played several parts, and some even had five or six parts. Since the double-casting in Our Country's Good was such an important aspect of the show. I assume it could be used to an equally effective end in Mad Forest. I would examine those multiple-casting choices made in the original presentation and see how they could be used in my own production.
I would also determine what sort of set could be used to greatest effect in production of the show. Since it is a non-realism play, there is almost infinite liberty that can be taken with the stage setup, which can be almost as important in the storytelling as the script itself. Of course, the type of set would be constrained by the physical theater that would be used to house the show, which would be where I would start. It seems like there are so many directions in which to go, set-wise; it makes my little techie heart go pitter-pat, as Sarah would say. I did discover a short explanation of the title of the play in the beginning, and now that I understand what it means, I would try to incorporate that idea into the staging of it. I think a physical forest, or a suggestion of it, on stage would also help to create and convey the mood of the play.
As far as my previous post on dramaturging, I still hold that those would be good questions to pursue, as well. The work of a dramaturg is never complete, I suppose.Posted by holm0567 at October 24, 2004 1:29 PM