To do this I will speak behind gritted teeth. When Joe leaves the room however, the darker side of my character is revealed. I suddenly speak in a much sterner manner, enunciating each syllable much more sharply. I will also raise my voice, and will be far less smooth, speaking in a single pitch, rather than varying the pitch as I do when with Joe. My ‘Laban Efforts’ will become pressing: still at steady pace, but I will be more direct in my movements, more purposeful.
I will also move with more apparent weight, to signify power. These are the primary three ways in which I shall act during the play. The only real variation from this on my character’s attitude is at the end. My pitch will be subtly higher, and I will speak quicker. This is because I no longer have to pretend to be nice, as I have Joe where I want him. I will have a greater urgency, and be more taunting, speaking faster than before.
The play Macbeth was intended to be a realistic play. Although when performed, it is intended to include all relevant props and scenery, effects such as the ‘dagger of the mind’ and other such supernatural events can only be represented, not shown as the characters are supposed to see them in the play. There would be few lighting effects in the time when this was originally performed, as electricity was not available and all plays were performed open-air during the daytime.
The ‘fourth wall’, the divide between actors and audience would be around at the time, with no audience interaction, and although soliloquies would be to the audience, they are not speaking to the audience within the confines of the play, merely speaking their thoughts aloud. Macbeth’s genre is tragedy, as there are no aspects of comedy at all. It is a very morbid, macabre play in which many people die.
‘Wake Up’ is partially realistic play, as we are using appropriate props such as a pill bottle, fake pills (tic-tacs) and a makeshift sofa using chairs and old curtains. Props are not mimed within the production. On the other hand, due to the confines of the Drama Studio, there will be no scenery. We will instead use differentiation in lighting to help the audience distinguish between dreams and reality. The surreal aspect of the play may mean that it is more stylistic than realistic, as we do not have access to extensive amounts of scenery or props.
The ‘real life’ sequences will be predominantly realistic, whereas the ‘dream’ sequences will be stylistic, as befits the idea of a dream. The term ‘realistic’ refers to a focus on the reality of the characters, but not perfectly recreated with every prop as if it were real life; that is what a naturalistic play does, mimics nature. The term stylistic is the opposite of naturalistic; things are mostly symbolic, so that the idea of something is put across but not shown visually.
Things such as ‘imaginary doors’ are evident in the dream scenes, as there is supposed to be no concept of normal human reality, making this side of the play very stylistic. We will perform this with the ‘fourth wall’, defined above, in all scenes excluding scene 5, in which the audience is referred to; Joe is asked to pick out the member of the audience (all of whom are beautiful women as far as Joe is concerned) to have sex with behind an imaginary door. ‘Wake Up’ is predominantly a tragedy, but there are a few light-hearted areas as well. The scene where Junior is suggesting potential girlfriends has a faster pace than other scenes, as it has a more comical overtone than most of the rest of the production
In conclusion, these plays are both different, yet still have similarities. They are written around 400 years apart, and set almost 1000 years apart. Despite this, there are still similarities in the underlying ideas. The plots are both tragic, and follow the same general themes of deception and death. The characters have similarities in motive, it is generally only their methods which alter. The style of Macbeth is realistic, whereas ‘Wake Up’ is more stylistic, due to the limitations of the resources at hand and time scale.