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A ”PRODUCTION or JEAN GIRAU‘DOUX'S

THE 'NcHAmrm WITH .AN ANALYSIS
OF THE 'omscnuc . vacuums luvotvm

Thesis f9r‘ thaDog‘rco of M. A.

MICHiGAN STATE COLLEGE
Marvin Edward Phillips
1951
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‘~ '1 This is to certify that the

thesis entitled
A Production of Jean
Giraudoux's The Enchanted
, m’ th an Analysi 373T the r,
f Directing Problems Involved. “

1 presented by :

Marvin E. Phillips

3 has been accepted towards fulfillment

j- of the requirements for

h _M..A..._degree in_Spe_ech_

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Major professor 1

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Date September 27th, 1351

0-169 \
 A PRODUCTION OF JhAN GIRAUDOUX'S THE ENCHANTfiD
WITH AN ANALYSIS OF THE DIRECTING PROBLLMS INVOLVED

By

Marvin Edward Phillips

A THESIS

Submitted to the School of Graduate Studies of Michigan

State College of Agriculture and Applied Science
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Speech, Dramatics, and Radio Education

1951
THFSW
L// H /.:‘2.

ACKNOBIJLLDGMLNT

The author sincerely thanks Dr. Wilson B. Paul, chairman of the

Department of Speech, Dramatics, and Radio Education, for making this
production possible; Professor Donald Buell for his helpful guidance;
.Dr. John Waite and Dr. Donald Hayworth for their kind assistance; the
members of the Union Activities Board, and the cast and crew of Egg
Enchanted.

A very Special acknowledgment must go to the charming Isabelle,

the protagonist of the play, Jeanne Phillips.

Qw -- n
r-J I ‘14:)1)?
 TABLE OF CONTENTS

CHAPTER PAGE

I CHOOSING THE PLAY............ ...................... . ........ ... 1

II JEAN GIRAUDOUXO . O O C O O O I O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O 5

III PWPRODUCTION PREJPWTIONOO 0000000000000 ......OOOOOCOOOOOOOOOO 18

Theme...’.....OOOOOOOOOOOOO......OIOOOOOOOOOOOOOOO0.0.0.0... 18

StyleOOOOOOOO......OOOOOOOOOOOOOOOOO......OOOOOOOOOOOOOOOOOO 20

CharacterizationSOOOOO0....0.0000000000000.......OOOOOOOOOOO 21

Adapting the scriptOOOOOCO......OOOOOOOOOOOOOOOO0.0.00.0...0 27

Directing prOblemSeeeeeooeeeeeoeeoeeeoeeeeeeeeoeeeeoeesee... 32

IV THE PRODUCTION SCRIPT OF THE ENCHANTED......................... AB

V STAGING TIIiE PRODUCTIONOO......OOOOOOOOO......OOOOOOO......OOOOOlAS

The theatre.................................................lh5
The Parlor Playhouse.....................................lh7
House plan...............................................lh8
The stage setting...........................................lh9
Ground plan..............................................152
Lighting the production.....................................153
Lighting plot............................................156
Properties..................................................157
Property plot............................................160
Costumes....................................................162
Costume plot.............................................166
Make-up.....................................................169
Make-up plot.............................................l7l
The music for The Enchanted.................................l7h
Music cue sheet..........................................l79

n CONCLUSIONOO......OOOOOOOO0.0.0000.........OOOOOOOOOOI00.0.0000184

The programOOOOOOOOOOOOO0.0.00.00.00.00...0.0.0.000000000000187

The reViGVOOCOOOOOOOOOOOOO......OOOOOOOOOO00.0.0000000000000188

BIBLImMPHYOOIO.........OOOOOO.........OOOOOOOOOO0.0.0.000000000000189
 LIST OF ILLUSTRATIONS
PAGE

MAYOR: "I wouldn't shout. You can't tell who might answer." ....... 48

ARMANDE: "I do not snore!" ......................................... 57

ISABELLE: "You may go now, children." ... 75

ISABELLE: "You must knOW'a great deal about Spirits." .............. 79

MAYOR: "It kisses you on your adorable mouth, asks you for a
hundred francs, and signs itself, yours ever, Adele." ...... 88

INSPECTOR: "Which of you is the executioner?" ......................lOl

IhSPECTOR: "Therefore, now, spirits of darkness, in the name of

Government, of Science, and of their servant, Humanity,
...I declare you obsolete." ............................122

SUPERVISOR: "We have come for the purpose of asking your hand
in marraige, Mademoiselle." ...........................125
CHAPTERI
 CHAPTER I

CHOOSING THE PLAY

The director in the amateur theatre is necessarily the source

of unity. He selects the play and imagines a production of it
before an audience in terms of acting, setting, light, costume,
make-up, music, and sound effects. He plans the use of each of
these materials. He selects and directs the actors, trains
technicians in the other fields, and supervises their contributions
to the production. On his understanding of the play and on his
control of the materials will depend the success or failure of the
production.1

The selection of a play must be performed with mature and delib-

erate judgment. The mere fact that the director happens to like a play

is not a sufficient reason for its production. The purpose of this

chapter is to justify the selection of The Enchanted.

In l9hh, in Paris, Jean Giraudoux, a French author, died. His

name has been relatively unknown in America until the last few years

and yet, as a playwright, he has been compared with George Bernard Shaw 2

and called the ”best French dramatist of the thirties.“ 3 Louis Jouvet,

friend and director of Giraudoux's dramas in France, claims, "If the

language of Racine is still spoken in France two hundred years from now,

the works of Jean Giraudoux will still be performed." A Three years

before Jouvet made this statement, May, 1933, Jean Giraudoux's fantasy,

1 Bernard.Hewitt, A£t_and Craft onEIQy Production (New York:

J. B. Lippincott Company, 19407} p. 6.
2 Barrett Clark and George Freedley, A History of Modern Drama
(New York: D. Appleton-Century Company, 19A7j, p. 307.

3 Allardyce Nicoll, world Drama (New Ibrk: Harcourt, Brace, and

Company. 1950). p. 85-
A Louis Jouyet, "Success," Theatre Arts, 20:35A, May, 1936.
Intermezzo, was produced and acclaimed a success in France.

The French critics spoke only in superlatives of Giraudoux and

his play; Robert de Beauplan called Giraudoux a "master of modern

literature." Etienne Rey, drama critic for Comoedia, said Intermezzo

was the best work of Giraudoux-— "perhaps more than the others, it has

a style that is more free, more pure, and most poetic." M. Franc-

Hohain labelled it a kind of "metaphysical vaudeville." Maurice Martin

de Card of Les Nouvelles literaries perhaps best summarizes the reaction

to Intermezzo:

To the faces of the sensitive spectators, the last play of Jean

Giraudoux brings at each instant the smile of intelligence...
After applauding Intermezzo, each one will wish, I am sure, to
increase his pleasure by reading this fantasy written in so pure
a language. In the literature of our time, this work will occupy
a place of eminence. And without a doubt this year they will call
the year of the Intermezzo. 5

In 1950, Intermezzo was adapted by Maurice Valency. Its title

was changed to The Enchanted, and it was given a New York production.

The play failed on Broadway. Both the playwright and the play were

considered outstanding. Yet, the American production was a failure.

A director would immediately pose the question- did it fail

because of the way in which it was produced; could directing be the

difference between success and failure? The answer was quite satisfac-

torily given by the one person who should know: the director. George

5 The above criticisms were annotated by Robert de Beauplan in

the first edition of Intermezzo. The source is La Petite Illustration
625331, my 6, 19330
S. Kaufman, outstanding American playwright, producer, and director,

‘wrote, "I think that The Enchanted failed on Broadway because it was not

given a sufficiently imaginative production (by me) ." 6

The director chose Jean Giraudoux's play, The Enchanted, as a

graduate thesis production. He selected the play because it was a worthy

challenge to a director. He selected the play because it was philosOph-

ical, profound, and imaginative. The reasons were both theatrical and

educational.

Robert Coleman, drama critic of the New York Daily Mirror, says,

"The trouble with American playwrights is that they don't have enough to

say. The trouble with Giraudoux is that he has too much to say." 7

The Opinion that Giraudoux has "too much to say" is no doubt not only

a matter of taste but also a matter of Mr. Coleman's Broadway condit-

ioning. Subtle nuances of meaning can be found in almost any line in

The Enchanted. The ideas are gently coated with satire. Giraudoux

takes pokes at absolute values, progressive education, bureaucracy,

gossip, prejudice, and nationalism, The play offers more than humorous

entertainment; it presents a phiIOSOphical theme under the glitter of

fantasy.

The Supervisor in The Enchanted may be Speaking the words of the

author when he claims, "I speak well.when I have something to say."

6' From a personal letter to M. Phillips by George S. Kaufman,

August 16, 1951.
7 Robert Coleman, the New York Daily Mirror, January 16, 1950.
 A

Giraodoux is profound. "His art is a perpetual firework of intellectual

and verbal virtuosity that ascendsto the stratOSphere of human thought

and sensibility." 8

The Enchanted offers simplicity of staging. It can be produced

outdoors or indoors with only one setting. It has a cast of characters

that would challenge the acting abilities of a college actor. The play

itself has been said to be "provocative, subtle, evocative, fantastic,

witty, moody, but always and most of all theatrical." 9

Because it is a fantasy, the play's form is unusual. Not only

is it a form that is seldom staged, but it is also a form that offers

a challenge to a director. The director must play up the humor, fantasy,

and mood while underlining the seriousness of‘the theme.

There was an educational motive that was considered in selecting

the play; Many'plays because of their proven merit are produced over

and over again until an informed theatre audience becomes tired of them.

Giraudoux is relatively unknown in this country, and especially in

educational theatre.

There was no doubt in the director's mind that the play'was a

worthy selection. 'Whether the play selected would be a success as a

production could only be answered by the final test of presenting it

for an audience.

8 Clark and Freedley, 22. gl§., p. 307.

9 Ashely Dukes, "The Little Professional Theatre Again,"
Ihggtre Arts, 17zh95, July 19, 1933.
CHAPTERII
 CHAPTER II

JEAN GIRAUDUUX

The first major requisite after the play has been selected is a

study of the playwright. In order for a director to proceed in the prep-

aration of a production, he must first know who the author is, the style

and ideas in his writings, and his basic philoSOphy of life. This was

part of Stanislavski's approach to directing. He believed that "in

every important drama the director...must go straight for the most exact

and profound conception of the mind and the ideal of the dramatist..." 1

The obvious reason for this approach is that the more fully a director

understands an author's attitudes in the light of his life and works, the

easier it will be to present these attitudes in one of his Specific works.

Because life is the source of all creative art, 2 it is impossible to

separate an artist's works from his life.

Jean Giraudoux (law-191.4) was born on October 19, 1882, in Bellac,

France. “Bellac is an ordinary French provincial town, but to Giraudoux,

Bellac- 'c'est bien la plus belle ville du monde.‘ " 3 Giraudoux from

early childhood was acquainted with provincial life, the small officials,

the peasant farmers, and the provincial countryside.

1 Constantin Stanislavski, "Direction and Acting," Acting: A Hand-

book of the Stanislavski Method (New York: Lear Publishers, l9h7), p. 194
2 B. E. Zakhava, "Principles of Directing," Acting: A flgndbook of
the Stanislavski Method (New York: Lear Publishers, l9h7), p. 22
3 Georges Lemaitre, Four French Novelists, (New York: Oxford
University Press: 1938), pp. 209-210
 In his early writings, particularly in Les Provigciales,

published in 1909, he described the friendly atmosphere of the small

French villages. All the petty officialdom.of the old—fashioned

cilmunity was pictured with gentle satire. He knew this officialdom

well, for his father was an engineer in the public service of Bellac.

Giraudoux from early childhood knew well "Is pharmacien," the druggist-

”l'argent voyer," the road surveyor- “1e controlleur des poids et mes-

urea,” the controller of weights and measures, and many varieties of

”inspecteurs." h Several of Giraudoux's works, Les Provincials, Suzanne

et le Pacifi us, and The Enchanted gave an over-all pastoral quality that

is undoubtedly a result of this background.

Giraudoux studied at the lycee of Chateauroux and at the Ecole

Normale Superieure, a school in Paris which trains young men for high

university positions and which regards the humanities with great esteem. 5

The young Giraudoux acquired a rich classical background. 6 The influence

of this background can be easily seen in his plays, Lvauerre de Troie

n'aura pas lieu and Agghitgyon 38. Both works are based on classical

legends, retold in the form of fantasy.

In 1903 Giraudoux decided against a university career and set out

on travels that eventually carried him.around the world. These travels

strengthened his impression that, quite apart from the realm of theoret-

1. Ibid., p. 210.
5 ‘Wm. A. Drake, Contemporary European writers (New York: The John
Day Company, 1928), p. 13.

6 Lemaitre, 92. git,, p. 216.

ical ideas, there was a richly variegated world which must be enjoyed

with ”a direct and spontaneous naivets." 7

During this period of exploration Giraudoux.began work on his

first novels. Four of these early novels are L'Ecole de Indifferents,

Suzanne et 1e Pacifi us, and Jylliette au Pays des Hommes. In these

novels can be found the whimsy and the beginnings of the satire that

are such an important part of Giraudoux's later works, particularly his

dramas, although neither the critics nor Giraudoux took these early

works too seriously. 3

These early novels show that the young Giraudoux found no great

problems in life. Rather than following any definite line or treating

any particular subject, Giraudoux, instead, casually rambles. 9 Jul-

1iette of Julliette au Pays des Hommes is merely searching for an ideal

husband. Suzanne, in §gg§nge et le Pacifique, is concerned only with

rediscovering her imagination.

His travels were interrupted by world war 1. He fought in the

war, was twice wounded, and returned to Paris to write of his experien-

ces. The young Giraudoux seemed to be less struck by the hideous and

sordid side of the war and.more stimulated by the heroic and the epic

aspect of war. This attitude is found at the beginning of one of his

war books, Adorable Clio: " 'Pardonne-moi, o guerre, de t'avoir...toutes

Ibid., p. 218.

8 Ibid., p. 23.

Ibid., p. 220.
 8

lee fois que je 1'as pu...caressee.' Forgive me, 0 war, that...whenever

I could...I have caressed thee." 10

‘ After the war Giraudoux wrote two other novels. 11 These writings

and all of his subsequent‘works present a much more consistent and re-

lated narration. Also, the conflict between the real and the ideal,

which in his early works was treated with ironical amusement and fancy,

now tends to acquire a seriousness in his eyes that it lacked before.

Giraudoux, during this period, was forming a concrete, if negative,

outlook on life. “I wish to live," he writes, "in blissful oblivion of

reality, with all its contours modified and velvet-soft so that my eyes

will not be wounded." 12

Inconsistent with the author's negative attitude toward life was

his attitude toward the artist in relation to society. Giraudoux believe

ed that the artist should be a part of, rather than isolated from, the

society in which he lives.‘

Plays of serious importance are only likely to be written by men

whose understanding of the technique of life is greater than their
understanding or familiarity with the techniques of theatre. 13
After Werld war I he was appointed to a post in the French diplomatic

service. He remained in the diplomatic service until his death in 19kt. 1h

lo‘“ipid., p. 220.
ll ‘Lgcturesgpour une Ombre (1918), and Amica America (1918).

' 12 Milton Stansbury, French Novelists of Today (Philadelphia:

University of Pennsylvania Press, 1933), p. 19.
13 Morton Eustis, “Jean Giraudoux," Theatre Arts. 22:128, February,
1938.

1h Drake, gp,‘git., p. 13.

 9
As for his life as a government official, he Speaks through the character

of the Supervisor in the play, The Enchanted:

In the civil service, the advances are regular and statutory. We

move from.post to post, from year to year, with the smoothness of
time. we are borne as on a gentle stream from.increment to increment,
from.youth to age, from age to death- without break and without
transition.

However, Giraudoux did not lose his poet's imagination because

of his service to the State. He was not bored with his life as a

government employee. It is doubtful if the man would have been bored in

any profession. He not only had a great mind but also a great imagination.

In his own words: "It's time that the State understood once and for all

that the real life of a people can only be great if their unreal life,

the life of the imagination and spirit, is great. A people's force lies

in their dreams." 16

The conflict between the real and the ideal is expressed by

by Giraudoux.as a conflict between dual personalities throughout the

Siegfried series of novels he wrote during the "twenties" and early

”thirties.“ 17 The first novel of this series, Sgigfried et_;e Limousin,

won for him the newly created Balzac Prize in 1923. 13 The plot of the
novel clearly illustrates this conflict between the real and the ideal

that Giraudoux is so concerned with throughout his works. The story is

about a French soldier who suffers a severe traumatic amnesia on the

battlefield, is picked up by the Germans, naked and without means of

15 Jean Giraudoux, The Enchanted (New York: Random House, 1950), P. 111.

16 Jean Giraudoux, "Paris Impromptu," Theatre Arts , 22:223,

March, 1938.

17 This series includes §iegfried et 1e Limousin (1922), Fugues

sur Siegggied (1932), and Fin de Siegfried (I93h). ‘
18 Drake, 22, 233., p. 15
 10

identification, and rehabilitated as a German. In this manner the former

French.writer, Jacques Forestier, becomes Siegfried. The merger gives

rise to an extraordinary personality, the result of which is genius.

Siegfried returns to France as Jacques Forestier, but succeeds in

harmonizing his two personalities- the German which represents the ideal

and the French which represents the real. Thus, Giraudoux.makes a

rather unscientific but very sincere attempt to show that peace between

the German and French peoples is possible, Siegfried-Forestier serving as

serving as an example. He also shows that a compromise between the real

and the ideal is necessary, the dual personalities of Forestier serving

as the symbol.

This series of novels placed Giraudoux high among the literary

men of France. 19 Before his first play was staged, Giraudoux was

"already well known for his books, which were written with a distinguish-

ed gift for metaphor by a master of style." 20

When the literary critics refer to the works of Giraudoux they

refer to both his novels and his plays. However, it is for the most part

through his translated plays that Giraudoux is known in this country. In

1928IGiraudoux.wrote his first play. This was in part a result of the in-

fluence of Louis Jouvet, France's famous designer, director, and actor. 21

19 Barrett H. Clark and George Freedley, A History of Modern Drama

(New York: Appleton-Century Company, l9h7), p. 307.

20 Thomas H. Dickinson, The Thegtre of ChanginggEurope (New York:

Henry Holt and Company, 1937), p. 207.
1938 Horton Eustis, ”Jean Giraudoux,” Theatre Arts 22:128, February,
Giraudoux also turned to drama because of a growing self-confidence

which was a result of his gaining recognition as a writer just at a

time when he reached a state of well balanced maturity. 22 His first

play'was the dramatization of his novel Siegfried et le Limousin.

Jouvet produced the play, its title having been shortened to Sie fried,

the same year. This was the beginning of a lifelong author-director

relationship between Giraudoux and JOuvet.

In the sixteen years following the Siegfried production Giraudoux

wrote nine more important dramas. 23 Although it is difficult to deter-

mine so soon the lasting importance of his plays, it has already been

said that he represents "the culmination of half a century of evolution

of the French drama." 24

Jean Giraudoux is best known in this country for his plays. The

following translated Giraudoux plays have appeared on the New York stage;

Sie fried, 1930-1931 season, translated by Philip Carr, twenty-three

performances, Amphitryon38, 1937~1938 season, adapted by S. N. Behrman,

one hundred and fifty-three performances, The Madwoman of Chaillot, 1948-

19A9 season, adapted by Maurice Valency, three hundred and sixtybeight

performances, and the latest, The Enchanted, l9h9-l950 season, adapted

by Maurice Valency, forty-five performances. 25

22 Lemaitre, gp. git., p. 24A

23 Asphitgzgn 38 (1929), Judith (1931), Intermezzo (1933), later

translated into English as The Enchanted, La Guerre de Troie n'augagpgg
lieu (1935) Electre (1937), Im ro tu de Paris (1937), antique de Can-
'tiggg (19375, Sodome et Gomorrhe (1913), and La Fblle de Chaillot (1911).
24 Clarke and Freedly, 22, git., p. 307.

25 William weiss, "A Fifty Year Survey of Modern French Drama

on the New Ybrk Stage" (Unpublished: 1950).
 In analyzing any one of the above plays all of them.must be

considered. This is because they all have the same general conflict

and the same general style; the conflict of each of them is the ideal

versus the real, the style is fantasy. Since it is necessary for a

director to analyze a play before directing it, 26 a familiarity with

each of the above mentioned plays would be helpful to a director at-

tempting to do any one of them.

Siegfried failed according to Broadway standards, since it gave

only twenty-three performances. The play was an Eva LeGallienne

production, and Miss LeGallienne attributes its failure to two factors.

First, the theme of the play- a reconciliation between France and Ger-
manyb— is not universal. Second, the average American theatre-goer

finds it difficult to sit through long philoSOphical dialogue, and

Siegfried contains a great many speeches of this type. 27

AMphitryon 38 was more successful in America, with one hundred

and fiftyhthree performances. It was also successful in its original

French production in 1929 at which time Edmond See said of it:

Giraudoux achieved a kind of miracle with Amphitgygn 38,

keeping his spectators for three hours charmed and spellbound,
while subjecting them to exercises in verbal and ana%§tica1
virtuosity such as our stage has not recently seen.

The play is a fantasy, based on a classical legend. An exams

ination of the plot and characters shows clearly the conflict of the

26 Gilmore Brown and Alice Garwood, General Principles of Play

Direction (New York: Samuel French Company, 1937), p. 133.

27 Commonweal, 13:LA, November 12, 1930.

28 Dickinson, 92, git., p. 207.

 13
real versus the ideal to be present. Jupiter, ironically the realist,

having fallen in love with Alcmena, the idealist who is the faithful and

beautiful wife of Amphitryon, a Theban general, comes to earth disguised

as Amphitryon and attempts to seduce Alcmena. Unlike Siegfried the con-

flict does not resolve itself as a compromise. The Ideal conquers the

Real, for during the course of the play Jupiter learns that, in the face

of human love, he can neither share nor take away the limitations he has

put on mortals. Alfred Lunt and Lynn Fontaine played the leads in the

American production, and Mr. Lunt said of the play:

Isn't it an amazing play? It's like no other play I have ever

acted in before. It's as much of a farce as Room Service. Yet,
it's got a quality something like a Gauguin picture that you see
for the first time. No, not that. You can't quite put your fin-
ger on it. I don't know if it will ever go over. How can you
tell? It's poetic, profound. You can't even set the laughs. 29

The Madwoman of Chaillot is another Giraudoux comedysfantasy.

It was done during the l9h8-l9h9 Broadway season. An examination of the

story shows again the conflict between the real and the ideal. It con-

cerns an old "folle" who, along with her tea-drinking friends, decides

to rid the corrupted Paris of evil. Thus, she represents idealism and

society represents realism. She entices all the Opportunists into her

cellar by convincing them that there is oil in the sewers of the city.

Then she seals the passageway, for in her idealistic way she believes

29 Morton Eustis, "A Play in the Making," Theatre Arts, 21:9A1,

January 17, 19h9.
 11;
that goodness and happiness can once again be achieved for all "If all

the moneybbags-— the newly rich, the black marketeers, the sinister

profiteers, the pimps of capital- are drowned like rats in the sewers..." 30

It is easily observed that the old woman's mad tea-parties have

an Alice in wonderland tone, while the hilarious descent to the sewers

has a weird quality that brings to mind the Pied Piper of Hamlin story.

Harold Clurman says of Giraudoux.and the play:

Giraudoux...wrote of the Paris of our day as a fantasist. For

Giraudoux was a political conservative, and the conservative who
wants to see the ugliness of our times done away with can only
dream. 31
The Enchanted, like the previously mentioned translated Giraudoux

plays, is a fantasy with a conflict of the ideal versus the real. This

will be discussed more completely in a following chapter. It is impor-

tant to point out that although the play was given a successful Paris

production, 32 it was a failure in its 1949-1950 Broadway production.

The critics disagreed over it. Of the seven writing for the major New

York papers, three of them classified it as a "hit," 33 three as a

”miss,“ 3‘ and one was extra cautious. He said, "Well, I liked it,

but I don't know if you will or not." 35 Both _—'—_5

Time and Newsweek found

30 Jean Giraudoux, The Madwoman of Chaillot (New York: Random

House, l9h7), p. 10A.

31 Harold Clurman, The New Republic 120:28, January, 1949.

32 Robert de Beauplan, La Petite Illustration, (Paris: Bernard

Grasset, 1933), p. 32.
33 Robert Coleman, New York Dailleirror, January 19, 1950; John
Chapman, New York Dgily;News, January 19, 1950; and wn. Hawkins, New York
World Tele , January 19, 1950.

3A Brooks Atkinson, New York Times, January'l9, 1950; Howard Barnes,

New'Yorszerald Tribune, January 19, 1950; and Richard Watts, Jr., New York
Post Home News, January 19, 1950.

35 Robert Garland, Th§_New;York Journal American. January 16. 1950.

 15

it confusing and tedious. 36'37

The critics without exception agreed that thecfirecting of George

S. Kaufman and the acting of Leueen Macgrath (as Isabelle) were excel-

lent, as was the original music of Francois Poulenc. 38 Harold Clurman,

writing for the New Republic, claims that the play has more poetry in its
prose than T. S. Eliot has in his poetry in The Cocktail Pgrty; 39

Maurice Valency, who adapted the play, says this of its Broadway

failure:

The Enchanted did not have a successful production. The truth

about a fiasco is never told- largely because nobody knows what
happened. Suffice it to say, we did it badly. More accurately,
we done it wrong. We done it wrong in a whole-hearted, thorough-
going sort of way that left nothing to the imagination. #0

As has been pointed out, Giraudoux's basic conflict in his dramas

is the conflict between the ideal and the real. Georges Lemaitre, Girau-

doux's biographer, claims that in this conflict lies Giraudoux's audience

appeal, because:

The majority of men find themselves at one time or another in the

same state of mental dualism, torn between a pure and revered ideal and
an attractive reality. Hence the almost universal appeal of Giraudoux's
writings . 1'1

36 Time, 55:37, January 30, 1950.

37 Newsweek, 35:67, January 30, 1950.

38 New York Theatre Critics Reviews (New York: Critics Theatre Reviews,
1950), Pp. 387-389.

39 Harold Clurman, The New Rgpublic, 122:30, February 13, 1950.

40 Maurice Valency, "About the Play," Theatre Arts, 34:56, October,

1950.

41 Lemaitre, 92. gi§., p. 226.

 l6

Giraudoux's talent lies in showing the poetic beauty of both

these conflicting forces. He is neither a compromiser nor a reformer.

Milton Stansbury states, "Since the world is neither sufficiently beauti-

ful nor absurd to suit Giraudoux, he turns it inside out and redecorates

it.“ 42
As for his form, Morton Eustis describes it quite adequately. He

says:

Giraudoux is heading toward a form which is both old and new, a

form in which the beauty and majesty of the spoken word are used
to heighten and fulfil the inner meaning of the drama-- a literary
theatre, in short, which, like the theatre of the Greeks, or of‘
Shakespeare, or of Racine, is both literature and theatre. 43
Giraudoux seldom.tried to solve a problem in his novels or plays.

His art is provocative, but never dogmatic. He sometimes shows the

means, or points out subtle analogies suggesting a solution, but a con-

crete solution is seldom presented. Giraudoux, generally speaking, ap-

peals to the imagination.more than to the reasoning power. Primarily, he

is a poet dealing with images. As he himself said, "Je ne condidere tout

ce que j'as fait que comme une espece de divagation poetique..... I con-

sider all that I have done as merely a type of poetic divagation." Ah

Lemaitre claims that in Giraudoux's art the fundamental elements

of human nature are deliberately overlooked. Giraudoux looked upon him?

self as a "journalist of mankind," not attempting to set forth either

42 Stansbury, gp.‘gi§., p. 291.

43 Eustis, 92, git., p. 133.

44 F. Lefeure, "Une Heure Avec...J. Giraudoux," Nouvelle Revue

Francais, 62:149, August, 1927.
 1?
eternal laws or to determine unalterable truths, but simply recording,

as they occured, the multitude of trifles which constitute our daily

lives. 45

Thus, "Giraudoux never, in fact, attempted didactically to offer

information about the outside world. Objects, persons, nations interest

him only in so far as they constitute a medium in which his personality

can reflect itself, or as they provide him with material for his imagin-

ation and a rich field for his art." “6

Giraudoux appears to be a writer who enjoyed his work. He was a

man who wrote for the enjoyment and pleasure he and others might get

out of this work. He was profound, but he was not a reformer. He was

a romanticist who was also conscious of realism. He scrutinized reality

and endeavored to discover in what way it could be assimilated to his

ideal. He never succeeded in making this assimilation.

45 Lemaitre, gp. 213., p. 273.

46 Ibid., pp. 291-292.

CHAPTER III
 CHAPTER III

FEE-PRODUCTION PREPARATION

Once the play is selected and a study is made of the playwright,

the next step is to analyze the play. The director's task is to deter-

mine the author's ideas and intentions, that is, the theme of the play.

The theme once determined, the director must then discover the type and

style of writing, the use made of characterization, and make a consider-

ation of the fundamental problems of directing.

THEME

The Enchanted is not a play of situation or character, but one

of ideas. The major factor in the writing that has been emphasized by

Giraudoux is the conflict of ideas. Eric Bentley, returning from.a trip

abroad where he had studied continental playwrights, said of Giraudoux,

"He is more interested in ideas than in dramatic action..." 1

It must not be implied that Giraudoux's plays, and especially

The Enchanted, lack situation or characterization. The Enchanted is a

drama full of interesting situations, but it is not a drama solely of

situation. The characters are used for a purpose, but not a prepagand-

istic one. Maurice Valency, translator and adaptor of The Madwoman of

Chaillot and The Enchanted, believes that the characters in The Enchanted

have a tendency to generalize themselves. "One feels that they stand for

1 Eric Bentley, "Back to Broadway," Theatre Arts, 33:12,

November, 1949.

18
 l9
something. In most cases it in not easy to say exactly what, for they

have a versatility which is unknown among personifications. The reason

is perhaps that they represent not principles of action, but attitudes

of mind." 2
As a dramatist, Giraudoux relies on his theme. It is not diffi-

cult to discover his purpose in writing, for it is an integral part of

all his writings and personality. Giraudoux was looking for harmony be-

tween the real and the ideal. The fundamental conflict in the play, Th3

Enchanted, is the conflict of the revered ideal against the harsh reality

of life. The play's characters are evenly matched against each other in

abstracting these two forces.

Giraudoux‘s premise is essentially: Man does not need to reject

reality, nor accept it completely. All he needs to do is find the comp

promise between the two. Specifically, in the case of the protagonist,

the young, idealistic Isabelle, the answer is love.

Jean Giraudoux did not wish to reform the world. It is even doubt—

ful that he wanted to make his audience act on all the problems of life

that he presented. It is true he satirised prototypes of people and ex-

isting institutions, but not in the sense of desiring totabolish them.

Giraudoux turns the world upside down in The Enchanted, but still con-

cludes, "Life is so beautiful."

The universal appeal of Giraudoux's theme, as mentioned before, is

2 Maurice Valency, "Playwright Who Kept His Rendezvous," Theatre

Arts, 33:15, August, 1949.
 20

in the fact that the majority of men find themselves torn, at some time

during their lives, between a pure ideal and an attractive reality.

STYLE

A director must determine the type and style of the play he is

directing in order to match them with compatible directing techniques.

It is very easy to say that a play is a comedy and therefore it is to be

directed with laughter in mind. Broadly speaking, The Enchanted is a

comedy, but it is also a fantasy.

Alexander Dean states that, "To the author, style is the degree

and kind of lifelikeness that a playwright has used in his writing." 3

And to the director, the reality or non-reality of a play or a scene

can be judged only by the way the author treats it.

As a dramatic figure Giraudoux is unique; his style and language

are entirely his own. The Enchanted is gentle and lyrical. It has a

poetic lightness that is near music. It is witty, but not cynical;

learned, but not pedantic; profound, but not didactic.

The style of The Enchanted can be said to lie somewhere in the

realm of romanticism. It is in many ways the Opposite of realism. The

situations and characters are not impossible, but highly exaggerated.

The actions are motivated, but not lifelike. The characters are often

ideas, attitudes of mind, not true three-dimensional, living beings.

3 Alexander Dean, Fundgmentgls of Play Directing (New York:

Rinehart and Company, 1941), p. 354.
 21

The audience, in viewing this style in a production, usually observes the

life of the characters instead of reliving their roles with them.

In directing a play such as The Enchanted which is a comedy-fantasy

done in a romantic style, there are two fundamental approaches that a

director should use. First,

He must overcome the audience's expectation of a realistic

production and arouse the actor to cast off the limitations of
realistic movement and speech and discover patterns of expression
necessary to fantastic characters and fantastic action. The audience
will accept the unfamiliar style quickly if it is interesting. 8

Second, the entire production should be played on the outer stage

of reality, with situations and characters played first for eXpressing

the mood and the theme. George S. Kaufman, Speaking Specifically of

The Enchanted, says that the entire show should be played "three feet off

the ground." 5

CHARACTERIZATIONS

After the director has discovered the theme of the play, its type,

and its style, his next problem is one of analyzing characters. There

are fifteen roles to be considered in The Enchanted, and each one is an

integral part of the whole; there are no "leads." Each character serves

an almost symbolic function. The Little Girls represent the young and

innocent, the Supervisor represents reality, the Mayor, the naive admin-

istrator, Isabelle, the idealistic young woman who believes that justice,

4 Bernard Hewitt, Art and Crgft of Play Production (New York:

J. B. Lippincott Company, 1940), p. 69.
5 From a personal letter to M. Phillips by George S. Kaufman,
AugUSto l6, l951e
 22

order, and reason can rule the universe, the Inspector symbolizes the

factual materialist, the Doctor represents the compromiser, the Mange-

bois Sisters are stereotypes of the talkative gossips, the Ghost repre-

lsents the pure abstraction of the ideal, and the Executioners are used

for comic relief.

Giraudoux's characters are half-real, half-imaginary. They seem

to live from.moment to moment. Perhaps this vagueness of character is

an asset. Georges Lemaitre, Giraudoux's biographer, says of the playa

wright's characters, "Their very elusiveness may be considered a merit,

for it leaves free sc0pe to the imagination." 6

Even though the characters in The Enchanted are only semi-realistic,

for presentation purposes the director decided he must know what the char-

acters represent, how they look, feel, and understand each other, and their

relation to the play as a whole.

ISABELLE

She is the play's protagonist. In a sense, the play is her biography.

It is the critical moment in the life of a young girl when she turns from

girlhood to womanhood. Isabelle represents the pure and the idealistic.

She is not naive, she is innocent. She is youth.

She pursues the generous ideal of life as it should be lived. She

is a schoolteacher by profession. Her attitude toward teaching is high—

ly'idealistic: "I teach what I believe." 7 She thinks she is a reformer,

6* Georges Lemaitre, Four French Novelists (New York: Oxford

University Press, 1938), p. 285.
7 Jean Giraudoux, The Enchanted (New York: Random.House, l9h8), p. no.
 23
but actually she can only dream. "I have alsays dreamed of doing some-

thing really wonderful. For humanity. Something that would save the

world from itself, and make life as sensible and happy as a fairy tale." 3
Isabelle's influence is strongly suSpected in her community, and

soon a rumor spreads that she is in communication with a Spirit.

THE GHOST

Isabelle's spirit friend is a young, handsome ghost. He represents

the pure ideal of the mystical Isabelle's imagination. The Ghost is

actually a shy and gentle Spirit who is attracted to Isabelle. The Ghost

will not bring back the Spirit world to save the world of the living be-

cause to him.life consists only of the pleasure of the bed and table, the

pleasures of jealousy and cruelty. Life is not worth saving. The Ghost

returns to his spirit world without revealing to Isabelle the secret of

life.

THE LITTLE GIRLS

The Little Girls are three ten-year old children in the sixth grade.

They represent the naivety of the young and inexperienced. Isabelle, their

teacher, tries to awaken in them an ideal, Optimistic, and genuine appre-

ciation of life, and she obtains from.them an enthusiastic response.

THE DOCTOR

The Doctor, a middle-aged bachelor, is the stabilizing influence

in the play. "At my age, Isabelle, one comes to a pretty clear realiza-

tion of the part one is destined to play in this world... To fuse the

3 LEE” P0 480
 24

precise with the vague, the ridiculous with the sublime-- that is my

function.“ 9
He is a very likable fellow; modest, sensitive, and intelligent.

He personifies the half—way point between the real and ideal. He is

Giraudoux's abstract solution, the man who really knows what life is,

but of course he is considered "odd" by the rest.

THE INSPECTOR

The Inspector is one of the most interesting characters in the

play. His type is not unusual. He is the extreme realist-- "The facts

are the facts." 10 To him, life is exactly as it appears to be. "Life

is nothing but a tiresome journey." 11 The Inspector is the individual

who believes that anything outside of the realm of the natural is undesir-

able, and therefore must be diaposed of quickly.

He symbolizes to Giraudoux to powers of government and science.

The purpose of government is to "define the physical aSpects of man by

means of the printed form." 12 The purpose of science is to "liberate the

spirit of man from the infinite by means of material rewards." 13

The Inspector must be treated with reSpect. He cannot be considered

a figure to be ridiculed, for, after all, it is his job to keep the world

safe for humanity, and the stability of the human system depends on a

9 E. p. 1.3.
10 [Ibid., p. 40.

11 Ibid., p. 40.

12 Ibid., p. 10h.

13 g2;g., p. 10h.
 25

rigorous blockade of the frontiers of the mind. However, the materialist,

as Valency claims, "is helpless before the forces that the imagination can

tap.“ 1h

THE MAYOR

The Mayor represents the same forces as the InSpector, only on a

smaller, less successful scale. Whereas the Inspector is effective, the

Mayor blunders. The InSpector is dogmatic in his convictions, but the

Mayor wavers in the face of popular belief. The Mayor also sees only the

extrinsic in life. Anything for him out of the ordinary can only be

measured in terms of, "But there's nothing in the regulations against it--

nothing Specific, at any rate." 15

However, the Mayor should not be thought of as a blundering old

political fool. There is another facet to his personality. As he himself

states, "I have but one real passion in life. I collect stamps." 16

THE SUPERVISOR

This practical realist, an adventurer of the flesh, is the only one

who can offer an answer to the idealist. The lover, "the most beautiful

man in town," 17 is the Supervisor. Only he, with his devotion to Isabelle

and his love for the "good" or sensuous things of life, can solve the

answer to the riddle of life. In the mind of Giraudoux, "true love seems

1h Valency, gp.lgit., p. 56.

15 Giraudoux, 22. 213., p. 37.

16 Ibid., p. 102.
17 Ibid., p. 27.
 26

to conquer all," for the realist in love becomes somewhat of an idealist.

THE MANGEBOIS SISTERS

Leonide and Armande Mangebois, the town gossips, both represent

the well—meaning meddler who always manages to get someone in trouble.

They are elderly spinsters. Leonide, the elder of the two, is deaf.

As Giraudoux wrote them, they are exaggerations of the meddling gossip,

and can only be played in a farcical manner.

THE EXECUTIONERS

Two strange individuals are placed in the plot for the obvious

reason of producing laughs. However, they do serve one purpose. They

further the plot by getting rid of the Ghost, or at least trying to get

. rid of the Ghost.

Giraudoux represents them as extreme opposites of what one might

normally expect an executioner to be. They are ignorant. They are

frightened at the first mention of a ghost. They appear nervous at the

mere idea of killing someone. The First Executioner excitedly says to

the InSpector, "Will there be much waiting? If I stay up after midnight

I always get the shakes." 18

In a play where two characters both represent the same thing and

are used for humor, the director must decide whether they should be

played as twins, that is, similar in appearance, costume, and actions,

or if they should be played as Opposites. In a humorous situation, in-

congruity obviously produces the laughter. The Executioners then should

18 Ibid., p. 80.
 27
be different in physical appearance; short and tall, or fat and lean.

Their costumes should be in contrast; two different colors or formal and

casual. Their individual characteristics should also be in Sharp contrast;

one completely confident of himself, the other insecure.

THE CARD PLAYERS

These two characters, called Mr. Adrian and Mr. Tellier, are what

is commonly known in theatre terms as "walk-ans." They serve as a device

for humor in a crowd scene. They are called the town's citizens.

ADAPTING THE SCRIPT

As the director proceeded to work out details of staging Th2

Enchanted, it became apparent that changes in the script would have

to be made. A cutting process was necessary for both technical and in-

terpretive reasons.

The first change came in determining the number of little girls

to be used in the production. The script called for seven girls. The

director decided to cast three girls, instead of seven. The reasons for

doing this were three-fold. First, for the staging of the Show seven

girls, with at least three (and usually more) characters on stage with

then, presented a problem of movement which would-have been almost impos-

sible to solve because of the size of the playing area. 19 Second, even

though the girls are ten-year olds, the director felt that adult actors

could play the parts more adequately than children. The problem in

19 The Parlor Playhouse floorplan was designed for a twenty-four

foot width and aneighteen foot depth.
 28

casting was that very few women looked or could act the part of a small

child. The third reason for cutting the group of little girls from seven

to three was because the script called for the girls to sing and dance.

The second major change in the script was one of scene location.

The first two acts of The Enchanted take place in a clearing in the woods.

The third act is supposedly located in Isabella's room. The director de-

cided to locate the third act in the woods also. The obvious reason for

this change would seem to be one of Simplicity, for it is far easier to

design and construct a one-set Show. However, this was not entirely the

case. The director wanted a constant flow of actiory a flow that he felt

would be broken by removing the action from the forest. Because the pro-

duction was to be done in flexible staging, that is, the audience seated

on the same level in a semi-circle around the playing area, it was felt

that the spirit of the Show would have been broken by changing furniture

and properties to prepare a new scene. 20

Changing lines in order to place the third act out-of—doors was

not a difficult problem. At the end of act two the Ghost says, "I will

come to your home, Isabelle!" 21 This was changed to, "I will come here,

20 Giraudoux's reasoning for desiring two scene changes in the

play is not clear from analyzing the script. For nineteen years he had
written novels. A novelist can move as freely from one scene to another
as his imagination desires. A playwright must be more disciplined in his
physical descriptions, since his aim is to have the story recreated on a
stage. Therefore, it might be assumed that the novelist Giraudoux, turn-
ed playwright, mistakenly allowed his writing to take on dimensions that
theatrically were unnecessary.

21 Giraudoux, 92. 9339., p. 91.

"I

n"

.J

u,‘
I
 29
Isabelle!" Thus it was established that when the Ghost made a return

visit, it would not be to Isabelle's home in the town, but in the forest.

Logically, the Ghost would meet Isabelle in the woods, as all of their

previous meetings have been there. The InSpector explains in act two,

"Their meeting place is not far off. I know the place well. It's pre—

, cisely here." 22

At the beginning of act three the script reads that the Mayor,

InSpector, and Little Girls enter Isabelle's room in order touait for

the Ghost. But since the Ghost is now going to meet Isabelle in‘the

forest, the group enters into the forest. The Mayor has the first line

of the act, saying to the InSpector, "I h0pe you realize that this con-

stitutes breaking and entering." 23 The line was changed to, "I h0pe you

realize what you are doing." The only other important line changes in this

act to.determine the location were to change the word "window" to "thicket"

and l'sofa" to "log." Thus, the third act by a few line changes was to

take place in the clearing in the woods, the same location as the first

two acts.

The final major change in staging The Enchanted was an interpretive

one, rather than a technical one, although an impossible technical problem

was avoided by the same change. The difficulty was how to present the

Ghost as a ghost? If Isabella's belief in the life of the spirit is so

Strong that it is sufficient to evoke a real phantom, and not a real man,
as the Inspector seems to believe, how is this ghost possibly going to

22 Ibid., p. 65.

23 Ibid., p. 97.
 30
turn into a second ghost as the stage directions in the script call for?

After the Executioners fire at the Ghost, the script reads, "But at this

moment a spirit rises from the ground where the dead man is lying. He is

exactly like the Ghost, point for point, but he has authenticity. And as

they see the apparition, one after the other, they realize beyond doubt

that this time it is a ghost." 2h Immediately the director asked himself

how is one going to have an apparition rise from a man on the ground, an

apparition which is to look like that man? The staging would be impossi-

ble. There were no flies in the intended staging and any mechanical de-

vise would have been immediately Spotted by an audience seated less than

a foot from the playing area. The director then reasoned, why is it nec-

essary that one believe that the Ghost is a living individual in the first

' act? There is no motive for the Ghost being interpreted as a human being

in.the first part of the play. A man appears to Isabelle at the close of

the first act. She calls him "my ghost." She asks him questions about

the other world, and he vanishes. In the second act, we are told that

Isabelle meets him quite regularly. When the Ghost appears on stage

again he is shot and everyone sees him. The result is that now all be-

lieve him to be a Ghost and not a man.

The director proceeded to establish the Ghost as a Spirit through-

out the play. 25 The script would be just as logical and provide for a

21.:fbid., p. 90.
25 John Dolmen, The Art of Play Production (New York: Harper &
IBrothers, 1946), p. 102: "The question of whether the director has the
right to consider himself the author and to change or falsify the author's
:meaning is interesting, but is a moral or legal question rather than an
artistic one...The problem is whether a director's modification or alter-
ation conveys the author's meaning with greater artistic fidelity."
 31

consistent characterization of the Ghost. The problem was then to adapt

the scene in which the Ghost is shot.

The original script called for Isabelle and the Ghost to be alone

on stage. Two shots were to be fired and the Ghost was to fall to the

ground. Immediately, the InSpector, Mayor, Doctor, and Executioners enter

and discover the body. While the Inspector boasts about the "genuine

corpse,” the real ghost supposedly rises from the body on the ground. The

director worked out the solution in this manner: two shots are fired at

the Ghost, but instead of falling, the Ghost clamly walks offstage left.

The motive for this exit was not the fact that shots were fired, but in-

stead the noise of the Inspector and the group about to enter. The Ghost

has always seen Isabelle in private, and an unusual disturbancevvould log-

“ ically cause him to leave. When the group does enter, they assume the

Ghost to be dead and proceed to congratulate themselves. Isabelle's reac-

tion is one of sorrow. Her devotion to her Ghost is strong, and she is

unhappy because the others have frightened him away. Logically, the Ghost

returns on stage, not to frighten the rest, but to tell Isabelle that he-

will meet her again the next day. The script was then followed as written,

the InSpector's reaction, "There seems to beasomething wrong with my eyes.

There‘s surely nothing there?" 25 The group is then convinced that Isa-

belle's friend is actually a ghost.

Thus, after the script was sufficiently adapted to meet the demands

of the intended staging and interpretation, the director's next procedure

was to consider the fundamental directing problems that would be encountered

26 Giraudoux, gp.‘gi§., p. 90.

 32

in producing The Enchanted.

DIRECTING PROBLEMS

The director, as an interpretative artist, must make full use

of his stage and the actors on it. He must have a clear knowledge of

the purpose of each scene; its conflict, mood, and situation. He must

determine the basic composition of the play, that is, the design or

arrangement of the characters. A clear visualization of each scene must

be communicated to the audience. This visual interpretation, called

"picturization," is as important as the auditory interpretation. The di-

rector then must proceed to give the stage picture life. He must give a

meaning to his visual conposition. This can be done by movement. The

director, in detail, must further consider the fundamental movement pat-

tern of the play, its rhythm. After these four fundamental problems are

analyzed and worked into the actual direction of the play, the director

must then proceed to unify the movements, polish the action, and make

furhter use of characterization by pantomimic dramatization.

COMPOSITION

The process of arranging characters and obtaining a mood value is

called by Dean composition. 27 The director's problem is to<1etermine

whether the play should be presented in a realistic or non-realistic

composition. As has been stated, the style of The Enchanted as written

by Giraudoux is romantic. Its composition should be stylized. Stylization

27 Dean, 22, gi§., p. 137.

 33
is a deliberate attempt to change the forms of realism to their basic

essence. This script is an exaggerated treatment of peOple, places, and

ideas. This is stylization, for stylization, as has been stated, exag-

gerates in order to enable the audience to more clearly see the idea as

represented by each individual character.

It was decided to intensify this stylization of composition by

employing these devices: use of music, stage design, and movement.

Music was used to introduce each character or set of characters as they

entered. It could further serve as characterization and develop the

mood of the scene to take place. The stage design was simple. Two wings

painted like foliage, a log, and a stump were all that were conceived

to give the illusion of a forest, the remainder being left to the imag-

ination of the audience.

The movement within the basic composition, it was decided, Should

be rational, but not realistically motivated. Thus, the characters were

not arranged on stage as people actually locate themselves, but were

grouped to give particular emphasis to their personality, the idea

expressed, or to the total mood value of the scene. The InSpector is

going to deliver a political address. His position is arbitrarily shifted

down center, accompanied by military music, and he delivers his declaration.

The combined effect would be one of pomposity.

There are always Specific directing problems presented in arranging

large groups of characters on stage. More than three characters on

stage usually demands specific directing by the director. The use of

 3h
symmetrical balance is considered to be too geometric. 28 However, in a

non-realistic arrangement of a group, variations of symmetrical composition

have their advantages. 29

One of these advantages in symmetrical composition is in indicating

conflict. As has been stated, the conflict in The Enchanted is between

the real and the ideal. The playwright expressed this conflict symboli-

cally through the use of characters. This conflict can become more vivid

through the use of characters.

The InSpector moves toward center stage. The reason is not that

he would naturally take this position in a group, but instead for purposes

of emphasizing his extroversion, dominance, and relationship to the group.

When a group enters it gathers around him. The poetic, that is the ideal-

istic characters, and the prosaic, or the realistic characters, take po-

sitions natural and believable to the story. The Supervisor and Mayor

are together on one side of the Inspector while the Little Girls and

Isabelle are on the other. To Show a change in this relationship, one

or more characters would change positions. For example, when the InSpec-

tor discharges Isabelle for teaching the children in an aesthetic and

unorthodox.manner, the Supervisor leaves the Side of the Inspector and

crosses to Isabelle. The Doctor fluctuates back and forth, emphasizing

his role as the compromiser-— the stabilizing influence.

23 Ibid., p. 187.
29 Ibid., p. 187.
 35
In the last scene of the play, twelve characters are present

on the stage. The scene was considered by Giraudoux as being a

symphony with the Doctor acting as the conductor. 30 Every character

on stage is busily doing everything that he knows best in order to

coax the dying Isabelle back to life. It was decided to arrange the

scene's composition in this manner: Isabelle is on the ground, center

stage, with her head toward the audience. Her position on a low level

will give her direct emphasis. The Supervisor kneels beside her. Di-

rectly in back of Isabelle, center stage, are the three Little Girls.

'nieir central position reflects a change in their personalities, that

of growing up and maturing intellectually. The two card players sit

on the log, stage left. Their position is thus unobtrusive, yet serves

to break up the level of the group. Behind the log are the Mangebois

Sisters, gossiping and chattering inanely in a corner as they always

have done. To the right of Isabelle is the Inspector. The Inspector

is placed in a minor area to Show how he has sacrificed his position

in order to return the status quo. The Mayor's entrance is a hasty

cross to the InSpector's side. The Doctor paces back and forth in

front of the group, directing their vocal efforts with his baton.

The scene is thus symmetrically balanced, yet by the variation

in levels and movement pattern, the composition becomes alive and

hmctional.
PICTURIZATION

Dealing more specifically with picturization of the scenes, the

30 Tenn Giraudm, 920 .2922" pp. 126-1270

 vs

‘4 h'

\‘a
'I
 36

director has to give a vivid visualization to his composition.

Alexander Dean tells us that an excellent picturization tells the

story in visual terms so that someone deaf or a foreigner could

understand the story and characters of the play. 31 Each scene had

to be analyzed in pictorial terms for its Situation, mood background,

relationship of characters, and individual characterizations. The

director took these five steps in creating picturization and then

proceeded to carefully analyze each individual scene.

For example, at the opening of the play the Doctor and Mayor

enter and start the obvious dialogue of'exposition. The situation

is this: the Mayor has heard a noise and believes it to be the Ghost

that the whole cummunity is talking about. He and the Doctor are

awaiting the arrival of the InSpector and the Supervisor. Exposition

scenes are difficult of picturization because of their dependence on

dialogue. However, using the five steps of visualization, the followb

ing picture was worked out: the Mayor runs on stage, showing nervous-

ness. He reacts to an echo by Showing fright. His getsures are broad

and tense. He is continually moving, searching for someone. The

audience definitely knows something is bothering the Mayor. On the

other hand, the Doctor enters calmly. He acts very confident and

comes in close contact with the Mayor to try and reassure him. We know

the situation; they are waiting for someone, the mood; tenseness, their

baCkground; because of their costume they are men of relatively high

Position, especially the Mayor, who is formally attired. The locale is

31 Dean, pp. 313., p. 221.

 37
a forest, relationship of characters; obviously, the Doctor and the

layer are friends or know each other well, and individual characteri-

zation; the Doctor is calm and relaxed, the Mayor is nervous and

frightened.

MOVEMENT

After the director has analyzed each scene, as the above, for

picturization, he must then proceed to carry out the movement of the

picture. Directing movement is like conducting a symphony, for each

scene must be played by the director as a series of related and: varied

movements. To carry the analogy further, Pierre Kohler calls the

characters in Giraudoux's writings “instruments in an orchestra." 32

Dean classifies movement into four general kinds; story, back-

ground, character, and technical movement. 33 The most obvious type

of movanent is technical movement. Any stage design necessitates using
only certain exits and entrances. The Enchanted was designed with only

two entrances in mind. The design required all entrances and exits to

be made either from stage left or right. Because it was impossible

to have the actors cross the backstage area, all entrances had to be

mde from the same place as the exits. This arbitrary movement pat-

tern was motivated by the implication that stage right led further into

the woods and stage left led to the town. The director reasoned that

a third entrance was possible. fixtrances could be made from the audience

We Kohler, "A Balzac of Today,” The Living Age, 33351.5,

Septmber 15, 1927.
33 Dean, 22- 2230: Po 2500
 1‘

[we pr:
wt

I?! 12'
'e
d
 38
area. Since the Ghost mysteriously enters the scene of action, it

would have seemed illogical for him to appear from the wings where the

audience would know other characters had previously entered. The

director felt that the audience would accept him more as a Spirit

if he made his first entrance in an unorthodox manner, literally

from their midst.

‘Blis third entrance could be used again, once it had been es-

tablished. The Second Executioner could then make his entrance from

the audience, just at the moment when the Inspector gives him up for

lost. The Mayor, in the last act, could also quickly exit into the

audience area, looking for someone to help the dying Isabelle.

The next kind of movement to be considered is story movement.

Story movemmts are the more obvious movements that further the plot

of the play. The Little Girls dance around a stump looking for flow-

ere. Isabelle moves in close to the Ghost, for in the next line they

kiss. In these movements Giraudoux is quite specific.

Story movements must sometimes be imposed upon the actors by

the director. The script calls for the Inspector to sneeze. A sneeze

can be spontaneous or artificial. For dramatic purposes, an anticipa-

tory sneeze for the Inspector would be more effective. He would get

red in the face, move about, grab for his handkerchief, and finally

get around to the actual sneeze. A simple thing such as a sneeze can

not only further the story, but can indicate background and personal-

ity of the individual. A high government official like the Inspector

would be pompous about everything, even his sneezing.

Telling a story with movement can be achieved by a director in

 39
a pantomimic rehearsal. That is, if the scene is the recognition of

the Ghost, the actors should try to convey the idea without dialogue.

By the physical space between the actors and the tenseness of the body,

the story can be told non-verbally to the audience.

Background movements that establish locale and atmosphere often

have to be supplied by the director. The movanent by the Little Girls

should be free and relaxed; an atmosphere of space and outdoors could

be created. The Supervisor waste throw his cigarette on the ground,

indicating that the action took place in the cpen, not in a room.

The Doctor in the last scene of the play picks up a twig, further es-

tablishing the locale. ‘

1318 movement of character is tied up similarly with the use of

pantomime and business, and will be discussed later. Generally speak-

ing, however, each character must be given several typical movements

that will develop and be consistent with their personality pattern.

The Little Girls are active and restless. The Doctor is calm, very

little extraneous movement. Isabelle can be interpreted in light,

quick movements. The Inspector should be slow and pompous. Each

character's movement must be specifically related to their part and

mood in every scene.

The Enchanted, because of its particular style, has a movement

pattern that is unrealistic; that is to say, the movement is not of

the sort that really requires a true-to—life composition. The movement

should not be unmctivated, but only arbitrary in relationship to the

meaning of the scene. For example, the Ehcecutioner scene, as has been

stated, was designed by Giraudoux for laughs. It is possible to play

 he
the scene with the two executioners trying to outdo each other in

getting closer to the audience while singing. This arbitrary move-

ment could be motivated by establishing the fact that the two execu-

tioners believe that they have beautiful singing voices.

Stage movement for The Enchanted is not real life movement,

although each actor must move realistically within his own character-

ization. Isabella's ethereal quality, her love for the imaginative

and meal, could be further suggested by her movement. Her first

mtrance with the Little Girls is a dance. She teaches the Little

Girls dancing. Her personality is light‘and evasive. Therefore,

throughout the play's action, Isabelle's movement pattern should be

dance-like.

Isabella's first meeting with the Ghost should serve as an

emosition of their relationship, since the development of the play

is built around this relationship. Movement can serve as one means

of expressing character relationships. The Ghost in this first meet-

ing enters shyly and hesitantly. His movement should be in a slow- ‘

paced, direct line toward Isabelle. Confronted by the mortal Isabelle,

the Ghost feels insecure. Isabella's delight over finally meeting the

Ghost would cause her to express her excitement in the manner she beat

knows. Dancing around the Ghost expresses her emotion and is consistent

with her personality. This movement of "ring around the Ghost" also

shows an unconscious wish on Isabella's part to keep the Ghost in real

life, to capture him and all he stands for.

Each movement has its own specific purpose, whether to further

the story, background, and characterization, or to serve a technical

 bl
purpose. The Ehchanted's movement pattern is arbitrary, but it is

consistent with the playwright' s style of fantasy.

game
Because the total movement pattern is related to rhythm, this

problem should be considered next. There is only one fundamental

rhythmic pattern in a play, but there are many variations of this

pattern. These variations are called tempo. The fundamental rhythmic

pattern of The Enchanted is quick and light. In a fantasy, the rhythm

is one of the most necessary fundamentals to capture. As has been

stated, Giraudoux's lyrical writing style is close to music. A person

familiar with musical composition can see the relation of musical ’

rhythm to poetry.

Once this fundamental rhythm pattern has been determined, the

problan is then one of determining tempo. The Enchanted can be divided

into sixteen scenes and each one has its own individual tempo.

The first scene is nervously paced and builds to a climax through

the use of movemmt, voice, and background music. The next scene, which

is the entrance of the Little Girls, is gay and sparkling, augmented by

bright waltz music in the background. The tempo gradually shows less

sparkle and slows down until the entrance of the Inspector. He enters

to the flat, stale notes of a trombone, heavy, slow, and calculating.

The dialogue quickens in pace because of the excitement of'the situation

and reaches its climax at the flighty entrance of the spinsterly sisters.

The rhythm of The Enchanted is like a sprightly, humorous dance.

An analogy to music is quite valid; every scene in the play is augmented

by music of some type, whether to accompany a song or serve as a fill-in

 142
between scenes. This use of music, coupled with movement, doubly

serves the function of establishing the rhythm of the play. The direc-

tor's task is to integrate the actor's movement and dialogue with the

incidental music to achieve the rhythm and tempos desired.

PANTOMIMIC DRAMATIZATION

Pantomimic dramatization includes both business and pantomime.

Pantomime is action without words, and according to Dean, action is a

sequence of facial expressions, gestures, hand operations, and body

positions and movements. 3’4 Business serves somewhat the same function

as movemalt; both serve to further the story, character, and atmosphere

of the play.

The Inspector is given the business of tapping his cane whenever

he is excited. The Little Girls restlessly jump up and down to show

youthful exuberance. The Doctor calmly strokes his heard in a moment

of thought. These are examples of character pantomimes.

Story pantomime is usually prescribed by the author, although

the director can add many "touches" to further the plot. For example,

the Inspector is about to enter the scene; both the Doctor and the Mayor

can prepare the audience for this entrance by frequently looking toward

that particular entrance. The Inspector orders the girls to leave si-
lently. Obviously dogmatic authority is too much restraint for the

Little Girls, and so one of them may stick her tongue out at the Inspec-
tor.

By having all of the characters, except Isabelle and the Little

Girls, enter the forest and look around, the point can be established

31‘. Ibid., p. 2970

 he
that they are not familiar with the locals. Isabella's entrances can

be directed to a certain spot, as if she had frequented the place

quite often.

The director has thus completed the pre-produetion preparation

of The Enchanted. The first task was to determine the playwright's

purpose in writing. It was concluded that Giraudoux wrote plays empha-

sizing the conflict of ideas, the clash of reality with the dream, the

ideal. The theme of the play was man's search for the compromise between

the real and the ideal. The style of The Enchanted was determined as

romantic, written as a comedy-fantasy.

An analysis was made of each character, considering their sym-

bolic and dramatic purposes. Having placed the characters in their

preper relationship to the theme and style of the play, the director

then outlined his method of adapting the script for production and,

following that, considered specific directing problems.

The final step in preparing the planr for production was to con-

sider the fundamental directing techniques in real situations involving

problans confronted in directing The Enchanted. Five fundamental di-

mcting problems were considered: composition, picturization, movement,

rhythm, and pantomimic dramatizaticn.

CHAPTER IV
 THE ENCHANTED

The cast:

THE MAYOR ARMANDE HAPGLBOIS

THE DOCTOR LEONIDE HANGEBOIS
ISABELLE THE GHOST
GILBERTE FIRST EXECUTIONER
DAISY SECOND EXECUTIONER
DENISE MR. ADRIAN
THE INSPECTOR MR. TELLIER
THE SUPERVISOR

SYNOPS IS

ACT ONE

A clearing in the woods just outside a provincial town in France.

Late afternoon.

ACT TWO

The same. A few weeks later.

ACT THREE

The same. The next day.

LEGEND

C...Center Stage Light cues... ____

D...DOHn Stage Sound CUBS... -_, -
I“..Left Stage Business and stage movement...
R...Right Stage
U...Up Stage
X...Cross Stage

h3
 ACT ONE

SCENE: A BEAUTIFUL GREEN CLEARING IN

THE WOODS, BORDERIHG A LAKE JUST OUTSIDE
A PROVINCIAL TOLN IN FRINGE. THE FIELD
IS VLRY OPRH, BUT IN ORE SPOT WEEDS
HAVE OVIRGRO N THE RUIRS OF hHhT HIGHT
HPVE TEEN A SUAJLR HOUSE. FOR THE ElsT,
THE SCENE IS INNOCINCF ITSHLF.
THERE IS A FALLEN LOG UL; A
TREE STEM? UR.
IT IS LATE AFTERNOON IN SPRING.

Light one #1 AT RISE: The stage is empty. Offstage

R, we hear a shout. Then the MiXOR
Sound cue #l . enters R, evidently in some trepidation.

MAYOR: Hello! (X DC, I LC, THERE IS

NO ANSLER. X UL AND LOOKS OFF) Strange.
Not even an echo.——Hellol

Sound cue #1 off THE ECHO: Hello! (THE mAYOR TURNS IN

Flam . )

Enters R, X to MLYOR C DOCTOR: Hello, Mr. Mayor.

I to DOCTOR MAYOR: Oh! It's you, Doctor?

DOCTOR: Did you think it was he?

Nervously paces in MAYOR: Don't joke about it, please.

front of DOCTOR We all know he doesn't exist--most
likely. (A STEP L) All the same,
there's something queer about this
place.

DOCTOR: This is the spot where he

appears, eh?

MAYOR: Now don't let's be silly.

DOCTOR: But I thought you said-

MAYOR: I said this is where he is sup-

posed to appear. It's nothing but an
hallucination, of course. We all know
that.

DOCTOR: If it's nothing but an hallucin~

ation, we could have met just as well in
 45

your office in the Town Hall.

MAYOR: Of course it's an hallucination.

DOCTOR: Then what, may I ask, mace you

choose this place for our meeting?

MAYOR: I didn't.

DOCTOR: No? Who did?

X to DOCTOR MAYOR: The Inspector. Why? Do you

feel a little nervous?

Gestures in a circle DOCTOR: Not a bit. (LOOKS ARJUND)

To me, this spot looks as green and
innocent as a golf course.

MAYOR: They never haunt a golf course?

I UR DOCTOR: Very seldom. Nothing is further

from the eternal than a golf course.

MAYOR: Really?

DOCTOR: A golf course is the epitome

of all that is purely transitory in the
universe, a space not to dwell in, but
to get over as quickly as possible.
In a golf course everything is calculated,
limited and foreseen--even the hazards.
Every blade of grass is registered-
even the weeds.

MAYOR: This place is full of weeds.

Goes around stump R DOCTOR: You're right. This place is

stops below stump by no means as innocent as it looks.
There are all sorts of malignant things
growing here-—hellebore-and henbane-
and even-—yes, by God——l mandrake-l

X to DOCTOR MAYOR: You think it's true what they

say about the mandrake?

DOCTOR: With regard to constipation?

MAYOR: With regard to demonology. They

say, when a mandrake is impregnated with
 #6
the seed of a hanged man, the child
grows up to be a fiend. Can you believe
that?

X L to log DOCTOR: It's quite possible.

Follows DOCTOR MLYOR: You don't suppose that this--

apparition—-is a thing of that sort?

DOCTOR: hhat does it look like?

Dwarfish? Crooked? Black?

MAYOR: No. Tall. Young. Handsome.

DOCTOR: Have there been any hangings in

the district?

X in front of DOCTOR C MAYOR: During my term as Mayor, only fine.

The grocer's wife, you may remember the
case. In the time of the ration cards.
But she hanged herself by the feet, and
only sprained her ankle.

X UL and then to UR DOCTOR: That won't do. It has to be a.

man, and with the feet down. I'm begin-
ning to think our colleagues are lost.

MAYOR: No fear of that. I've asked the

Supervisor of heights and Measures to
meet the Inspector at the station. The
Supervisor knows exactly where we are.

X to MAYOR DOCTOR: In my opinion, a committee of

three would have been ample.

MAYOR: But the Supervisor is such a

pleasant chap. There's a lad who doesn't
know the meaning of fear. Did you hear
what he did last night at the dinner?
With a single phrase, imagine, he complete-
ly rehabilitated Catherine the Great!
And in the very beard of the Fire Captain!
(PATS DOCTOR'S hhARD)

DOCTOR: I wasn't talking about the

Supervisor.

MAYOR: He considers himself the local

champion of the weaker sex. If anyone
so much as opens his mouth.--
 1+7
DOCTOR: I meant the Inspector. Couldn't
we have done without him?

MAYOR: The Inspector? Oh, impossible.

The Inspector insists on investigating
in person all cases of subversive activity.

Turns away DOCTOR: And what gives him the idea that
this ghost is subversive?

MAYOR: The Inspector considers everyone

guilty until he's proved innocent.
Steps in toward DOCTOR You've heard of his latest inquiry?

DOCTOR: You mean those water nymphs at

Limoges?

MAYOR: After three weeks of fact—finding,

he decided to pave over the brook where
they lived. The army engineers did the job.
Nobody's seen any water nymphs since. Then
there was the case of the pretty bay mare
that was supposed to be making eyes at the
young men--

DOCTOR: He considered her subversive?

MAYOR: He had special blinders made;

the poor beast has to wear them even in
her stall at night.

DOCTOR: And this is the man who is

coming to investigate our ghost!

Looks around MAYOR: He should be here by now. You

don't suppose they've got themselves lost?

X UR DOCTOR: We might give them a shout?

Tries to stop DOCTOR MAYOR: No, no. Please. There's something

from shouting unusual about the acoustics here.

DOCTOR: You think?

mnYOR: I wouldn't shout. You can't tell

who might answer.

MAYOR follows behind DOCTOR: Now who could possibly answer,

besides the Supervisor and the Inspector?
(HE SHOUTS R) Hello! (TURNING HE X TO L
leOR: "I wouldn't shout. You can't tell who might answer."
 49

Sound_cue #2 ARE SHOUTS) Hello!

(THERE Is A CHORUS OF SHRILL VOICES IN
Anemia.)

Offstage L THE VOICIS: Hello! Hello! Hello!

MAYOR: Good God! What's that?

(THREE LITTLE GIRLS ENTER TANCIRG Faom

L. AND AFTER Thai, ISABLLLE.)
EDance to UL THE GIRLS (BOTANIZIHG): Is this it,
Miss Isabelle? Is this the one? Is
this it, Miss Isabelle? IS this it?

X DC ~MAYOR: Oh, Miss Isabelle! What a start

-Sound one #2 fade and out you gave us!

X to L of MAYOR SARELLE: Hello, Mr. Mayor.

THE GIRLS: Hello, Mr. Mayor! Hello,

Mr. mayor!

X to LITTLE GIRLS DOCTOR: Are you having a holiday,

children?

THE GIRLS: No-—we're in school.

DOCTOR: You are? Where is your teacher?

x to DOCTOR UC MAYOR: Their teacher is having a baby.

Isabelle is acting as substitute.

DOCTOR: Ah. And where is your classroom?

X R to above stump ISABELLE: The Spring is our classroom,

Doctor.

LITTLE GIRLS are moving MAYOR: It's a trifle irregular, using the
about looking for some- spring for a classroom, I suppose. but
thing on the ground there's nothing in the regulations against
it, nothing specific at any rate.

DOCTOR: Ehat are we studying today,

children?

THE GIRLS: Botany. Botany.

ISABELLE: Yes, we're collecting all sorts

 of fascinating tnings-—monkshood and
hellebore and henbane and foxglove--
and now we're after the most interesting
of all. I know exactly where it grows.

DOCTOR: Which one is that?

THE GIRLS: The mandrake! The mandrake!

Exits R ISABELLE: This way, children.

GIRLS follow IShthLE THE GIRLS: Oh! Oh! I see it! Over
BOTANIZIHG INTLJTLY here! Over here! Is this it? Is this
it, Miss Isabelle?

X R past stump DOCTOR: Isn't it wonderful how these

innocents can move among the powers of
evil without the slightest suspicion or
the slightest fear? What a charming girl!

MAYOR: (A STEP IN) I wish the Mangebois

sisters were of your opinion.

Turns in DOCTOR: What have those witches to do

with Isabelle?

MAYOR: We'll soon find out. They have

asked to appear at the inquest. It seems
they are going to prefer charges.

DOCTOR: Charges against Isabelle?

Ridiculous! That girl is as clear as a
mountain stream. What's more, she makes
everything else clear. Whatever she
GIRLS laugh off R touches. Look at her now, beating time
POCTOR looks off with a thistle while her little pupils
MAYOR follows his stare dance a figure around her. You see? All
at once, we understand the need for little
girls. Dear me—- what lovely little
creatures!

Sound cue #3 MAYOR: My dear Doctor-—

R
(THERE IS A RUSTLE IN THE BUSHES OFF L)

DOCTOR: Ah——here we are. The Inspector.

Q .
(THE INSPECTOR EJTRRS UL. THE SUPERVISOR
”011ml cue #3 off FOLLOfiS.)
jgato‘ LC INSPECTOR: I understand perfectly. You
 51

demand proofs. Perfectly reasonable.

You want a clear proof that the spirit
world does not exist. Very well. Do
you wish me to give you a proof this
very minute?

L of INSPECTOR SUPERVISOR: I shouldn't presume to

near log hurry an official of your rank, Inspector.

INSPECTOR: You will grant, no doubt,

that if Spirits exist, they are able to
hear what I say?

SUPERVISOR: All but the deaf ones, yes.

INSPECTOR: Very well, then. Let them

X DC listen to this! (HE ADDRESSES THE AIR
IN THE zit-mun OF A HIGH OFFICIAL.)
Spirits! Shapes spun of air and white
of egg!—~You notice I don't mince words
with them. Spirits, through me, humanity
defies you to manifest your presence!
I offer you a unique opportunity to build
up your credit in the community. I am not
asking you to do anything spectacular. You
don't have to blow invisible trumpets or
materialize a live parrot. It will be quite
Begins on count to sufficient if at the count of three you are
X UR above stump able to cause an ordinary sparrow to fly
String on hat is given into the air, Ready? One. Two. Three!
t0_the_stage—manager You see, gentlemen? Nothing whatever.
Hat flies off Phew! what a wind.

INSPECTOR looks for hat DOCTOR: But the leaves are hardly stirring.

X DR ”_ HSPECTJR: You see what I mean? It's

pitiful. Well? Do you still expect me to
believe in spirits?

Plts_on log UL SUPERVISOR: Perhaps the spirits don't be—

lieve in you.

1 UC MAYOR: And furthermore—~perhaps the invo-

cation was not sufficiently specific.
After all, Why should they bother?

X UR INSPECTOR: Oh, I see. You WiSh me to

mo invoke them again? All right. Ready.
ulpes-n.ose
Q I with One. Two. Three! (HE SHEEZES.) Pardon me.
“nckerphief
Steps in DOCTOR: Have you a cold, InSpector?

INSPECTOR: It's the pollen.

MAYOR: But there isn't any pollen.

INSPECTOR: Yes. Ahem! It's nothing

at all.

X to INSPECTOR DOCTOR: It's not that siaple, Inspector.

His timing may be different from yours.

INSPECTOR: What?

Points to his nose DOCTOR: May I ask how you got that
scar on your nose?

Turns away INSPECTOR: This? A brick fell on it

when I has five.

I and sits on log DOCTOR: See? He answered your insult

sit SUP'RVISOR L forty years before you made it.

X‘to C INSPECTOR: In that case, he's less than

nothing——he's a coward who attacks defense-
less children. Mr. Mayor, I must tell you
in all seriousness, the Administration con-
siders your report utterly ludicrous. Spir-
its don't exist. Consequently they don't
haunt towns. Not in my district.

MAYOR: They haunt this town.

Moves around MAYOR INSPECTOR: Let's not be childish, Mr.

Mayor. he know what ghosts are. Ghosts
are a mysterious clashing of pots and pans
at midnight in an apartment where they want
to get the tenants out in order to raise
the rent. Ghosts are a walking bedsheet
that frightens away the night watchman in
a warehouse just before a burglary. That's
Points finger at MAYOR what ghosts are.

SUPERVISOR: Not in this town, Inspector.

IB?HS in toward INSPECTO:: No? And just how are you

SUPERVISOR haunted in this town?

fiises from log X SUPERVISOR: We are haunted by an occult

in presence which is clearly bent on sapping
 53

the foundations of civilized society. I

might add, incidently, that I find myself
in complete sympathy with its aims--

INSPECTOR: Really! And by what means is

this power sapping the foundations of
civilized society?

SUPERVISOR: We don't know the means.

But we know the result. Take, for
example, the behavior of the animals.
X D LC Formerly, when a man beat a dog, the
dog would cringe and lick his hand.
Now he bites it. It's the same with
children.

3 to SUPERVISOR INSPLCTOR: They bite their parents?

SUPERVISOR: When children are mistreated,

instead of crying and begging pardon, they
sinply leave the house and refuse to
return. As for the women-—there is a true
miracle!

INSPECTOR: They've stopped chattering?

SUPERVISOR: Within the last month, our

most desperate domestic problems have
suddenly been solved—-in the simplest
imaginable way. The women have quietly
left their husbands and gone off with
more attractive men.

To MAYOR and DOCTOR INSPECTOR: Is this really true?

From log DOCTOR: In this community, it is no

longer respectable to be unhappy.

SVPERVISOR X L and INSPECTOR: Not respectable——! Why

sits on log wasn't I informed of this before?

§te2$ in_toward C MAYOR: I will add a few details. In the

civic lottery, last Sunday, for the first
time in history, the big cash prize went to
the neediest couple in town-—and not as al-.
ways to Monsieur Dumas, the millionaire.
The motorcycle was won by the young captain
of the football team, and not as usual by
the Mother Superior of the convent. On
Wednesday, two people were run over by a
 5h

motor truck. Not, as you might eXpect,

the youngest and healthiest of our citizens,
but the oldest and most decrepit--who hap-
pened to be also the stingiest and most
venomous. You see that is happening? For
the first time in the memory of man, fortune
is displaying some intelligence, and chance
seems to know what it is about.

X DC R of MAYOR INSPECTOR: What you are describing, my

friend, is the nullification of human
liberty.

DOCTOR: While you're on the subject, Mr.

Mayor, you might say a word about the census
returns.

Steps in toward MAYOR: I must confess I haven't had the

INSPECTOR courage to send in the forms, Inspector.

INSPECTOR: Your constituents have been

telling lies, have they?

MAYOR: Quite the contrary. They have

been telling the truth in so outrageous a
manner that it amounts to indecency. Under
"Name of Spouse" they have put down the
names of movie stars, heroines of romance,
and even occasionally the name of an auto-
mobile or a boat.

Turns away INSPECTOR: They're mad.

Moves in MAYOR: And under Section Two, instead of

naming their children, many of them insist
on putting down the names of dogs, cats,
birds and even rubber plants-the things
they really love and consider part of
themselves.

TQ_the group INSPECTOR: That's punishable by fine and

imprisonment.

MAYOR: Under the housing section, we find

some of our richest and most fashionable
residents declaring that they live in
hovels while some of the paupers insist on
describing their huts as palaces with
marble walls.
 55

Moves in profile INSPECTOR: And how long have these

to MAYOR scandals been going on?

MAYOR: Since the ghost first appeared.

INSPECTOR: I'll thank you not to use

that stupid phrase, hr. Mayor. Ghosts
X UL don't exist. Therefore they don't appear.

MAYOR: hell, then, spirits.

INSPECTOR: Science tells us plainly that

there are no spirits.

Gets up from log. DOCTOR: That isn't what science tells

and X UR us, Inspector. Science tells us, on the
contrary, that many things have spirits.
There are spirits of ammonia, spirits of
Soundicue #4 nitre, spirits of camphor--

\ INSPECTOR: But not spirits of man.

DOCTOR: That's not so clear.

(THE VOICES OF THE EANCDBOIS SISTERS

ARE HEARD OP STAGE L. DOCTOR GOES UR;
SUPERVISOR RISES; INSPECTOR GOLS UC;
MAYOR X TO LC.)

Still offstage ARflANDE: May we come in, Mr. Mayor?

Sound cue_#4 fade and off MAYOR: Come in, please. Come in.
(THE SISTERS ENTER UL. THEY ARE SPINSTRRS.
THE ELDER, LEONIDE MANGLBOIS, IS DEAF, AND
CARRIES AN EAR TRUdPLT bY MEANS OF RHICH
THE YOUNGLR, ARJnNDE, KERPS HER IN TOUCH
WITH THE CONVERSATION. LEONIDE X TO DR
BELOW THE STURP; ARMANDE IS C, LEFT OF
LEONIDE.) These ladies, Inspector, have
an important disclosure to make.
Gentlemen all bow The daughters of the late Justice Mange-
bois. It was he, you may redall, who issued
the famous order for the separation of the
Siamese twins of Poiters, when they both
fell in love with the Italian tenor.

INSPECTOR: Yes, I remember very well: a

“Koaxm true judgment of Solomon. Well, ladies?
 56

X to INSPECTOR and ARJAJDE: InSpector, it is my duty first

whispers of all to inform you that my sister
Leonide is a little hard of hearing.

DR LEONIDE: What did you say?

Steps in toward ARMANDE: You are a little hard of

LEON DE and shouts hearing.

LEONIDE: Thank you. I don't need to

be reminded.

SUPERVISOR sits on log ARJANDE: But, Leonide, since you insist

on my repeating everything_-

LLONIDE: You don't have to repeat what i'

I already know. '-

Starts to X up to ARmANDE: but the Inspector--

the INSPECTOR
INSPECTOR: Ladies, if you have a statement
to make before this committee—-

LEONIOE: You snore. Do I tell?

Turns toward LEONIDE ARNANDE: I do not snore.

LEONIDE: Then you must have stopped

snoring the moment I stopped hearing.

Nervously taps cane INSPECTOR: Mademoiselle, kindly ask your

on the ground sister to be quiet.

X up to INSPECTOR ARMANDE: Oh, I couldn't. She's my

and whispers elder by five years.

LEOJIDE: that's that?

X down to LEONIDE ARMANLE: Nothing of interest.

LEONIDE: Then come to the point. And

stop discussing my age.
Q , .-. . , .
“CIVBams in her ear ARMANDL: The Inspector calls for Silence,
Leonide.

LEONIDE: If he knew what silence was, he

wouldn't want it. Well-—go on. I'm
listening.
AREQJIDE: "I do not snore!"
57
lyl Iol|lrl|141‘.l. .llvl |. IL‘,l.' Ilel'I l
 58
INSPECTOR: I am told, ladies, that you
are informed of everything that goes on
in the community.

X back to L of ARMANDE: he are co-chairmen of the

INSPECTOR Ladies' Aid.

INSPECTOR: Ah. And what, may I ask,

is the current topic of discussion at
the Ladies' Aid?

ARMANDE: Why, naturally,-—the ghost.

INSPECTOR: Do you believe this ghost

exists?

ARMANDE: I do.

INIRTCTOR: Have you ever seen it?

[I
h
t

ARHANDE: I have seen people who have

seen it.

Steps in INSPECTOR: What sort of people?

ARRANDE: One of them is a Commander

of the Great Dragon of Annam.

Aside to SUPERVISOR INSPECTOR: If he believes in that, he'd

believe in anything.-What are the names
To ARmaNDE of these people?

ARMLNDE: Madame Duval, the baker. And

Commandant Lescallard, retired. It's
To the MAYOR the Commandant who is the Commander.

INSPECTOR: I could have guessed it.

And according to the Commander, what
does this ghost look like? A bedsheet,
Shouting to ARMANDE on a broom, I suppose, with a pumpkin
on top, and a candle inside?

Steps in near INSPECTOR AREANDE: The ghost is a pale young man

dressed in brown. He wears no hat.
He is seen just at nightfall. And always
POints UC here, near the edge of the lake.

INSPECTOR: Have there been any other

phantoms prowling about the neighborhood?

ARmaNDE: Never. Never before the crime.

 59

Turns toward MAYOR INSPECTOR: Aha! Now we come to the

crime!

X down to ISSPECTOR MAYOR: Please don't say anything against

the crime, Inspector. It was a superb
APAANDE X to L of example of a crime of passion, the only
LEONIDE DR one ever to take place in this jurisdiction.
(PROUDLY) I shall always look back upon
it with emotion and pride. It was the
crowning-point of my career.

MAYOR turns away INSPECTOR: It was a routine shooting,

chats with DOCTOR UR of which the only interesting aspect
was the extraordinary stupidity of the
police.

From log SUPERVISOR: It was a beautiful crime.

A crime of taste and distinction.

Looks around INSPECTOR: Did anyone here personally

then to MAYOR kn w the assassin? Did you?

X in toward INSPECTOR MAYOR: No. All we know about him is

that he arrived from Paris on the night
train, and came directly to the chateau
where his wife and his friend were spend-
ing the week—end together.

INSPECTOR: Did anyone see his face?

MAYOR: No. But the station master

positively identified his hat.

INSPECTOR: So that, after shooting his

wife and his friend, he simply vanished?
Except for his hat?

SUPERVISOR: He didn't vanish at all.

POints UC He's right here. In the lake.

INSPECTOR: that makes you so certain

that he drowned himself?

MAYOR: What possible doubt can there be?

His hat was found at the water's edge. As
he stepped into the lake, he took off his
hat--

" in to xii-axon INSPECTOR: --And said "how do you do"

to the hereafter. Very touching. But
 60
the body was not found.

DOCTOR: The lake is deep.

To.DOCTOR IRS ECTOR: So is the young man.

Breaking in MAYOR: No, no, no, InSpector. The young

man is above suspicion. All the roads
were watched. The countryside was combed
for weeks. The coroner's inquest estab—
lished the suicide beyond a reasonable
doubt.

TO Iii-{JUL}! L IHSPLCTOR: Is that what you think?

X in to INSPECTOR APMANLE: It is our opinion that the

drowned man has come back in the form
of a ghost.

IntPhCTOh: He might have come back

without being a ghost. A murderer
returns to the scene of the crime like
a boomerang to the hand of the thrower.

LEONIDE: What's he saying?

X DR to LEONIDE ARMANDE: That a boomerang returns to

and shouts the hand of the thrower.

LLoAIDE: Amazing!
INSPhCTOR: So you believe that the
scandalous behavior reported in this
community is all due to this ghost?

X_up to INSPECTOR, ARMLHDE: Oh no, Inspector. Not at

all. We know who's at the bottom of
that.

INSPECTOR: You do?

ARMANDE: Of course. That's an entirely

different line of activity. But we do
think that these lines are converging.
It won't be long before they meet. And
when they do-—l That's why we thought
you should take action at once. Inspector--
I don't know how much of the scandal has
been reported to you—-
 61

INSPECTOR: I've heard all about it.

ARMANDE: You are aware of everything?

Impatiently turns INSPECTOR: I am aware, Madame, that at

the moment, this district is completely
arse over tip.

LLONIDE: What does the Inspector say?

ARNANDE: Nothing in particular.

LEONIDE: Armande, I insist that you

repeat the end of each important sentence,
as always.

x to LEONIDE‘W AfhhflDE: Arse over tip.

RAYOR and DOCTOR LEOhIhL: Ah-—! You're discussing Madame

react excitedly LU. 31138 It Q

ARKAEDE: We are not discussing madame

Lambert.

LEONIDE: No? Then who else can it Le?

' a

X DC to the L INSPECTOR: Ladies! I was not aware that

of the sisters Madame Lambert was in any way embraced in
this discussion.

ARMANDE: You may not be aware of it,

but madame Lambert is embraced in every
way, and by everybody. Except her
husband.

Cets up from log and SUPERVISOR: I consider that an utterly

K LL below log false and malicious piece of slander.
Madame Lambert is not embraced by everybody!

A Step in IISPLCTOR: Mr. Supervisor, don't you

think our task is sufficiently difficult
without your dragging in Madame Lambert?

hsfwns in profile to LUPERVISOR: I have no intention of dragging

IE‘ §PECTOR her in. but so long as she has been wantnn~
ly attacked, it is my obvious duty to defend
her. Madame Lambert is one of the glories
of France!
 62

To LLOHILE ARAANDE: He's mad!

I in above log LAYOR: Mr. Supervisor, please. This is

neither the time nor the place--

Wanders DC SUPLBVIGOR: hnoever is so fortunate as

to catch a glimpse of madame Lambert
bending over the counter of her shop as
she buckles a watch on a young man's
wrist or opens a locket with the tip of
a rosy nail, will gladly concede that
the chief glory of France is neither its
cathedrals nor its Chateaux, but this
young woman who, with her delicate figure
and her charming smile, reminds us from
day to day that life is worth living.

LiOnIhh: that is the Supervisor talking

about?

A
Turns away AlmfiNLE: absolutely nothi g.

X, in to A.IiII.L4'LE SUPERVISOR: I am saying, madame, that

wherever she is-—and in our country I am
glad to say she is everymheIe—-Madame
Lambert is a living proof of the imperish-
able beauty of France. I gladly pay her
this homage, and I will defend her honor
X UL above log to the last drop of my blood!

INSPECTOR: Bravo. The inquest is closed.

ABMEADE: And I suppose you would say the

same for Miss Isabelle!

SUPEPVISCB: Miss Isabelle is the soul of

purity. Whoever dares breathe a word
against Miss Isabelle will have to reckon
with me.

Coming down MLYQB: And with me.

Coming down DOCTOh: And with me.

To all ABMLNDE: Oh, you men! You're as blind as

X to MnYOfi bats! Did it ever occur to you, Mr. Mayor,
to ask your little neice what this soul of
purity has been teadhing her?

MAYOR: No. What is she teaching her?

 63.

iJuUflCE: It's not for me to say. but

it would be easy enough for you to find
X in to INSPECTOR out. The Inspector is here. He has the
right to examine her class, if he so
desires.

Breaking DL IHS°ICTOEz It would doubtless De refresh—

ing. But I have other proolems, madame.

Following INSPLCTOfi ABinHDE: Then you don't wish to know who

is disturbing the community?

DOCTOR: Do you think we shall find out

by examining a class of little girls?

X to LEONIDE ABMAHDE: Leonide, the time has come.

Tell these gentlemen what you know.

LLONIDE: that I know? Why, naturally,

I know everything. I have her diary.

Stegs in INSPECTOR: Her diary? Where did you get

it?

To LEONIDE, shouting AfijAALE: Her diary? hhere did you get it?

LEONIDE: You know perfectly well Where I

got it. You picked it up in the street,
wnen she dropped it, and you handed it to
me.

Steps in DOCTOR: You had the impudence to read it?

ARMANDE: You had the impudence to read it?

LEONIDE: I had to look it over, naturally,

to see those it was.

StEps in EJPLLVISOR: And when you found out, why

didn't you return it at once?

AEMLNLE: And when you found out, why didn't

you return it at once?

K Us to MAYOR bypassing LEONIDE: Here, take it, Mr. Mayor. Open

the IAEPLCToa it anywhere. You will soon see what this
ISJJZ‘PLCTOr‘ X UR angelic Isabelle is doing right under your
lifidaNDE follows nose. breaking up households! Turning
LhOl‘IILE, breaking in dogs against their masters! Children
 6h
SUPLRVISOR x to log against their parents! Sending anonymous
DOCTOR x to INSPECTOR letters to people! Open it. Open it!
Open to the let of March. You'll see if
MAYOR looks through this creature is to be trusted with a
the diary class of little girls. 2lst of march!
What is he saying?

ARMANDE: It's you that's talking.

INSPECTOR: head the let of March.

X to ER reading MAYOR: "March let. March 21st! Organ—

zed a little spring fe tival today for
my chilhren. Compared the beauty of
nature with the beauty of the human form.
As a practical class exercise, held an
election for the most beautiful man in
town. They unanimously elected the
Glances up at SUP:RVISOR Supervisor of Heights and Measures. Not
who is near log bad, children, not bad."

To INSPECTOR ARJANCE: You see what I mean?

X D to SUPERVISOR IleiCTOR: Mr. Supervisor-—Be so good

Looks him up and down as to ask this young woman to report
critically here at once with her class.—-Ah, I
could have srorn there was a woman at
SUPERVISOR starts to the bottom of thisl Whoever set these
X toward UR termites loose in the social structure
was no friend to man! Good God, there's
not a sound timber left in itl

Turning back SUPERVISOR: Inspector-—

INSPECTOR: You heard my order?

Steps in toward C SUPERVISOR: Yes, sir. but before I go,

I should like to call your attention to
certain fundamental differences between
ants and women.

Turns out INSPECTOR: Don't trouble. They're exactly

the same to me.

LbONIDE: What's he say?

515mg in to LLONIDE ARMLNDE: An ant is the same to him as a

woman.

T0 INSPECTOR LRONIDE: Is he married?

 65

Turns out INSPLCTOR: No, Madame, I am not. Never-

theless, I find them indistinguishable.
Same senseless hustle and bustle. Same
endless gossip whenever they meet. Same
cruelty to outsiders. And their pinched-
Looks at SISTERS in figures. And the bundles they're always
carrying. Absolutely same species of
insect.

SUPERVISOR: InSpector--if you would one

day give yourself the trouble to turn an
Bends over and ant over on its back, and, very delicately,
pantomimes an ant with the tip of your finger-—

SUPERVISOR bows and IASPECTOR: Are you or are you not going
goes off UR to find that young woman?

MAYOR: I don't see what Isabelle has to

do with this. We're here to investigate
a ghost, not a girl.

ARNANLE: In this case, Mr. Mayor, it's

the same thing.

Turns in DOCTOR: Are you suggesting that Isabelle

is a witch?

ARMANDE: Read the 14th of May.

X DL INSPECTOR: The 14th of May? That was

yesterday.

Following INSPECTOR ARMLNDE: For a long time my sister and I

have been wondering why Isabelle invariably
chooses this spot for her evening walk.
The 14th of May gives us the answer.

To MAYOR INSPECTOR: Be so kind as to read it.

Begins reading JAYOR: "may 14th. Today I feel sure that

the ghost knows what I am doing, and that
DOCTOR_comes near he wants to help me. I know he is dying
to speak to me. But, poor thing, he's
ARnANDE and LEONIDE terribly shy. The moment I come near him,
are chatting UC he vanishes in embarrassment. All the
same, he's certain to take the final step
within a day or two. And when he does,
what wonderful things he will have to
tell me! And what wonderful things we
shall do! Together we shall make the
 66

town perfect-—and after the town, the

Begins to slow district-~and after that—-who knows?—-
perhaps the world! I have a feeling it
Looks at INSPLCTOR will be tomorrow!"

INSPECTOR: And tomorrow is today.

DOCTOR and MAYOR LEONIDE: That does the Inspector say?

continue to look at diary
ARMAHLE: That tomorrow is today.

LEONILE: He has a right to his opinion.

Enters from R X SUPRRVISOR: Miss Isabelle is coming

to above log L at once.

Starts toward L exit ARAAHLE: In that case, we'd better go.

Come, Leonide.

X UC to SISTLRS INSPECTOR: Ladies, I thank you for your

invaluable assistance. Very soon now, I
Begin sound one #5 trust, we shall be in a position to
contemplate the naked truth.

ARMRNDE: Failing that, gentlemen, you

always have Madame Lambert.

LEONIDE: What?

ARMANDE: He always has madame Lambert-

LLONIDE: Him too?

SISTERS exit L ARMANDE: Oh! Good day!

gentlemen bow
(LITTLE GIRLS ENTER Thom R DANCING AND
SIJCIEG. ISASILLE FOLLOLS CARRYING Tab
BLULROARD. LOCTOR MOVES UC; mares TO LOG
NEAR SUPERVISOR; INSPECTOR stamina DL.)

Moves DC placing blueboard ISABELLE: You wish to see me, Inspector?

on stump
Staring at ISABELLE SUPERVISOR: If the ants looked like that!

X_in C INSPECTOR: I have received very strange

reports, Miss, concerning your methods
of instruction.

GIRLS are moving ISABELLE: I don't understand. What sort

around UL of reports?
 67

INSPECTOR: I shall have to examine your

GIRLS giggle class. Please ask them to stop. These
open air classes are ridiculous!
GIRLS start whispering Silence! If I catch one of you talking
she will have to stand with her head in
GIRLS laugh a corner. A tree, that is. Your pupils
ISABELLE X to GIRLS evidently have not the slightest idea of
puts her arms around them discipline.

I to GIRLS and pats MAYOR: They're really very cute, Inspector.

them on the head
INSPECTOR: A well-disciplined class is
never "cute". A well-disciplined class has
the sage and serious look of an empty
checkerboard.

I down to C DOCTOR: You'll never get these children

to look like that.

INSPECTOR: And why not, if you please?

X to log and sits DOCTOR: They're much too gay.

SUPERVISOR also sits INSPECTOR: I know of nothing in the

on log and chats from school regulations that requires children
time to time with the to be gay. But there is a good deal
DOCTOR about their being orderly. If they are
gay, it is because their teacher doesn't
punish them properly.

SABELLE: Why in the world should I

punish them?

INSPECTOR: How do you expect to gain

their respect if you don't punish them?
GIRLS titter again Now what is it?

Points to INSPECTOR'S MnYOR: There is a caterpillar crawling

collar on your collar. ’

INSPECTOR: (GRIMLY) There is!

Steps in ISALELLE: Oh, please don't kill it. It's

a collata azurea. And it isn't doing
anything wrong. Only what nature intended.

Throws caterpillar on INSPECTOR: I have yet to read in any

the ground and steps on work on biology that nature intended the
it collata azurea to crawl on an Inspector's
 68

GIRLS begin to weep collar. What are you crying about?

X to INSPECTOR DAISY: You killed the collata azurea!

INSPECTOR: And suppose a thrush had

gobbled it up? You'd think that was
wonderful, I suppose.

DAISY: It‘s natural for the thrush to

eat it. Are you going to eat it?

DAISY runs back to GIRLS INSPECTOR: No!——Enough of this foolishness.

The examination will begin. Who is at the
GIRLS look at each other head of this class?
in wonder
ISABELLE: Nobody, Inspector.

INSPECTOR: What?

ISABELLE: They're all at the head of the

class.

INSPECTOR: Hm. You mean they're all at

Points cane to GILBERTE the foot.--You there-—what is your best
ISABELLE leads GILBERTE subject?
to C and steps back
GILBERTE: Botany, sir.

INSPECTOR: Explain the difference between

a monocotyledon and a dicotyledon.

GILBERTE: I said, botany, sir.

INSPECTOR: Astounding ignorance! You

don't even think that's botany, eh?
To ISABELLE Does she know what a tree is?

GILBERTE: She does, sir.

X to GILuI-LBTE and ISABELLE: If you know the answer,

Steps back Gilberte, tell the Inspector. He's
listening.

Pantomime a tree in GILBERTE: A tree is a tall person who

(laluce is rooted to the ground. He spreads
out his arms and holds his stomach in his
hands. In tree language, a murderer is
called a woodcutter, a corpse is called
Points to INSPECTOR and lumber, and woodpeckers are fleas.
Ms back to ISAEELLE
IRSPECTOR: There is no tree language in
 69

the Indo—European linguistic group.

GIRLS clap their hands Zero! What are they so happy about?
joyfully

ISABELLE: In our class, zero is the

highest mark. It's the closest to
infinity 0

INSPECTOR: Very interesting system.

Perhaps you'd better continue. They
X UL above log don't seem to understand me.

Leads DAISY to C ISABELLE: Explain the flower, Daisy.

DAISY: The flower is one of the most

beautiful aspects of nature——

To SUPERVISOR and INSPECTOR: Good. That's a little more

DOCTOR like it.

LAISY: It is a practical demonstration of

the beauty of the sexual process.

INSPECTOR (EXCITED): What did she say?

Calmlymdancingvabout DAISY: The flower is the poetry of

reproduction. It is an example of the
eternal seductiveness of nature.

Moving in INSPECTOR: One moment!

DAISY: but like all coquettes, the flower

has its practical side. Its beauty is
meant to attract the bee, which deposits
upon its pistil the pollen of other flow-
ers. In this manner, plants are married.
In a very different way from birds——

INSPECTOR: Enough!

DAISY: Or fish-

Bulsting in INSPECTOR: Stop, I say!!

DAISY: And especially the higher mammals,

which are provided with-~

kf‘hOuting INSPECTOR: Silence! Is there no end to

LIQISY runs back to GIRLS these indecencies? -Good heavens!
 7O

Steps out flnYOR: Better try geography.

Turns X UC INSPECTOR: Never mind. I've heard

enough.

LENISE to C MAYER: You-—my little Denise——what

causes earthquakes?

DENISE: It's the Harmonizer, Mr. Mayor.

Turns in INSPECTOR: The what?

To INSPECTOR LEHISE: The Harmonizer.

BEN SE x to GIRLS UR INSPLCTOR: What nonsense have you been

XntouISALELLE teaching them?

ISABELLE: I can't believe that it is

good for children to think of nature as
cruel and destructive. Therefore I have
explained that, while these natural
catastrophies are disagreeable in them-
selves, they are necessary for the good
of the whole. The power that destroys
things in the interests of the ultimate
harmony, we call the Harmonizer.

IESPLCTOR: I see. So it is the Harmon—

izer who keeps banging the shutters in
the middle of the night. It is the
Harmonizer who splashes gravy on your
shirt front at an official dinner.

Comes out to INSPECTOR DENISE: Oh no! No. That's hrthur!

then runs back That's Arthur!

INSPECTOR: that? That's Arthur? Aha!

So it's Arthur that makes caterpillars
crawl on the Inspector's collar?

Jlimping up and down GIRLS: Oh, no, oh, no--! The Harmonizer!

Turns‘then x to MAYOR INSPECTOR: I give up. Mr. Mayor, I must

confess that in thirty years of department-
al administration, I have never seen any—
thing like this.

Steps back to the MAYOR: Perhaps if we tried them in

Shelter of the sums history?
 71

INSPECTOR: Is it possible that you don't

yet see where this system of education
tends? Its aim is nothing less then the
release of these young minds from the net
of truth in which our magnificent twentieth
century has finally Caught the universe.
No matter what yau ask them--history,
geography, arithmetic--the result will
X in R be precisely the same. I'll show you.
Points to DESISE You, there--what is France bounded by?

X in, returns to place DENISE: The love of its neighbors.

To GILBERTE INSPECTOR: You see? You, what is a right

angle?

X in, holds arm at a GILBERTE: There is no such thing as a

right angle right angle. A right angle is what one
GIRLS dance a curve imagines when one is weary of curves.

To DAISY in- IJSPECTOR: You see? How much is two and

two?

X in DAISY: Four.

Turns quickly and X UL INSPECTOR: You see?—-—Ah! I beg pardon!

ISASLLLE comes dean to These children are enough to make me lose
DAISY my wits! Besides, how does it happen that
for them also tho and two make four? By
Talks to SUPERVISOR what idiotic train of thought does this
and DOCTOR child arrive at the truth? I am certain
that her four is no real four, but a five
in disguise.
X back to DAISY, pats Tell the truth, now—~two and two are
her on the chin five. Right?

ISABELLE and DAISY DAISY: No, sir. Four.

return to UR
Turns away and then quickly INSPECTOR: And stubborn, too!»-
turns back, points to DENISE You, there. Sing the "Marseillaise!"

MAYOR: I don't think it's included in

their syllabus.

INSPECTOR: I said sing the "Marseillaise!"

Turns away Of course, she doesn't know it.
h E‘
Leads DENISE to C ISALELLE: Oh 3 she does D Ins ector.
 72
DOCTOR and STILRJISOR LENISE: I do. I do. (SHE SINGS)
rise from log and stand Every little girl enjoys
at attention The thought that there are little boys~~
And if they're very goon and brush their
curls,
DENISE returns to place The boys will love the little girls.

DOCTOR and SUPERVISOR IHSPECTOR: So that's the "Marseillaise!"

sit down again on log I might have known. And this red mark
K UR to GIRLS you all have an your necks—~what is that?
A vaccination?

DAISY: No sir. It's the mark for the

SiJiri-tas o

Moves in closer INSPECTOR: What?

INSPECTOR examines the DAISY: It's the mark by which the spirits
necks of the three little recognize their friends. Is;bellc puts it
GIRLS on us every morning——with her lipstick.

INSPECTJR: Rub it off!

THE GIRLS: Oh no! Oh no!

DENISE: We'd be afraid.

THE GIRLS: We'd be afraid.

INSPECTOR: Rub it off at once or I'll——

THE GIRLS: No, no-~The Spirit wouldn't

like it!
X to C IHSPECTOR: Now listen to me, all of you.
GIhLS folloa and make After we die, there are no spirits.
a circle around him There are only bones and worms. You will
commit that to memory at once. Repeat
after me. After we die-

THE GIRLS: After we die-

IESPECTOR: There are no spirits-—

THE GIRLS: There are g9 spirits--

GIRLS scamper UR to INSPECTOR: What did they say?

ISABELLE
Rises from log and DOCTOR: Why disillusion the children,
X DC to ISSPECTOR InSpector? They'd much rather be spirits
 73

than bones and norms. Wouldn't you?

Turns L to DOCTOR INSPECTOR: Completely asinine question.

The facts are the facts. Death is nothing
but bones and worms. And as for life—-
Turns R to GIFLS and Listen to me. Life is nothing but a
tiresome journey. For a man, it consists
of false starts, snail-like advances,
nasty setbacks, and lost collar buttons.
For a woman, it consists of chatter and
Turns UL to SUPERVISOR clatter, shopping and mopping. There--
now you have me talking in poetry.

SUPERVISOR: It's beautiful. Don't stop.

X UR to ISABELLE IFSPECTOR: Young lady, as I understand it,

on your can responsibility and without the
slightest regard for the official syllabus,
you have undertaken to teach your pupils
the way to happiness—-

Steps in ISatELLb: I teach them what God has in

store for them.

INSPECTOR: Nonsense. It says nowhere in

the Bible that when God created the world,
He created happiness. Day and night, yes.
But not happiness. that He created was
certain compensations for the habitual
misery of humanity——such as fishing, bridge,
Glances at SUPERVISOR and love. You have deliberately misled
these children as to the nature of life.
And that is Cunduct unbecoming a teacher.

ISABELLE: I can only teach what I believe.

INSPECTOR: Very nice. Very heroic. You

are relieved of your post, effective immed-
GIRLS group around iately.
IEABELLE
DOCTOR and SUPERVISOR aAYOR: But, Inspector, I have no other
X over to ISAhELLE available substitute. The regular
X LC to INSPECTOR teacher is having a baby.

INSPLCTOR: That's no concern of mine.

Moves in MAYOR: I asked Paris for a substitute over

six weeks ago. But instead of a teacher
they sent me an assistant to the Assistant
Supervisor of heights and Measures. Can
you understand that?

Looks around
SUPERVISOR X in
Sound cue $6, fade and
:GIRLS begin to dance out
B where are you going, may I ask? Who
Up
GIRLS step dancing and walk
Sound cue #6 fade and out
SUPLRVISOR X to stump
picks up blueboard and
exits UR
Stops, sticks tongue out
at INSPECTOR
X UR and watch GIRLS
leave
ISABELLE X to log UL
MAYOR and DOCTOR watch
ISAhELLE
Turns to ISABE LE
GIRLS peek out R
INSPLCTOR picks up a
hedgehog from his hat UR
Runs in, runs out R
Exits R followed by
MAYOR
Sits on log
Facing off, R
7h
IASRLCTJR: Not entirely. But I can
remedy it. Mr. Supervisor. .1 am trans-
ferring you to temporary duty in the
EduCation department. Until Paris sees
fit to send a proper substitute, you will
have charge of this class.
SUPERVISOR: But I haven't the slightest
qualifications for teaching a class of
little girls. What in the world could I
teach them?
INSPELTOR: heights and measures. And
dismissed you? The Harmonizer?
ISEBZLLE: You may go now, children.
INSPECTOR: Mouths shut. Take charge of. ‘
your class, Supervisor. What's that you're
carrying there?
GILBEgTE: The blueboard, sir.
INSPECTOR: The blueboard can stay here.
With the pink chalk and the turquoise ink
and the sea—green pencil. From now on,
you're going to have a blackboard, and
black ink—«yes, there's no color like black
for the education of the young. And no
talking. Ah-—now they're beginning to look
like a class. One month's discipline, and
you won't be able to tell them one from the
other. As for you, Miss, I am going to
write your parents this very day. Come,
gentlemen. We Shall continue our investi-
gation in the Mayor's office. Where's my
hat? Now who the devil put a hedgehog in
my hat?
DENISE: Arthur! Arthur!
INSPECTOR: Arthur!
ISABELLE: You have something to tell me,
Doctor?
DOCTOR: No, Isabelle.
ISABELLE: Oh. (PAUSE) Was there something
you wanted to ask?
"You may go now, children."
75
 76

Turns in _DOCTOR: No. I am only waiting a moment——

for the transition.

ISABILLL: The transition?

X L to C DOCTOR: At my age, Isabelle, one comes

to a pretty clear realiaation of the part
one is destined to play in this world.
Some are cast as villains, some can be
heroes. My role is a mooest one. I am
used to making transitions. I am a sort
of an usher.

ISABRLLE: But that is a beautiful role!

X to ISABELLE DOCTOR: It's useful, perhaps, but not

stands above log glamorous. However, there is no use my
trying to get away from it; everyone knows
what I am meant to do in this world. Have
you noticed? Whenever someone is needed
to interrupt a tennis match with news of
an accident, or to break into a funeral
with word of a Spectacular stroke of for-
tune, it's always I. Well-

ISABELLE: Are you going to make a

transition now?

DOCTOR: Over this stupid situatiOn into

which the Inspector has thrust us, nature
is striving to bring a moment of quiet and
sweetness. Without me, it would perhaps
not be possible.

ISIRELLE: I see.

Coming in closer to DOCTOR: Then also, there is the transi-

ISABELLE tion to manage between the Isabelle we
know and another Isabelle—~an ethereal,
transparent, and ineffably lovely Isabelle,
of whom as yet we can only surmise the
quality--
H

SARL’LE: What are you going to do?

t1

OCTOR: hatch closely.

ISABELLE: Will it be difficult?

X_toward C» DOCTOR: It will be incredibly easy. With

 77

you, Isabelle, in order to transform the

most vulgar and prosaic moment into a time
of mystery and romance, all I need is a mere
'v‘ialks DC nothing-—a gesture: this gesture. A si-
lence——this silence. You see? It's almost
done. And now my assistants--listen. The
Sound cue #7vand owl. The frogs. The crickets. The over-
cut, Cue #8 begins ture begins. All we need now is for you
.ISAELLLE rises to pronounce the name of the moment--

X DL ISABLLLE: Aloud?

DOCTOR: Please.

Light as??? ISABELLE: The twilight.

DOCTOR: Yes. And nhen it is twilight,

what sound is it that echoes always from
S ound. we #8.. put a little French town?

Sound cue_fi9 begin and ISABELLE: The military band from the
garrison.

DOCTOR: And when the band is quiet, what

is it that rises among the weeds and the
Sound cue #10 fade and willows, moving through the shadows of
bzins_UP cypress and pine, itself hardly more than
a shadow?

.X.URUI ISABELLE (SMILING): The ghost.

Walks slowly UL and DOCTOR: There. You see? It's done.

exits
(ISAQLLLE TAKFS OUT HIR POCKFT MIRROR
LAD ADJUSTS HIR HAIR. THE GsosT AFFIARs
FROM THE THIRD LNThaNCE, LL. sax KATCHES
HIA FOR A MOMENT IN HER nIRROR—-A YOUNG
MAN, HTTLLss, VRRI PALE, DRISSED IN BBOEN.
HE, TOO, CALLS AT HER, AND FOR A LONG
MOJLHT THEIR EYES MEET. AS sHE LOHRRs
HER MIRROR, IT FLASHES THE LAST RAYS OF
THE ShTTING sun AT THL LARK FIGURE, THIGH
Sound cue #10_dosn and sagas TO SHUDLER AS THE LIGHT TOUCHES IT.)
out
Ghost is standing C ISABELLE: Forgive me. bid I hurt you?
IifibLLLE lightly walks,
sometimes skips around GHOST: I am a little sensitive to light.
him But now it is only the moonlight.

ISRBELLE: You do hear the words of the

 78
living?

GHOST: I hear your words.

Throughout the scene ISABELLE: I wanted so much to talk with

ISABLLLE continually you. '
comes near the GHOST
but never touches him GHOST: hbout what?

The GHOST stays in C SAb;LLE: About life. About your

but turns to the R and L friends. The Spirits. You must know
following Isabelle Tith his a great deal about Spirits?
eyes
GHOS : I am learning.

ISAbELLE: Will you teach me?

GHOST: that is your name?

ISABELLE: What difference does it make?

You seem so serious. Do you have to be?
I'm sure they smile sometimes-

GHOST: Who?

ISABELLE: The dead.

GHOST: Why would they smile?

ISABELLE: but surely-—when something funny

happens in the other world-

GHOST: Something funny in the other world?

ISABLLLE: Or something touching, or some-

thing surprising. Aren't there comic .
spirits, aren't there clumsy spirits?
Don't you joke sometimes? Or slip? Or
stumble?

GHOST: hhat could make a spirit slip,

or stumble?

ISABELLE: Well, whatever in the other

world corresponds to a banana peel or a
curbstone--the thought of a banana peel,
the memory of a curbstone.

GHOST: The dead are extremely agile. They

never stumble. They never Smile.
ISABELLE: "You must know a great deal about Spirits."
.3
 80

ISABELLE: But here is that puzzles me

most of all. How can the dead believe in
death? hith us, of course, it's differ-
ent. Since it's goon to think that
fatness and falsehoou will have an end
one day, fie are forced to condeae that
kindness and beauty, which are so much
more fragile, will also die. But the
Spirits——refined and free of flesh—-how
can they be so silly as to believe in
death?
G
GHOST: You expect the dead to believe in
life?

ISABSLLE: At least in the life of the

Spirit. May I be quite frank? It often
seems to me that the dead are a little re-
laxed. They let themselves drift. I don't
mean you, of course——you're different, you're
trying. but don't you agree that if the
dead had a little more aggressiveness, it
would be so much better for us all? If
only they would give us——those hho are
trying, I mean-—their attention, their
support, what marvellous lives we could
lead—~in both our norlds! Do you think
it would be hard to get them to help us?
All we need really is some energetic soul
to stir them up a bit.

GHOST: Perhaps they're waiting for you.

ISABLLLE: I am coming as fast as I can.

Only I'm not at all sure that I will be
particularly useful once I'm dead. I'm
afraid that shat would appeal to me most
about death would be the laziness of death,
the lovely thick torpor in which the dead
seem to wallow. No. What I am able to
do, I must no now while I am alive.

GHOST: And just what is it you wish to do?

ISAn LLB: Dear ghost, I have always dream—

ed of one day doing something really wonder—
ful for humanity. Something that Hould
save the world from itself, and make life
as sensible and happy as a fairy tale.
 81

GHOST: Really?

IGAEELLE: It isn't easy to help the living,

believe me, I know. I've tried. They're
so heavy, so stupid, so steesed in the
flesh that they're afraid to move But the
dead are so light-—so wise—nand so gentle!
If only I could get them to help me, what
a wonderful, wonderful world we could make!

GHOST: You want the dead to come back to

the world?

ISRELLLE: I want so much to make them

come back. I want to see them take the
world by storm, sweep it clean of the cob-
sebs i1 which it is entanéled, and make
a bright new world. we are afraid to live
because we are afraid to die. But the
dead have died; they know the magnitude
and the meaning of life. How easily they
could teach us to live not like clods,
but like sbiritst And really, what could
be simpler? There is only the wall of
silence between us. And there are look-
holes in that wall.

GHOST: Where?

ISABELLE: Don't you know? You have come

through it.

GHOST: True. I have come through it.

ISABELLE: Oh, if only there could be

found a young spirit, a spirit with energy
and ihagination! How easy it would be for
us, he and I together, to rouse the others
to a sense of adventulet

GHOST:I The dead are not adventurous.

ISABELLE: They could be.

GHOST: The dead are dead.

ISAEELLE: that strange iaeas people have

about themselvesl The white race thinks
it's shite, the yellow race thinks it's
yellow. The race of the living believes
 82

that it's living, and the dead think they

are dead. to you thing you're dead?

GHOST: thy—-
ISABELLE: You see? Death is nothing but
a state of mind. And not a very reasonable
one, really. thy can't ee make the others
see the ? It's perfectly clear to me—-
Now tell me all about it. Tell me—-rhat
happens when you die? The very first thing?

GHOST: First tell me your name.

ISABELLF: But, really, of what possible

interest is my name? It's a name like any
other.

GHOST: there co you live?

ISAElLLE: In the town.-Now tell me.

Em.d__<2ne.. 11711 GHOFT: hell, the moment one dies——

I

33he looks_around, but ISaELLlL: Yes? he're quite alone. Go

,GHOST has vanished UL on. hhere is he? hhere are you?
SLEELLE looks about Isabelle! Hy name is Isabelle! It's
Idesperately, n
then runs 03 l Isabelle!
-UL

Sound.....c:1.v.e. 1le cut

CURTAIN
menses. 2‘93
 83

ACT TW 0

Light—Jonea- SCENE} THE SnflE. SOME TIJL thOhE

Sound cue ilg fade into EUJSLT.

_Sound_cue #13 AT RISI: IITTLE GIPIS EhTLh bhflClgG

SUREHV son 3 to log
:Egund_pue.allncut
They form a triangle C
and sing
Fr.0 fl R.__S tercOh FOLLO.So, hi IS
CklrllnG a COLDhlh Ichlh,SIiG IT a8
A BATON.” HI IE CJJLLCT IIG a CLAS; IN
hhthuTAHY ASTEOHOHY.
SUPEhVIEO‘: The Triangle!
l GII~Sz
Magellan stereo with open mouth-—
He didn't know that in the south
The starry Triangle is where
We normally expect the Bear.

Conductinghinurhythm SUPLEVIEOE: The Compass!

They,QanQ€H iatoma_com9ass GI‘ W: :

singing T'here is a Compass in the sky

But our advice is, never mind it;
It's just as well to pass it by-—
You need two compasses to find it.

GIRLS begin to form the SUPERVISOR: Good, now the Clock!

Clock, but the DOCTOR
interrupts, enteringnfromy_fl_ DOCTOR: Good afternoon, children.
UL" Playing in the woods again?

SUPERVISOR: No. They're playing in the

sky.

CIIBIBTE leaves the THE GIRLS: Good night, Doctor! Good

arouslanilhésiséfldancins night, Doctor!
on one_foot
LO CTJL: thy good night? It's still
Not1c1ngGIH_-RTE afternoon. What is she doing?

GILBERTE: I'm being Alpha Centauri.

TOGTOR who has _been SUPLBVISOR: Doctor, be careful; you

standing__ UL moves_a step are streaking across the southern sky
to-the‘Bs like a comet. You may step now, Gilberte.
You are of the first magnitude, you know.

DOCTOR (CONFUSED): What's going on

_---._.__
here?
 8h

SUPERVISOR: Astronomy.

Looks up into Sky . IOCTOR: Oh, I see. Well, it's going

to be a magnificent night for stars,
children. Tonight you will see them
come out one by one, even the very
faintest.

X 139.1011,le SUPERVISOR: I'm afraid they won't see

any, not even the brightest. The
InSpector requires all my students to
be in bed by sundown.

Following DOCTOR: You mean these children never

see the stars overhead?

SUPEhVISOR: No. They have to look down

to see them. In the interest of proper
discipline, we study the southern sky
exclusively. At this moment my class is
plunged in sub-equatorial darkness.

DOCTOR: Do they really know the southern

stars?

SUPERVISOR: They know only the southern

Points to DAISX a stars.~~Daisy, where is the Furnace?

Skips over to the DOCTOR DAISY: Just under the Doctor's foot.
and points beneath his
feet' _ SCPERVISOR: The nice thing about the
DOCTOR hastily removes his southern sky is that the ancients never
foot I saw it. It was discovered and baptized
during the age of reason. The result
is that instead of a Sky peopled with
monsters, the southerners have a sky full
of laboratory equipment——the Clock, the
Furnace, the Compass, the MicrosCOpe, even
the Air Pump. It's a regular heaven for
{933% _to GILBERTE children. Gilberte, jump from the
Triangle to the Telescope.

CILBERTE: By way of the Furnace?

SUPEhVISOh: No, the Doctor is on the

Furnace. Over the Table.

He sitating *wl CILtLRTE: It's quite a jump, you know.

It's thirty million billion miles.
K.)

85
GIthRTL jumps t ice SUPEFVISOR: Take two jumps. That's
tozm'aro; ILL it. Now, chiloren, the Southern Cross.

GIRLS form the Cross T'L GIPLS:

singing Layerouse ma quite excited
f‘
54

fihen first the Southern Cross he sighted——

There really isn't any use
For steeoles now, said Laperouse.

X U to DOCTOR SUPERVISOR: The only trouble with this

sort of astronomy is that one t nos to
think of the sky as a floor insteao of
a roof. For them, the stars are not
beacons, out stepping stones.

DOCTOR: Don't worry ab0ut that. To

each little girl there comes a night
wnen she sudoenly turns a somersault,
and forever after the stars are over—
head.

SUPlhVISOH: Oh, they're in love alreaey.

All of them.

EOCTOh: They are? With whom? hith you?

SUPLRVISOF: Rith the ghost, of course.

DEEIEE: And so slat-belle! and so is

Isabelle 1

X to DENISEM__1 u-I-A. .. "" ----——_._ _

SUPLFVISOR: Denise, that's naughty.
You shal 1 be punished. From now on,
you're a dean star.

LEHISE: It takes two million years for

a star to cie.

SUPERVISOR: It only takes us tn0 seconds.

Soxnocue M3 _repeate- Out with you. Besides, it's tirne for
GIRLSexit,__dancing out R recess. Vanish--ll
~-C“9-1%-;stth
X_§9_Csl DOCTOB: You find Isabelle rather inter-
esting, don't you.

Xmin _..'- 1%-. ,

SUPLBVISOH: Everyone finds Isabelle
interesting. Even the Ins pectox.

DOCTOR: Oh?
X DL_ PM , WW _ ,i,, 77", SUPLHVISOH: There's no longer any use
~ I I; pretending. The ghost is more and more
in evidence all the time, and wherever
he is, Isabelle is with him. The Inspect-
or is getting a daily report of all her
activities.

Following EUPLRVISOR . DOCTOR: “hat if he is? There's no law

against being friendly with ghosts.

SUPERVISOR: To be friendly with ghosts

is to be ghostly. People are gossiping.
Besides, you don't really think that this
Turns 191. ghost of hers is a ghost?

moves in “_ _ DOCTOR: I think he soon will be.

SUPERVISOR: I don't follow.

DOCTOR: I have a distinct impression

that before long we are going to witness
the birth of a phantom. A real phantom.

SUPERVISOR: How? Why?

DOCTOR: I don't know. But everything we

I DQlllllllifu_,,i
have seen in the past weeks points toward
some monstrous birth. Depend upon it,
Supervisor, Nature is hatching a surprise
for us. It was after some such series of
events as these, that one day, before the
eyes of the astonished animals, the first
man took shape.

SUPLRVISOR: There is certainly something

queer going on.

DOCTOR: Yes, our town is enchanted. It

is in that strange condition ahen every
dream comes true and every wish is granted.
In an individual that would be called a
state of ecstasy. That's it; our town is
in a state of ecstacy.

FDR STPERVISOR: It's strange. This morning

H *' 7W1 7 4 for no good reason, I dreamt of a chimpan-
zee. And as I Opened the front door to
take in the milk, what do you suppose was
EPIRSNtQ_DO§TOR_M_. the first thing my eyes lit on? A chim—
panzee. True, it was a tame chimpanzee
 on the end of a leash held by a gypsy.
Nevertheless, there has my dream sitting
on my doorstep.

DOCTOR: It's just as well you didn't

dream of a crocodile. I tell you, my
boy, we're in an uncanny ste e, all of
us—-ae're in the vein, like a g.mbler rho
can't lose. Nature is pampering us. thy?

X to_UOCTOR V SUPERVISOR: Doctor, while this lasts, we

mustn't let Isabelle out of our sight for
a minute. This is no joke.

DOCTOR: You're right. Nature never jokes.

When mountains give birth, it is never mice
that issue forth from their wombs, but
thunder and lightning. Everything here is
collaborating to produce a phantom-—the
light, the darkness, our fears, our imag-
Sound cue #IA ination, the other world perhaps, and
INSPECTOR and MAYOR certainly the Inspector. You see? The
enter_from_R, X to Inspector.
C and bow
»&23_§2sssmsus_al4 IRSPECTOR: Gentlemen, I have called this
hOCTOR bows X IR meeting for a very definite purpose. I
SUPiéhY 1.5308 _ boats: it above have here a letter sent by special courier
19a from the government. he so gooo as to read
it, Mr. Mayor. It particularly concerns
you.

Takes the letter which_ mAYOR: You really think it concerns me?
the INSPECTOR hands him,
X CR, glances over the IMSPFCTQR: Every bit as much as myself.
contents I Particularly, the last paragraph.

RAYOR: But the last paragraph particularly-—

IWSPECTOR: Read it. Read it aloud. I want

you all to hear that the government says.

MAYOR: (SMILES) The government seems to

be very warmly disposed toward you.

1 UL INSPECT R: I am happy to say it is.

MAYOR: (LLAEING) It kisses you on your

fiAYOR,_IQCToa, and adorable mouth, asks you for a hundred
SUPERVISOR burst into francs, and signs itself, yours ever,
$auahter Adele.
MAYOR: "It kisses you on your adorable mouth, asks you for a hundred
francs, and signs itself, yours ever, Adele."
 89

X to RAYOR, grabs letter INSPECTOR: Oh, pardon! Aheml Here we are.

Fumbles in his pocket for Please! I must solicit your most earnest
other letter ' attention, gentlemen. This is no laughing
Hands new letter to matter.
ELYOR,_takes_back the
9ther KLYCR (READING): The Sumerior Council,
after taking one note oi the unusual
phenomena that have been reported in your
Moves LC district, congratulates itself upon the
Begins to work himself fact that in our enlightened country,
into a flowering mass hysteria is able to find a less hack-
oratgrical style neyed outlet than the customary miracle.
We felicitate our constituents upon their
DOCTOR sits on stump happy choice of a middle course between
EUPQRVISOn_yains and primitive druioism and contemporary
sits on log radical thought, and on their triumph
over clerical superstition in this
IRCPICTOR stands UC flowering of he native folklore which is
and-beams_proudly one of two glories of our national heritage.

SUPERVISOR: that an elegant style! tho

sits on the Superior Council?

IISPECTOR: Why, naturally——the choicest

Spirits.

usroa.(cosrrjots READING): Nevertheless,

the character of the perturbations brought
about by the alleged phantom in the commun—
al life of your district is judged to be .
not sufficiently in accord with the ideals
of the Socialist Party to warrant the tacit
collaboration of the government. Consequent—
ly the Council request you to take all
necessary steps for the prompt liquidation
of this apoarition, and for this purpose
places at your disposal all available mili—
tary and civil powers will full authority
in the premises. For the Superior Council.
Duval, Secretary. .

INSPECTOR: So. And now, gentlemen, we

can proceed to wind up the case.

MAYOR: I don't know what there reiains to

wind, Inspector. Since you took charge two
weeks ago, we have hardly left a stone un-
turned, and yet we have not discovered a
single subversive element in the entire
community.
 IHSPECTOR: :hat was yesterday's catch?

To IiiseEcrou.y ELISE: Nothing worth mentioning. A

pooule dog tho was apparently trying to
look lihe the Prime Minister. After he
X U to DOCTOR was lassoed and put in the pound, his face
relaxed into the express on of kindliness
and humanity that is noimal with dogs.
end that is absolutely all.

X_to MAYOR IJSPFCTOR: 80. And what did you dream

last night, my dear Mayor?

mAYCh: hhat I dreamt?

INSPE‘TQH: If the atmosphere of this

juriseiction is as pure as you say, the
inhabitants should now be enjoying the
most normal dreams in France. Do you
happen to remember yours?

doves around EL. _hh.IOR: Why yes. I spent the night

chasing tmo enormous ducks which, after
many transforf'tions, e.t last became my
feet. It was absolutely maddening. It's
no joke to chase your feet all night, es—
pecially when they cackle. Toward morning
I became a centipede. I awoke completely
X_t9.l£§PLCTQP_l beuilered.

x_L tosU sEVISOR_ I] PLCTOP: Hm. And you, Mr. Supervisor?

SUPLRVISOR: It's a little embarrassing.

If you don't mind-—

INSPECTOR: Sorry. I must insist.

Rises from_10g X_~ -thIan. hell—~I dreamt I was madly

EL in love with a w man vho eluded my
advances by springing back and forth over
an open grave. She wore only a short
cloak, with her right breast bare-—
To IpsPEcToa and this some: has you.

Turnswand_XptoVMAYOR ILo1-CTOu. hell! And now, Mr. Mayor, are

you going to tell me that a dream line
that, however flattering for me, can be
for a moment Considered a normll French
dream? Is this, multiplied by forty-two
million, a pronuct worthy of the most
rational and practical nation in the world?
 91

SdfithlSOR: I doubt if sixty—four million

sleeping Germans could no any better.

INSPECTJI: Gentlemen, you Know as well as

I that matters here are going from bad to
worse!

Rises:_K in to INSPECTOR POCTOE: Don't tell us, InSpector, that

you are beginning to notice some super-
natural influence?

NSPECTOR: Supernatural fiddle-faddle!

Why not say plainly a conspiracy against
DOCTOR_sits on stump constituted authority? And what is the
object of it? Sinply to bring the workings
Inc of our enlightened democracy into ridicule.
And who are the members of this conspiracy?
MAYOR X L to_log A young girl and a ghost? Nonsense. The
whole town is involved, and you know it.
X_tO_DOCTOR ”h Te11_me, Doctor, how does it happen that
every night at midnight an unseen hand
adds a thirteenth stroke to the hour? Eh?
How is it that the very moment a high
government official sits on a public bench
that bench miraculously becomes sticky with
green paint? Hm? And why is it that at
the cafe, the sugar in other people's cof-
fee dissolves, but the sugar in m" coffee
Points to_all”"_,‘ never dissolves? What?-—I give you fair
warning, you and all of you, this radical
nonsense has gone too far! This very
Xlto MAYOR _m evening we are goint to have a showdown--
you and Isabelle and this ghost and I.

MAYOR: Isabelle has nothing to no with

this, Inspector.

INSPECTOR: Mr. Mayor, with the exception

of yourself, everyone in town is aware
that for the past two weeks Isabelle has
been keeping a nocturnal rendezvous with
this ghost. Now what is the object of
these interviews?

xmnm: Icmfltimghw.

To MAYOR then Q ~ INSPECTOR: It's quite clear to me that

turns to DOCTOR there is a concerted movement on foot here
then turns to SUPERVISOR to undermine the basis of established
government, which is founded on a sound
 92
acceptance of the act that in this world
we can never get that we want. There is
entirely too much happiness in this com—
munity for the goon of the nation. Lvery-
where you look, people are smiling and
neglecting their work. The surrounding
districts are beginning to ask guestions.
The movement is small, but these things
spread like wildfire. Another week of
Turns and X UC this, and I should no longer be answera-
ble for the consequences.

MAYOR: I fail to see the slightest

connection with Isabelle.

Turns quickly to IIQPLCTOR: You may have noticed that

MAYOR every evening at six, Isabelle drifts
out of town vith that air of fnlse
innocence that invariably characterizes
those who harlor fugitives from justice.
As her hands are always empty, I make
X DC no doubt that the food which she brings
our invisible friend is none other than
her youth, her tenderness and her vitality—-
a complete blue-plate for a ghost, and
perhaps with dessert and coffee.

Rises erm l08_ufl.u SUPERVISOR: I beg your pardonl

X to SUPLBVISOR then MAYOR: Just a moment. Just a moment.

X _to _iaspscroa Inspector, you made a point of asking
me to invite Isabelle to lunch with us
today. Tell me this-—have you ever
seen a more normal, healthy appetite?

INS ECTOR: Show me another girl with

a figure like that who can put away
a meal that big! It's perfectly obvious
MAYOR breaks to R that this girl is eating for two. Then
the only question is-—who is the other?

DOCTOR: After all, Inspector, a young

girl's metabolism——

X_to DOCTOR who is INSPECTOR: HmI~—Mark my words-—in some

seated on the stump_ inexplicable manner this girl is passing
on her excess calories to someone who
does not eat! And just who this parasite
is, I shall soon find out. Their meeting
X back to C place is not far off. I know the place
well. It's precisely here.
 93
MAYOR: What are you planning? An ambush?

INSPECTOR: An ambush.

3 to INSPECTOR SUPERVISOR: InSpector, Isabelle likes

to chat with me from time to time. Before
we do anything, let me Speak with her.
Let me point out the dangers of her
position. Let me warn her that--

IESPECTOR: Tonight, I intend once and

for all to put an end to the influence
of Isabelle in this community.

DOCTOR: And may I ask what means you

intend to employ?

Turns to DOCTOR INSPECTOR: I intend to employ force.

DOCTOR: Against a ghost?

X to DOCTOR IRSPECTOR: I fully agree with the current

theory, gentlemen, that Isabelle's ghostly
friend is none other than the young man
whose hat was found on the edge of the lake.
I differ only in a slight matter of inter—
pretation. In my opinion that young man
is still very much in the flesh.

Steps in MAYOR: Impossible!

INSPECTOR: We shall see. In a little

while, the armed agents of the state will
be waiting for him in this thicket.

MAYOR: What armed agents?

INSPECTOR: The game wardens?

MAYOR: Out of the question, Inspector.

The trout season opened yesterday.

INSPECTOR: Well, then, the police?

IOCTOR: Sorry, Inspector. The police
force is quarantined. Measles.

INSPECTOR: I don't mind if the ghost

catches measles.

Coming forward mAYOR: But the judge does. The judge

 94

will have nothing to do with any criminal

that has measles. Sound justice requires
sound criminals!

INSPECTOR: It's a good thing, Mr.

MAYOR X DR Mayor, that I Knew in advance to what ex-
tent I could count on the cooperation of
the local authorities in this case. Don't
trouble. I am fully prepared to go ahead
in spite of you.

X to INSPE TOR HAYOR: You are not going to call out the
army?

IRSPECTOR: I have something more depend-

able than the army. As it happens, the
one official in France who has no fear
whatever of ghosts is a resident of this
to W11 .

Backing away ELYOR: You mean——the Public Lxecutioner?

DOCTOR rises
SUDERVILOR_turns in IASPECTOR: Do you know him?

MAYOR: Nobody knows him. He never goes

out.

INSPECTOR: I have written, offering him

a fee of five thousand francs. I believe
that will bring him out.

Turns out _ mAYOR: I'm afraid it will.

INSPECTOR: I am uniting for him now. He

will come armed.

MAYOR: but——what if the ghost is also

armed?

_ SUPERVISOR: Inspector--before it's too

late—~please let me talk with Isabelle—-

ITSPLCTOR: Very well. Talk to her. She

will be here in a minute. She's always
Looks at his_watch _ punctual. I will give you exactly five
XWUL then minutes. Now there's this executioner?
X UR. He appears to be late--
Exitsfi vv'ithjfléiORm ‘ . Come.

Exits R DOCTOR: The Executioner is punctual only

at dawn.
 95

(SUPERVISOR MTHIS THE Fan LEJVE. HE

THEJ AAbLasfiL, , LP RLITLY lHIIKINU TO
hIdSELF, ELVX T: TUE ZTUJP ANL 5DO AJ. )
E1

1ters from UL _ ISAPELLE: Oh, hello, Mr. Supervisor.

H'
{I

A; X to ISABLLLE UL SUPIIVISOR: How lightly your foot falls,

Miss Isabelle. You walk on the seams of
the forest like a skilful burglar who
keeps the stairs from creaking by stepping
just where the treads are nailed.

ISABELLE: You have a gift for expression,

Mr. Supervisor.

Moves in 1 SUPERVISOR: I Speak well when I have

something to say. Not that I ever say What
I mean. It's always something else by the
time it comes out. But perhaps I don't
make myself clear?

Turnsjout ISABELLE: I understand that in speaking

of the seams of the forest, you make use
.X_BL of a metaphor adapted to the female
mentality. That's very considerate.
Turns in I have been meaning to complement you
on the stand you have taken on the
question of Madame Lambert.

Follows ISABELLE SUPLRVISOR: Mhen I speak of Madame

Lambert, I am not speaking of Madame
Lambert.

ISABELLE: I know. You are defending our

sex, in general. It is very gallant and
brave of you. Expecially since you know
how the Inspector hates us. Have you
heard what that man is doing? He is em-
ploying spies. I am being ratched day
and night.

SUPIRVIS OR: The Administration thinks

your interests are abnormal.

ISABELLE: Are the interests of the

Administration entirely normal? Are
yours?

STPERV'ISOR: Oh, by no means. It is

clearly far from normal for anyone to be
as lovely as you. And I find you very
 96

interesting, Miss ISabelle.

Turns in SLEELLE: Very prettily put. And surely

not at all that you neant to say.

X in to SAPLLLE SUPLhVISOR: Oh, Miss Isabelle—-this

tise-—yes.

ISAbiLLE: And in what way are my

interests abnormal? Is it because I
believe in spirits? That doesn't seem
abnormal to me. what seems abnormal is
the dull indifference of the living to
everything that goes on outside of their
lives. Or else we are all hypocrites,
and the millions who say they believe in
the afterlife don't believe in anything
of the sort.

SUPIRVISOh: be you really see ghosts,

Miss Isabelle?
fl
: eps a ay_ ISABELLE: So far, only one.

SUPLRVISOK: He's very handsome?

IonbjLLE: He's quite nice-looking.

SUPERVISOR: Young?

x in to SUPERVISOR ISABhLLE: About thirty. I'd rather

become ageless at thirty, wouldn't you,
than with a long white beard?

A step in SUPERVISOP: Does he come near you? Do

you let him touch you?

Turnsi X UL-_. ISABILLE: He never comes near me. He

is too fragile. And he knows hos clumsy
Turns...i;a ._ 1--“ we can be.

X in.,m SUPERVISOR: But you look at him. You

talk to him?

IS-I-l-EIJLLE: Of course .

SUPERVISOR: Do you really think that's

rise, Miss Isabelle?

ISAblLLE: Why not?

 97
Moves in closer SUPLEVISOH: Miss Isabelle, one day you
will hear a man—~a living man—-askiig you
to be his wife. that will you answer?

Turns; X LL 7 7 ISABELLE: That depends a little, doesn't

' it?

Follows hur_mu _ SUPihVIbOE: If I understand you, Miss

Isabelle, you intend to continue your
relations with this ghost? And with
others too, perhAps?

Turns in, __,”W . ICLLFLLE: Naturally. One likes to extend

one's circle of aeguaintances as far as
possible.

ouPIRVISOE: But if these accusintances

should interfere vith one's life?

ISAELLII: Ihy should they? That ihle

hour of the day during which a rife
invites her soul-—her memories, her
hopes 9 perths even her lover-— hat
harm i f she devotes it to an invisible
friend?

SUPERVISOR: Your husband may not like

} O . U

Takes a step E ISQDLLLI: So many invisible things

come betneen a hUSbuUQ and a wife—-do
you think one more mill matter?

X to ISABELLE SUFLEVILCB: This one.

ISIELLIE: thy should it?

SUPLEVISCR: because the one thing we

know about ghosts, Miss Isabelle, is that
they are extremely devoted. It's doubt-
1 ss a consequence of their lack of
regular employment. You must admit it
would be :isconcerting to have a ghostly
rival moterialise in the midst of one's
most intimate moments.

Turns in - ~ , , , ISALLLLE: A ghostly rival?

EUPLLVISCB: beware, Miss Isabelle. beware

of these phantoms Lho prowl around young
girls. Their intentions are not honorable.
 98
he know t eir little game. They begin by
appealing to your sympathy, to your soft-
ness. They're helpless and lonely, so
they say. That they want is, little by
little, for their o.n dark ;:r;uoses, to
cut you oif £10m the rest of humanity, to
lead you step by step away from those who
have a healthy human interest in neckties
and petticoets and Lreai :nd cheese. It's
happening to you nov., I:abelle. For
heaven's sake, take care!

Cones closer_to ISLEELLI: Lear Lupervisor, please try

:r wren-
)1 Iii—3111-. '4 ...»kzfi to understsnd. Of all the multitude of
the cecd, my iho;“t is the ony one tho
has been ate to Jenetr: te our sphere far
enough to esstablis h COUUiLice tion. I
know he is not the only one who has tried.
Sometimes I feel that in the vast sea of
the dead, fiiefol currents are flowing
toward me. I know th;t through me at
last they rill find a way to flow back
into the torln of the living.

K DR r””13“"I‘le. Isabelle--this is madness!

Turns to EUP:RV ILCh Ié,Eanhz Every child knows that the

void bey nd life is peopled with fibureq
The LaIkHSSS that hens us about is only
our own dullness. If we stretch a hand
through this darkness a thousand hands
stretch forth in answer. Already one has
grasped mine in trust end friendship.
Why should I let it go?

X_t0 IELBLLth SUPERVISOR: Isabelle, Isabelle, do you

know that you are doing? In the name of
Goo, stay away from the bounds of life,
its limits. Its glory is to be brief and
full bet een t. o voids. Its miracle is to
be something balanced iirmly on nothing.
but let a single urop of nothingness fall
into it, and the result may be disastrous.
That is why every mortal is pledged from
his birth to éUch the frontiers of exis—
tence. Open the gate, be it ever so
Slightly, and you destroy us all.

Turns; X _LL IELEELLE: Or Save you all.

 99

SUPERVISOR: Once the gate of death is

Open, who knows that horror may surge
through?

ISAbEL E: Death holds no horrors. It

is simply the ultimate horror of life.
It's for our sake, not for theirs, that
I wish the dead to return. We need them
so deSperately.

S"PERVISOR: What in the world for?

X slowly UC ISABELLE: You asked me a moment ago what

I would say to the man who one day would
X near SUPERVISOR want to take me in his arms. I will tell
you. If it is in order to shut out this
new world that calls me, if it is to close
my mouth with his lips, and my eyes with
his kisses, to make yet another of these
double-backed beasts that labor to prOpa-
gate the wretched race of men——no. I won't
Looks at SUPERVISOR have him, no matter how beautiful he is.
Indicates to SUPERVISOR If you know tnis man, give him my answer.
to leave And now, goonbye.

X in to_IEALZLLEHHu SUPERVISOR: Miss Isabelle--whatever you

do, I beg of you--don't meet the ghost
tonight.

ISABELLE: And why not tonight?

SUPERVISOR: Because the Inspector has

set a trap for him.

ISABELLE: He doesn't fear the Inspector's

traps. Please go now.

Startsqto leave, then SUPERVISOR: I'm staying here.

stops
ISABELLE: Why?

SUPERVISOR: I want to see this ghost.

H
[fl

'aBELLn: You'll never see him.

SUPERVISOR: I will not only see him, I

will unmask him once and for all. I will
Show you how genuine this ghost 18--

Points in back of the
iUthVISOh
Turns around
Turns to ISABELLE
Points in the air
ISALELLE exits UL
laughing
Turns,in¢_fl~w
_§UP2PVISDR nods and
exits UR
He looks around for
the EXECUTIONER
Bikei__n.s.-999.9‘...99¢ #15
~£hui_shyhs_§ss_filj
T;>_the SECOND
100
ISAbLLLh: Please do. There he is.
SUPEIVI CR: Ihere?
ISABILLE: I~ight behind you—-see?--
you seem to amuse him. He's smiling.
SUPERVISOR: Isabelle, dun't joke about
this. The Inspector is already posting
his men. They have orders to capture
your ghost dead or alive.
ISLEELLE: Do you think they will know
which is which? ——Oh, there's the
moon, see, Mr. Supervisor—~genuine silver.
See? The hallmark?
(THE SUPERVISOR X UC, LISTTTIRG TO HEB
LnUGUTER. THE IJSPLCTOR, MAYOR, Inn
LOCTOR LALK IN FROI UR. TRR TOCTOE X
thOfi THL LOG; THE MRYOR x OR; THE
INSPECTOR X TO C To THE SUPIRV SO .)
INSPECTOR: Hell, dear boy-~you don't
have the look of a successful man.
SUPERVISOR: I'll try again tomorrow.
ISSPLCTOh: GOOd idea. In the meantime,
be so good as to get your class together.
It's getting dark. It's time they were
in bed.—~Now, where can the executioner
be? He should be here by now. Oh, come
on in, Mr. Executioner.
(SECONO EXECUTIORER ENTERS ThRChINO, LITH
A PISTOL IN HIS hAND. HL Ipssnbs FROM
THE AUDILNCR LRTRINCB, UL. THE IHSPECTOR
STARTS TO hlhT RII thN THE FIRST LIECH-
TIORIR INTIRS TROT UR, CRLLTIUG A EIFLE.
THEY EUJP INTO l;CH OTHER. THE Tao
IXEGUTIORLLS STLNU RT ATTLRTION, C. THE
INSPECTOH,VPUZZLED, X To ThhM.)
INSPECTOR: Now. What's this all about?
Which of you is the executioner?
FIRST EXECUTIUNER: I am.
INSPECTOR: Then who are you?
INSPECTOR: "which of you is the executioner?"
101
 102

SECOND EXECUTIOHLR: The executioner.

INSPECTOR: One of you is obviously lying.

Shakes his head FIRST EXECUTICNER: Not me, sir.

Stamps his foot SECOND EXECUTIONLH: ‘Not me.

X to FIRST INSPECTOB: Well, we'll soon find out.

Alocks at his papers Let's have a look at your papers. Hm——
Profession: Cornetist. Now, what makes
you think you're an executioner?

Steps out _ng _ FIRST EXLCUTIONLR: You know the police

never register our real profession,
Inspector. They always put us donn as
Steps in musicians.

SECOND EXECUTIONLR: That's correct,

Inspector. I'm down as a contra—bassoon.

INSPECTOR: Empty your pockets, both of

X DR you. Mr. Mayor, inspect their belongings.

Steps between the MAYOR: This one has a patent corkscrew,

FXECUTIONth some cigarettes, five francs and a
lnsnegtsvthleIRST toothpick.

INSPECTOR: Perfectly normal.

Inspects_the SOCOND,MMWIHH, I, MRYOR: A fountain pen, two cough drops,

Eases bslsneiaes_b&ck a rubber band and a broken comb. Some
to both- ” ' change and a key.

INSPECTOR: Search any man suddenly and

that's what you find. Well? Well,
Turnsminlmamr _ _which is the executioner?

MAYOR: It should be perfectly easy to

tell an executioner from an ordinary
person.

NSPECTOR: Really? Let's see you do it.

Scratches his head MAYOR: Thy——

_Placeswfootwonlthe_m_l _DOCTOB: They say a dog always bristles
loal when he sees an executioner. All we have
to do is find a dog-—
 103

INSPECTOR: Where do you eXpect me all of

a sudden to find a dog?

X_DR-l MAYOR: I have it! Why not examine them

on the elements of their profession?

X UR of the EKECUTIONERS INSPECTOR: That's an idea.~-You—-of what

Addresses the FIRST material is the guillotine constructed?

FIRST EXECUTIONLR: Of oak. Except for

the runners-—

SECOND EXECUTIONER: Rhich are always

made of teak.

.A step in. INEPLCTOR: Hm. What did madame Du Barry

say when she mounted the scaffold?
To the FIRST You?

FIRST EXECUTIONER: She said, "Just a

moment, Mr. Executioner, just a little
moment more."

INSPECTOR: Who was it said to the heads-

man, "Lend me a hand up the ladder, please.
As for coming down, I'll shift for myself"?
To the SECOND --You.

SECOND EXECUTIONER: Sir Thomas More. 1535.

Turns away .MY INSPECTOR: This is a waste of time.

Turns in and pdints to the I You there-—what was the law of January 4th,
FIRST 1847?

FIRST EXECUTIONER: That's the statute in

which condemned persons are reminded that
an execution is a solemn occasion, and
that consequently jokes and witticisms are
prohibited on the scaffold.

Steps up to the FIRST MAYOR: Can you sing the "Executioner's

Song"?

FIRST EXECUTIONER: Which one?

INSPECTOR: Are there more than one?

SECOND EXECUTIONLR: There are dozens.

"The Headsman With the Golden Hair"__

Steps back
Steps forward and begins
singing before the
SECOLD has a chance to
sing
Stepsforzard and 4‘
takes up the same tune
Ea6h.hXE§UTIONERWtrieS
to_get ahead of the other
ileTRGELfQElEYETyone
to hear his particular
Yaise ’ And say, what lovely golden hair?
At the .'ord "tv._ins" the
"AECUTIOMEHS look at each
other and X to the opposite
corners, UL a.nd UR
X‘to each EXECUTIONER ,ul-
Hands FIRST the instruc—
tions, then points to
th?.§h}9§9P1lUR
164
FIRST EXECUTIOUER: "The Hangman's Reel"—-
SECOND EXECUTIONER: "My Head Is in the
Clouds."
MAYOR: "The Headsman with the Golden hair."
FIRST ‘KECUTIONER:
hhen I set up my guillotine
Upon the village square
The dawn pours rosy brilliantine
Upon my golden hair.
SECOHD EXECUTIONER:
No trace of Vaseline for men
No fragrance of Chanel
Clings to my golden ringlets when
I greet my clientele.
TOGETHER:
My shirt is starched, my cuffs are white,
My blade gleams in the morning light,
Can I be blamed if people stare
INSPECTOR: The devil take the examination!
If the executioner insists on being twins,
he'll just have to split the fee with him.
self.
FIRST EXICUTIONER: Fair enough.
SECOND EXECUTIONER: All right.
_INSPECTO<: I see you're armed. These are
your instructions: you will be posted in
this thicket. You will keep a sharp look-
out.
FIRST EXECUTIONER: Will there be much
waiting? If I stay up after midnight, I
get the Shakes--
INSPECTOR: It will all be over in a few
minutes. First you will see a young girl—-
SECOND EXECUTIONER: Oh--
INSPECTOR: Then a young man.
 105

FIRST VKECUTIOUER: Ah--

INSPECTOR: You will permit them to talk

together a minute or so.

Steps out SECOND El CETIORLR: Can we listen to

what they say?

INSPECTOR: You may. The man will be here—-

PointSHPQ_l_l the woman there. Take careful aim at the
man. And at a given signal, fire.

FIRST EXLCUTIONER: To kill?

INSPECTOR: The man is wanted for murder

and has been evading arrest. The govern—
ment gives you full authority to kill him.

SECOND EXECUTIONER: What's the signal?

IHSPECTOR: Whatever you agree on.

Leeks -.at SECOND . _. .FIRET EXECUTIONER: Obelisk?

INSPECTOR: Why obelisk?

SECOND EILCUTIONER: That's the word we

always use in the trade as a signal to
MAYOR and_INSPECTOR Spring the machine. Obelisk-—bangl It's
shudder at_the word "bang" a good, clear word you can't mistake.

FIRST EXECUTIORER: All right, then. The

minute the man says obelisk, we shoot.

IJSPECTOR: You may have to wait in these

bushes several years before it occurs to
the man to say obelisk. But if you're
looking for a word, there is one he is
certain to use within the next tho minutes.

Cominalinl_ M, Y,,_— wv- e v

_MLYOR: What Word is that?

INSPECTOR: Alive.

F RST EXECUTIONER: All right. The minute

he says alive, we fire.

RAXOR and INSPECTOR SECOND EXECUTIONER: Alive-—bangl

Esaialrsaetlt9_fieana"
 106
X in --—-—-—-— “—7". A__ l
DOCTOR: Hadn't you better tell them what
it is they're going to shoot?

IJSE’CTOR: Ever hear of Axel Peterson?

FIRST EXECUTIONEF: The Headsman of

Goteborg?

SECOND 1X! UTIONER: The one who beheaded

the ghost?

INSPECTOR: That's it. And now you under

stand.

Eegins to shake with FIELT EKLCUTIOgLE: What do you mean? Is

fright this murderer a ghost?

INSPECTOR: So he says. Do you mind?

The DOCTOR takes some ELCDNB EIECUTIONLB: It's all the same to us.
objects out of his pocket
ano X in front of the INSPECTOR: Come along then. What's that
INSPLCTOR tQWard ER you've got?
To LO TO.
holdinglthemrin.his_ LOCTOR: My pitch~pipes. My tuning fork.
hand

X down to LOCTOH IHCBLCTJR: What are they for?

DOCTOR: The transition.

INSPECTOR: Eh?

FOCTOR: he are about to pass from the minor

into the major.

Tapping_his forehead INSPLCTOB: Mm—hm—-Bit touched. Come along,

fieneat sound_cue #15 boys.
'Insrroroa and_£XECUTIOHERS
-exit UR. DOCTOR: I was worried. I thought I'd lost
qCut sound cue_£l5_ them. But here they are.

X to DOCTOR _fl___ “HAYOR: Do you realize what is about to

happen?

IOCTOB: I much prefer this type that you

blow-oon't blow it——to these things that
look like curling irons.

MAYOR: Doctor-~a life is at stake!

 107

_Not paying any attention DOCTOR: I looked everywhere for them. And
to the EAYOR all the time they were here in my pocket.
If two coppers had slipped into the lining
Of my coat, I'd have jingled like a junk
cart. And here was all the music in the
world, and it didn't mak a sound. Tell,
at any rate, we're saved.

Hands pipes back to MAYOR: Are you counting on this whistle

DOCTOR to protect Isabelle?

DOCTOR: My near friend, do you really

think Isabelle needs our protection?

MAYOR: Doesn't she?

X DL DOCTOR: No. At this moment the entire

universe is protecting Isabelle. If a
mountain should fall upon Isabelle, it
wouldn't harm a hair of her head. Nature
takes care of everything. The only gues-
tion with us in a case like this is whether
or not we are in tune with nature. If we
are, we're all right. And if not, I have
my pitchpipes.

MAYOR: Do you think you can tune Nature

like a piano?

DOCTOh: Oh, no. Like a choir.

X UR hAYOP: These mysteries are beyond me.

I'm going to try and reason with the
Inspector. In the meantime, I leave you
Starts to exit alone with Nature.

DOCTOR: Thank you.

Turning
a). - w»
nAYDB: You're quite certain Isabelle is
in no danger?

X DC DOCTOR: Quite certain.

A step down ELYOR: What about us?

MaYOR exit UR DOCTOR: Don't worry. On a right note a

Sound cue_gl6 fade man is as safe in a whirlwind as in a
DOCTOR holds up his hand church. Attention, please.
 108

(Dacron BLOs I; TO HIS PIPE. NLIUPE

T.KLs HIS PITCH LIL ALL or II nL-,uxus
”Cut sound one #16 In A CHJLL or LII.LITL shame Y. HE
‘ODS, SATISFIED, Ash TIPIoLs OUT UR.
J
SQQHd.QHQLilZL£%Qe and ISILLLLL IIILBs IoUSIC PLOI UL;
Last LI5TLI IS TO IHL SOUJC: I: {D THEN I TO
Light cge H5 THL gran; AIL .LITS. T.'iE can; :nrgn
Basin sound cue 518 Facm UL; I TO UC. )

Turns to ISLELLLE CHOST: Did I keep you waiting?

-..Cui 0m we #18 ISABLLLE: If I were a phantom, I think

I should move very slowly in the twilight.
I should pause, here to enfold a singing
bird in my substance, there to mingle for
a moment with a passing breeze—~ano some-
times I should melt utterly into the
fragrance of a bush of honeysuckle. I'm
afraid that once free of this shell of
flesh, I should always be late for appoint-
ments.

Steps in GHOST: Then you forgive me?

Rises from stump ISABELLE: But you have come alone again.
Oh, couldn't you have got someone to come
with you just this once?

GHOST: No.
gdtn
II C“

F3 U)
13 «D
U) ’0

in behind ISeFELLE: he thought yesterday that the

kind of sound that might sake them would
be a sort of wailing scream—-like the
screech of a locomotive in the middle of
Look in his face the night. Did you try that?

GHOST: Yes.

X DL of GHOS ISABELLE: And didn't you find that, one

by one, innumerable voices rose up to
echo yours?

GHQ “T No.

ISABELLE: They must sleep very deeply,

the dEad.

C OST: Compared with the sleep of the

 109

oead, the sleep of the living is moonlight

sparkling on the water.

X to GHOST ISLBLLLL: Hill it always be line that?

GHOST: I'm afraid so.

Turns out ISLEELLB: Then you think there's no hope

at &li?

GnOeT: I'm afraid not.

ISALELLE: That can't be. I Know, with some

people when they die, it's Complete. They
sink into the void line stones. But there
are others who go into death as if it were
an eXpedition. Hhen they go, you want to
wave a handkerchief and wish them luck.
You can't tell me that they won't waken
when they're called.

GHOST: I have seen no one like that.

ISABELLE: But what about you? Are you

content to spend the rest of eternity
haunting a lake?

GHOST: Perhaps it's all I'm good for.

Turns; X UL ISABELLE: I won't let you say that. You

know it's not true.

Turning to her GHObT: Oh, why don't I just vanish?

Turns in ISABELLL: Because you can't. I've caught

you in my trap.

GHOST (PUZZLLL): Trap?

ISABELLE (SEILING): I have a ghost~trap

in my room. Didn't you know?

GHOST: Ar: you a sorceress?

X below log ISABELLL: My sorcery is very simple. For

a long time, I wondered That would be most
likely to attract the dead. I decided it
wouldn't be their friends or their books
K below GHOST DC or anything of that sort-it would be
something quite modest and homely. Perhaps
 110

a little pattern of light and shade——the

glitter of a doorknob, the flash of a
white petal, the pink nose of a cat——a
litule mosaic of living things. That
X UR would be irresistible, I thought, to a
soul that was steeped in darkness. And so—-

GHOST: And so—-

Moves DR of GHOST ISLBELLE: I've arranged my room very clev—

erly. Superficially, it's just a room for
a living girl--a girl living in the provin-
ces, to be exact. But look carefully, and
you will see that everything is calculated
SEGOJD LXEGUTIOfiER peers to the last detail. The curve of a pot,
his head out from behind the surface of a table-—by day they Catch
the siege, UR the sun; by night, the lamplight or the
moon—-the little pattern is always there,
marking a spot of warmth in the coldness
of the universe. That's the extent of
X near GHOST my sorcery. And that is why I wasn't
in the least surprised the night I saw
your face peering in at my a'ndow as
FIRST EXECUTIONER peers I brushed my hair. You were enchanted,
out I could see. You were caught.

Starts to X DR GHOST: Yes. I was caught. And again I'm

caught-~

Following him ISABLLLE: By what?

The two EXECUTIONER GHOST: Another of your patterns. Your

enter_with their guns voice, your face, but most of all your
pointed at_tne_back of Spirit-a spirit so generous and innocent
the ghost that I am sure it could harbor not the
faintest suspicion that all this while
I might be deceiving you cruelly~~that
I might be, in fact, no ghost at all,
but--very much——

ISABELLE: What?

Two shots are fired GHOST: Alive!

Lightleueufi5
(TnE GHOST OILILY LOOKS AT Ta: LIECH-
TIONERS RAD ILLKs OFF UL. IslsLLLL,
FBIGHTLELD Inn COJFUSED, aUns UC, LOOK-
IIO Ion hlfi GEOST. TaL FIRST LILGUTIONER
suns OFF IN Tlhidfi. Thh LLOOID EXLGUTIQNa
ER.STAADS DR, HIS KNLES SnAKING. DOCTOR
A.)
U1

111

AND MLYOH RUN IN FBOfl R, LED X

IJILLIATLLY TO ISnthLE, Tfin INSPECTOR
FOLLOIING.)

Pompously X PL without INSPECTOR: Good work, boys! Tith two

noticing the spot There shots, you have rid society of a criminal,
the [host was
. su_e.dosed to the s"irl of an obsession : and the town of
have been killed a ghost-~uh—-

Sound cugwil9wbring up (BUT AT THIS JOIENT TIL GHOST nEEflTLEC

FROM UL hfib SLOLLY 1 TO Th3 CLATLE. AS
THEY ALL SEE THL APPLLITIDJ, ONE ATTLR
ANOTHJH, THhY hLALILL BLIOJL LOUBT THAT
THIS TIIE IT Is I GHOST.)

Very frightened, points SICTKD EXECUTIONLh: But-~but, Inspector--

to the ghost.

INSPECTOR (FHIGHTLNEL): There seems to be

something wrong with my eyes. There's
surely nothing there?

A step out _ ISLLLLLL (In LILLTLTION): Yes. There is.

MAYOR: Yes. There is.

LOCTOR: Yes. There is.

A.step in IJSPLCTOn: It's a birch tree——in the

moonlight. And in our excitement--

TJILY'OII: PI 0 , it i511. t o

DOCTOR: No, it isn't.

ISLELLLL: No, it isn't.

GHOST X US SLCOJL LXLCUTIJNLR: Look out. It's

moving toward me!

Cut sound cue yl9 fad INSPLCTOR: Ee calm, my children. be

intg_§u§“gzo calm. It's a phenomenon—~perfectly
well—known phenomenon. It's called a
mirage. They're common in Africa. Do
you see it upside down, Loctor, or straight?

JAYOR: Very straight.

bOCTOh: His head is high—-

 112

ISAIELLE: Yes.

INSPECTOR: It's a will of the wisp. It's

X.tO GHOST and blows
hard,_three times
GHOST begins to move UR
nothing but marsh gas. It's an effect
ofstatic electlicity in the ev:nin5 mist——
a halo. The slishtest breath will dissi-
pate it. I'll show you. hell, I hope
this crazy Iirl is happy now that her
hallucinrtions--Iave reached the upper
levels of the administration. Of course,
the illusion is only visual——

GHOST: Until tomorrow, Isabelle!

IOOPICTOI (I; TIIPOI): Thatl?

Fade. .5974911...9II?..£.%Q._.._IIWO GHOST: Tomorrow at six, Isabelle!

cue #2 I will come here, Isabelle! And this time,
X UR_and exits I will come vith the others, Isabelle!
hith all the others!
SEC-I!) 4D £4.-:.C TIJL‘EER

dashes out bL in comflete IISPICTOR: I'm not feeling well.

fright Loctor--if you don't mind--

x to IRSPECTORl DOCTOR: Get him away from here.

TO 1311;.
m...LLE He's had a bad shock. Co, my child. It's
alI over.

ISABELLL: For today. Bat tomorrow——

From the rings, UR EROST: Tomorrow, Isabelle. Tomorrow.

~[Ode out sound cue #21
(THE JCJIOTOI .IIIO OFF UR, 3.: TOTEM
ISIIILLI . THh : Y1R.TUE DOCTOR
STOPS Is Im
OH:1IO I "'.OI :F OI;
VOICES OIFOTIOI B. THE OO IVISORIHS
II FIOI TIL R, FOLLOOEU BY OIIsY AIO
OILITOTI.)

DAISY end GILBZETE SUPERVISOR: fie heard shots. Has

gather around the DOCTOR something happened?
_andmtheISUBEnVISOE
DOCTOR: Yes. Something has happened.
kes SUPERV SOB by the Your moment has come.
'1
.L

SUPERVISOR: Which one? I have so many.

DOCTOR: The moment when you must fight

your rival for the woman you love.
 :2»
TO
,—
.—.

113

If]
DOCTOR makes '6 mysterious JDKLVIEQE: I have a rival? The ghost?
gesture
DOCTOR: Listen carefully, my boy.
What has hap_enea is something so imgortant,
so extraordinary that-

Junping us and down LITTLE GIRLS: Mr. Sugervisor. Mr.

Supervisor.

DOCTOR: better get hem home now.

I'll talK to you later.

To GIHLS 7?! r'_\17‘:VIcr‘,r

Lle ”A
.
k/\J:\. Now, where is Denise?

LLJISE runs in from UR LITTLE GIRLS: Denise! Denise!

GIIBIETL and LAISY exit UL
X to LEJIEEL"W.__ EUPL:VISO : Do you mind telling me why
you always lag behino?

LLNISF: because I vas looking for

glor—worms.

SUPIEVISOR: That's silly. There are

no glow—norms.

LAISY and GILELLTE: Mr. Supervisor. :‘u‘i I‘ .

Supervisor. Come look at what we founo.

LZHIEL: Because I lost my garter.

A4 It's in your hand. You

ware usinv it for a sling.
L.

LENICl: Because-—

Offstasfii _L ,. _. ..h-v-h_r . ‘,~ nigh...

ELIE! and GILBIETF: Mr. Supervisor! Mr.
Supervisor!

intS_Uanuflmr CUPLPVISOR: Because what? All right-—

I'm coming. Come, Denise.

DENISE: Because——

Offstagefl_ SUPLEVISOR: Denise!

X DQ..-,___ _. ...- -. DLAIEE: because I love to be alone at

Repeat sound cue {IO night in the forest!
 114

(GHOST EJTLLS FLOA UR; LJGYS LEOUnD.

Iiglgb TULAS A:QULD r4“~ 5315 TEL GHOST.
EhI.iflL§CLC .OCT UL; T’L S gar Tnuaee s;n
7

JOSE LT THL_LhOET. '

Tn; wLT EnlLIS,
LB."
ut soungigue le Ash Th’nLS EIS asst AT TLL iITTLr LIrL;
D

'6 TMLH :XIT: UR.)

CURTAIN
 115

ACT THEEE

SCIEE: LAIE AFTERNOON IN ”HE FORLET.

THE NEXT LAY.

L_isl1t.._0;s§_...l£'7 AT RISE: THLHL IS a ELTTLE CF '0 CPS

§9und__ one {322 OFF R. TEL LITTLL CIhLS INTER UR DANCING
OH TIPTOE; LOUKIAG th AFOUND. TI
IRSKLCTOB AND MLYQR FOLLOW THEH.
Feet-3.312.“; §OI.I;x.C;...-cue -3322.
F‘rflf‘
KthTIHQPL VluRHKhQ is- 951 ELY C R : I hope you realize what you're
cg Going.

IngLCTOR: What time is it?

21,- V'f‘h
Looks_u9___ -——-..-—__..-. .- ...-—
E 1X11 US By the sun, I'd say 5:3 .
3‘
!fi

"U
C)
P)
O
z:
I doubt if ghosts go by the sun.

_MLYCH: If they go by my match, it's

5:58.

232%-..11.IZ:LL§_._.§-re-.-§€ a u IHCPTCT“V: That gives us exactly twenty-

arounqithe log UL The ghost saia he'd come at
Lao minutes.
glarins.si lent games six with the others. There's just time
to man our defenses.

MAYOR: that oefenses?

_ IJSEECTOR: Mr. Mayor, at this historic

moment when humanity is faced vith the
most terrible invasion it has ever known,
the honor of manning the outposts falls to
us. I hope you are fully aware of the
responsibility.

Torry-”r Fl.I ‘ y'..

V -.
X to .Lii p! x ‘TCRWM.CTMM ...: . .
1L ‘
$4.“-.suiuo
‘
IflbyeCtOT--

IVoPECTOR: The enemy is in its trenches,

massed for attack.

MAYOR: Where? In the cemetery?

Time out m- . INSPLCTQR: No. In the beyond.

MAYOR: So at last you have come to

believe in spirits!

Turns in to_£AYOR_ ‘A-aA-r 'A-v-O

INSPECTOR: Mr. Mayor, I alsays believe in
the enemies of France.
 116
flAYOR: What if Isabelle finds us here?

X_to_losl. IJSPLCTOR: She won't. I have had the

town Clock set back an hour. Furthermore,
Leads GILREHTE to the I am posting Gilberte at the thicket.
thicket;_UR Gilberto! If you see anything come this
Khbackmi9.ߣ133.m way, you will report_it immediately.

-.

LookinsroffSV Bin“
1
'
_A
v GILFrRTE: I see Mr. Brock coming. Shall
I report him?

I;SPEC TIBR: Report everything.

GILBLR E: He stOpped.

X UC .U . IIE ESTER: Good. And now—~

GILL EhTE: The druggist's poodle is coming.

K U to INS“ VCT‘ R ‘yfAYOR: Inspector, do you mind telling me

what we have come to do here?

IJSPLCTOR: We have come to exorcise a ghost.

JAYOR : You mean with bell, book, and

candle? Do you have a priest?

TIE? , ‘N—rw-k-fi
,Id!nolJL. Do you expect me to appeal
from one superstition to another? I am
going to exorcise this ghost in my
official capacity as administrative head
of the sub—prefecture.

-..._ .W.
EAYOE: You think the ghost will be
impressed?

INSPECTOR: Ghosts are impressed by any

sort of rubbish. For hundr-eds of years
the church has soared them orf simyly by
telling them to go away in Latin. I have
no doubt that the official adjuration
which I composed this morning will be much
more effective. At least, they will know
what I am saym g.

uILIRTL: You want me to report trees, too?

X UCWH_:, _IHLPLCTOP Trees don't move, silly.

 117
Backing_slowly_ghay A,“ GILBEETE: And yet-~I think—«And yet—-
from the thicket I think-—

H
CILBLIT sadly walk S gsPECTOP: You may relieve Gi .her+e,
back to the log Daisy. She's getting nervous.

IIAYOR: I don't know that I exactly blame

her.

Z_._D.Q_..tdz- items . .. A ISSSECTOR: Are you nervous too?

MAYOR: To tell the truth, I'm in a perfect

seat. The more so as with this hocus-
pocus yo"re keeping me from the drawing of
the civic lottery, at which I invariably
preside.

IJSPECTOB: Is this a time to worry about

lotteries?

MAYQL: Tell, it's a very important civic

function.

X in profilestqaihe IESPECTOR: Ind that we are doing here is

31;: OR notan important civic function, I suppose!
Has it not yet damned upon you, Mr. Mayor,
that what we are involved in is not merely
of local or national or even international
importance, but absolutely universal in its
conseguences?

MAYOR: Are you serious?

EUR. .- - 1 INSPECTOR: Do you realize what it would

mean to France if the inhabitants of the
other world were permitted to colonize
this district? They would be natives of
France, and therefore entitled to all the
ri;hts and privileges oi citizens, includin3
the right to vote. The president of the
Republic would be a ghost, the prime minis-
ter would be a ghost, the members of the
high court, all ghosts--

‘mrns Mont. ...- ....lrwl,.—.L.... _....1_....- l.. . ,

MAYOR: You think we would notice any
difference?

X- to. ram... ES'EC OB: As ghosts don't eat, and re—

quire neither Clothes nor shelter, they
mould hardly understand our interest in
 118
Touches the IIYTR'S coat the material things of life. Good heavens,
we should have to plow our way through
phantoms like ships in a fog!

Turns outlaw , MAYOR: Dear me!

IEQPLCTOR: It's a good thing I'm here.

LAYOR: InSpector, you have opened my

eyes! Under these circusstances, no one
could count on a moment's priVacy.

INbPiCTOR: Aha! So you begin to see?

X DL a -.H ... _ MAYOR: I have but one real passion in

life: I collect stamps. I specialize in
imperforate Antilles of the period 1855-
1870; for the past twenty years I have
spent my evenings deli3htfully, turning
over the pages of my album in the exquisite
solitude of my study. People think I am
studying official papers. I lock the door.

IESPECTOR: Wise precaution.

MAYOR: Every man has his secret vice,

Inspector.

IJSPECTOR: hell?

Ip3tgwlߤPLQ1931. MAYOR: hell, under the uncomprehending

stare of one's assembled ancestors, one
might feel a trifle embarrassed, don't
you think, playing at my age with bits of
colored paper?

INSPECTOP: It's entirely possible.

MAYOR: Naturally, when I say Antilles, I

include the Bahamas, Trinidad and even
Nassau——but still--

IflbBECTOh (IMPATIBNTLY): I take it you

agree, then, that these phantoms who pro-
pose to populate the district must be
considered an undesirable element?

_Jumping up and down ”a. DAISY: The houses are moving, Inspector——
the houses!

X_UC
Eacxing.avay
UAIp:Y ‘10"lJ 'al!.8 ever
to the log A thicket. Very well, then. The little
Lil SE skips over to
tusltfii¢$et UR
IESPEQTQBIXth_the C
QIALS stand up
Ql313__ f0 m a seni— circle
in M of Iv_PLCTOh
Sound cue £21 fade in
INSPECTOhhtsmes a docu-
“ment from his pocket and
_unfolds_ it with solemnity
GIRLS hel) hlfl_9§”?lbh
his medals then_ attempt
to run 0f and hear the
military b ndggpe_£;jhpp
IJ“PF_CTOB gives his cane
to nlYJn,_lidushis glasses
ndLfinally._arraures the
EIQJL6_in_order
-Etdelsnund_9ue £23.1nto
thelbackground
horgsuhis W§y_SlQWlYWDC__
119
Houses don't move, silly.
DAISY: And yet--I think—~and yet——
I thinl’-—
I.UPLL"OI Denise, you go to the
ceremony which you are about to witness
is designed to preserve to our ,osterity
these monuments of human ingenuity--
together with some other trif les, such
as lam and order and a living wage. In
order to inure the solemnity of the
occasion, I Hired the Preiect and the
Minister of Public Safety to be present
as representatives of the human race.
For some reason, they have sent their
regrets. I shall therefore proceed with
the company at my disposal—-that is to
say, the Mayor and the Sixth Grade.
Children, form a circle. As I read,
you will repeat after me in chorus the
last word of every important sentence.
That should make a proper ceremonial
effect.
THE GIRLS: Effect.
INSPECTOR: Just a moment. Help me
on with my medals, please. Here,
Mr. Mayor, hOld mr cane. Girls!
The military band can wait. hhere's
my spectacles? Oh, ahem! Beady~~
(BLADE) Spirits! Ghosts! Phantoms!
Powers of darkness! I address you in
the name of humanity!
GIFLS: Humanity.
INSPECTOR: What is humanity? Humanity
is a superhuman enterprise!
GIdLS: Enterprise.
IMSPLCTOR: The purpose of which is to
distinguish the race of man from the
hodge-pocge of the infinite, by means of
the invincible forces of government and
science.
 l20

GIRLS: And science.

IJSPECTOL: Government defines the

physical aspects of man by means of the
printed form, so that for every man in
The EAKOB_is taking the the flesh there is an exactly correspond-
sholewceremonymyery ing man on paper. In this may, man
seriously, becomes a function of the state.

GIRLS are smiling and333‘ ITHB GIRLS: The state

jumpinglualendvaown
behind the 3JSPL§IUH TSPLCTOR: Science, on the other hand,
liberates the Spirit of man from the
infinite by means of material rewards.
When in the eighteenth century, man
ceased to believe in the fire and smoke
of hell, Science provided him with
immediate compensation in the form of
steam and gas.
3.
imitating the_IjiPLCTOR THE GIRLS: Gas.

INSPECTOR: When he ceased any longer to

heed the Words of the sears and the
prophets, Science lovingly brought forth
the Radio Comment--

THE GIRLS: --tator.

INSPECTOR: In place of revelation, he

now has-—

THE GIRLS: Journalism.

INSPECTOR: So that now, for the worship

of the Infinite, he is able at last to
substitute the worship of--

THE GIRLS: The Atom bomb!

Turns_andhlooks at the INSPECTOR (SHOUTING): His Reason! Thus,

QIiLSHseverely through the ages, Science brushes amay
Continues reading, only the Cobwebs of superstition, and lays
this timsmore___bombss tic bare the walls of being until every
corner of the universe is explored,
eXplained, and flooded with-—

THE GIhLS: Artificial insemination!

 121
Pauses; turns and glares _ IHSRLCTOL: Illumination! —-—-”herefore,
at GIPLS, then continues now, spirits of darkness, in the name of
rea'oino,wstepin? more DC Government, of Scioence, and of their
servant, humanity, those every interest is
oppose; to yours, I declare you obsolete,
useless and unoesirable, and you are
DAISY apparently hears hereby forbionen to enter this jurisdic—
something and sneaks over tion on any pretext thatever, under the
to the UR entrance penaities provided for cases of illegal
immigration, Law of June 13th, 1397,
SoundC‘e_fi4j(nilivary Paragraph 8, Section 2. In witness
band)outsud'enly whereof--

EfitoijSPLCTOB 7 “.1. DAISY: Here they come!

IJSP“CTR (LKCITLL): Lho? Who!

Jumpingmupmang down _%”J _ I DAISY: The Ghosts] The Ghosts!

athers as many GIRLS as . INSPECTOh: What? Lherel Oh, my God!

SSLESQ find and runs off Come on!
UL
St :tsrunning_taking 7_ —_ EJYOR: Come, Daisy, this is no place
DAISY with him for you!

PwISY: It's not the ghosts. I was

MAYOR doesn't pay any only joking. It's only Miss Isabelle
attention but orags aha the Doctor.
DiLISYLniTfl ,UL -
MAYOR: Out with you. This ray-—ruick.

Q§f§t§SQHB_LL-LLLL. I“, . SLEELLE: I'm terribly grateful. If I

hadn't met you, I'd certainly have been
late.

Enters yith ISALILLEMDU” . , DOCTOR: The town clock must have stopped.
fromfiUR It's nearly six. .

X L DC LLLL.WL-LHL1515LLLL: Do you think he will really come

aga
ain?

EQLIOLIHLILJ-LLZ LL._-.;':OCT0R: I think so.

Egrgg_tome§IOR ________w_mnflmfl_ I LUISAEELLE: He's not my ghost any more. He's
evenybody's ghost. They're all waiting for
him-~the whole town. Perhaps the whole
Jorld.

Ihe SUPLIVISOR_ enters from DOCTOR: I think he will come here.

INSPECTOR: "Therefore, now, spirits of darkness, in the name of
Government, of Science, and of their servant, Humanity,
...I declare you obsolete."
122
 123

UL, -He_stand8.silent a ISABELLE: Why?

moment.“ Neither ISALLLLE
nor the LOCTUH see hin. He DOCTOR: Because he needs you.
is dressed in his best——
blaCK Jacketi_§triped ISABELLE: Lhy should he need me? What
trousers; chamois gloves, will he want of me?
bowler hat, and a gold—
headed cane in_ his hand. DOCTOR: I don't know. But I think he
The SUP};RVISOR walks will want you to join him.
be. ck and forth» UC.
.ESGmlnLlYLLEY;ߢ_tQ ISABELLE: In death?
memorizsuaLseeech
DOCTOR: Perhaps.

ISABELLE: Couldn't I be just as useful--

even more useful——alive?

To us, yes. But to him—-?

X closerto DOCIOR__ .au--‘v-._—n_ ._ - ISABLLLE: You'll stay with me, won't you?

DOCTOR: Are you afraid to see him alone?

54.22.1151. .c.u_e .£€'24_.1The town L: I don't know. I don't know.

clock strikes_six) Please stay. Please.

IEJDS and.looksLUCLL_ DOCTOR: If you wish.

seeshtheMSUPLRVISOR
Noiisin£_bheLEOCTQB{Sawn“ ISABELLE: Has he come?
expression.
DOCTOR (SZuILIjG): Yes. And I think I'll
Startsntn_leaveq,_ leave you alone with him, after all, my
dear.

Turns and notices the ISLBELLE: Oh.

slerVI OP ‘ I
X to wUPLvaOP; pits DOCTOR: Goodbye.
.himmon_ the Shoulder and
exits UR ISABELLE (TENDLRLY): Goodbye. Goodbye,
dear Doctor.

SUPLBVISOh: Not a word, if you please.

Noticing for the first ILLLLLLL. I don't know what to say.

time the _SUPrfVIoO"‘
finery,_Xfitomhim . SUPERVISOR: Don't say anything. Just
listen.

talkingwaround_hie__ - ...—u,
.WISABELLE: Do you mind if I look?
 12h

CT? 7. '=')\"I"-.‘:)"‘.
X.Ri above stump Lu ..1 J u‘. 17 0 That is permitted. In fact,
please do.

Takes a steg back ISABLLLE: You look so grand.

SUPERVISOR: Don't poke fun at my finery.

It is all that sustains me at the moment.
Except the thought of those who should be
SUPEPVISQR_iS Speaking wearing it. They would certainly be here
in a nervous manner, as with me, if they were alive. As it is,
if he had something let me present——my grandfather: his cane.
importantIto_say My great—uncle: his watch and chain. My
father: his hat. My Uncle Albert, his
gloves. The rest is myself.

ISnElLLE: I am delighted to meet you all.

X to stump ---“,u u_yflmy. SUPERVISOR: day I stow my relatives on

Puts down his h~t, cane, this stumo? There's quite a lot of them.
and gloves
1110. -.._-_..._..- . .--- _
IikfiiLLE: And to that am I indebted for
the pleasure of receiving your family on
this occasion?

XMtQHC_andrbows_d_un _. .-—~-—._h .....__ -

SUPERVISOR: You haven't guessed? We
ceremoniously have come for the purpose of asking your
hand in marriage, mademoiselle.

ISABELLE: But, really—-1

DeIivers the entire_m SUIILUISOR: Not a nerd, if you olease.

sneech esii‘ he _ had he ask you for your hand; not for your
memorich_it.for the ans er. be aSk you, by withholding your
ossssion ansaer until tomorrow, to give me the
hapsiest day of my life-~a day during
which I can say to mvself that at last
I have asked you, and as yet you have
not refused. A day in thich I am per-
mitted to think that you may be a little
touched, Lerhsos, by the thought that
there is someone, howev;r unworthy, who
lives only for your. Someone, incidently,
Takes ..up.._..his hat. . called Robert-~my father will have told
you my name by now. Someone who is
Lrave, hones , concientious, reliable-—
Takes. .hi snpsne. and even monest. For my grandfather Can
hardly be expected to share you even
the least of my virtues. Someone who--
Pick3__up_...his..glove S, come, UnCLe Albert—-has the honor to
SUPERVISOR: "We have come for the purpose of asking your. hand in
marraige, Mademoiselle."
1.25
 126
wish you goon day, Mademoiselle.
X UR Until tomorrox.

I:-kesa..sten_tn§3f::rd fiche . ISleLLI: No, no. Don't 10. Only--

--v-';,- 3""er
L. :3).- ...;LI ..LL Jai» you come at such a moment!

Steps_in. _ .1 “”LPVISOn. I choose the moment delib—

Places his cane,_hat, and erately. It is his moment. And therefore
Lloves onge_more.on_the the logical time for me to offer you
stasis. another road to the other world.

ISAhELLE: What road is that? Are there

more than one?

X_to ISAELLLE ”'PILJIJE: There is a road vhich leads

slox-ly, easily, but very :urely, to death.

IShBLLLb: that road?

(5:! l
fiLBVISOf} Lii‘e O

ISAEE LE: Life with you?

S'PLrvISOP: That's not the important

thing. I, as an individual, don't count
for much in this affair. that I offer you
is not so much life with me, as life with
a government emoloyee. It is a career
which ends Quite pleasantly in the other
world. I suopose I go with it. but
t.
C)
t“

ov—.-«—_Hm-—u—\- .. . ~
perhaps yo; don't understand me?

ISAbELIE: I think perhaps I do.

1 LR pr ISLEELLE SUPERV’IFOR: In the civil service, the

aQVances are regular and statutory. he
move from sost to post, from year to year,
with-the smoothness of time. Re are borne
as on a_gentle stream from increment to
increment, from youth to age, from age to
death~—without break and without transition.

Turns aaay ill 1-... ISRBLLLE: It doesn't sound so terribly

exciting.

SUPIEiVIEOR: Oh, it is ingenssly c:ritfir;.

It
is all sheer poetry.

Pecomingwinteresoed ICAPTLLE: Really? I wish you'd exblain

 127

X DC that to me. You find it all sheer

poetry in the hureau of heights and
Measures?

“U07“"ISCI: I'll give you an example.

Say, I am checking the volume of the
barrels in a cistillery. The moment I
am hored——I transform these liters into
gallons, and in a ttinkling, I am in
Takes a_§EPPlt9lPh9.R America. On the way home, I have ten
kilometers to travel. If I plt it into
£.stepmtolthe C verets, I am in Russia; in parasangs, in
StEPSLiQLLQ Persia; in fathoms, I am under the sea.

ISABELLE: Oh.
Con-lwfifflé
? IIIQVj-nfi, infil
...-..- <p-.-¢._—..~. ...-o
SUPLNJIF2IR I check a load of grain in
ClPC‘le_ hins—-the owner becomes an ancient
ASit—'67:) UL
Ins-"-
Hebrew; in talents-~a Panza; in nrachmae—~
Etfy8.b€hipémlififktti a Greek. I take a hciLht in cubits—-I
T0_the R_ m vith Cleopatra; in ells, with Alfred
.Steps UI‘.‘ of“ IS} L: L J“- the Great.

Turns to ccllh"’$ch .~--~——...-- .. -.- -..». . ._ ...—r IS.EEIL‘ You are a poet, aren't you?

SUPERVISOR: The ooetry of a life like

mine is surlas sed only by its continual
surJrises-—l

IF’bI LIL: Surprises? Do you have sur-

prises in the x.eights ans deasures? I
shoulo like to understand that. Because,
frankly, surprises are that I love best
of all in life.

X DR
-—.__- b—um—H .. .._... --_.._ r 7* A
SUPEIIIC“E: Te have the most deliéhtful,
the most excaisite surprises. You knon,
Turnswinu 01 course, miss sabelle, that in my
bureau me have to change posts every
three years--.

SIFILLE: It seems rather long to be in

one place.

X 39,0 E. 2%}? REE-11.4; 1:- _; S’P;JVIEOE: but at the Very beginning of

each assignment, we are given the names of
the two to ns frorn m1icn our next assign—
ment will be drawn.
 128

Turns to E'Ul’iii “II SSH ISJE III: So that you always know where
you are 3 ing next?

CUPW*VT:3E°{1'H—t's jus t it. I know and

I uon'tKEG“. I flnOu that it .ill be either
Nice or Tours. But I won't know which until
the very teek I leave. Can you possibly
appreciate the oelicious torment of this
cdntinual uncertainty?

L.E.TLE. So that every oay of the three

yes:5 you have roent «ith us, y012r t::oughts
have been vibrating bet een Nice-—

» \_...fl1v'-W1-.Hu..~..v_,» .
EUPEIVISCR: The beach, the casino, the
boaropalk, the sea——

ISLEELLE: And Tours?

X.U..litm .-.“. -_-~- ~‘ v.oi;L-.....‘..~..-.....- ‘_ -~ QUITIVI““P° The castles, the churches,

the plain e13 the river. How do you see
'
SlOVIJY to 101.1“ ..IJIJE what life can be? Tell me Irenkly--
between the riodle of life vith me, and
the ricdle of eeuth-—hith him-~which seems
the more interesting?

ISLBELLE: I Lien't know about th s. It

sounos marvelous. So that when you are in
Nice-—
U?)1—r~
:hrVICh: Or will it be Tours?

ISLEILLI: You will have three whole years

in which to wonder ob ut the next possibility?

SUPERVISOR: Chartres end Grenoble.

3.33 ISIBLLLE: The valley one the mountain.

SUPERVIEGE: Yes. And so by a series of

pendulum SWIDES involving every earthly
pOSsibility,--we come at lest to--

Stops, turns in IE.”EELLE: Paris.

(3UOEVILJP Yes.

X to SUPLVVILOh ISrELLLE: Whot a beuutiful cruise your life

LooKs into his eyes must be! One can see its wake in your eyes!
 129

EUPIEVISOK: People talk of sailors' eyes.

It's becau: e then they pay their taxes,
they never look into tre eyes of the col—
X FL lector. It's Cecaus then they Laos the
customs, they never look Lt the eyes of
the official. It's because in a court~
room, it never occurs to a litigant to
taKe the juege's heao in his henus, and
turn it gently to the light ano gaze into
his oupils. In the eyes of a goveln:nent
official, believe me, they woula see the
reflection of an ocean no szilor ever see.
I to ISABELLE It is the ocean of life, hiss Isabelle.

Steps closer to SUPERVISOR KILLLE. It's true. It's strange. I

see it now in yours. They're bright.

EUPLPVISOI: Ano do you liKe it, hiss

Isabelle?

LALLLL. I think——I like it very much.

Starts to put his arms SUPLIVIEOhi Ah! In that case-~

arouno_Isabelle, then X
UC SAEILLE: What are you Going?

PlrvItu : I am going to give a comnano--

I serve lormal notice on all intruders to
keep out! Le have only to wait Quietly a
X DL of ICAEELLE few minutes, anu we shall be safe.

ISAELLLE: Oh, but--

EUPLIXWIOB: Be careful, Miss Isabelle.

No regrets. No reservations. In all
liKelihoou, he is listening. The slight-
est word may be construed as an invita-
Sounquuemagfilufaee tion.
and cut
Hears music and X LR .ELLLE: My poor ghost!

Tight cue £8 GHOST: I may come in?

GhOST enters slowly from
UR SUPEEVISCR: You may not!

X‘DR to SfiBfLLE GHOST: I have the key to the enigma, Isabelle!

I can tell you everything, Isabelle. Isabelle——
ask this man to leave us.
 130

X UC. EUUIthSOR: I regret. That is out of the

question.

ChOET: I am speaking to Isabelle.

SUPERVI;CE: You will notice that Isabelle

is not sneaking to you.

GHOST: Do you fancy you are protecting

EUPIEVIcW
OE bows her? From what?

X_to L of SAnlLLE SUPEEVICOE: I oon' t know. Therefore I

must be coubly careful.

X to R of IS: MELE GHOST: Don't be afraid. I am not in the

least dangerous.

ILLILLL between the : Perhaps not. but that you

two, is Caught in a is Gangerous.
conflict. .She turns
to one,_then to the GHOST: You mean-«Death?
other, unable to make
a decision SLPLIVIEOR: It's your wore.

LPiO:T: You think you can save her from

t} 1C~+
U?

SUPERVISOR: I am quite sure.

GHOST: Andssupoose I am not alone?

Suppose trat Death is here tith me?
Suppose that Isabelle sees something
that you so not see?

LULEIIILUR: A girl sees all sorts of

things that her husbano doesn't see. It
X_ _to___I 3113111,: makes no difference—-so long as he's there.

X to ISAEELLE GHOST: Oh. So you are married, Isabelle?

5‘quVISUP: NOt yet.

GHOST: You are engaged?

solivaCOR. The word is a little strong.

I have asked Isabelle to be my wife and she
has not refused. I oon't know exactly that
you call this relationship—-

GHOET: I call it vague.

 131
(I

X L UC .. u” OUPEEYIEOfi: Tnen obviously I Cannot leave

ISABELLE follows her with you for a moment.

X R UC GhOST: And suppose I leave, and come back

ISLLZLLF X to_CHO€ when you're gone?

SUPERVISOR: You won't. You haven't the

stamina. You haven't the time. The fact
is, you too seem a little vague, my friend--
you are fading. You ;row more transparent
by the moment. If I mere you, I'd make a
500d exit while I still had the wherewithal.

Turns to ISLEELLL G‘OST: Isabelle--

X UL indicating the exit SUPEhVISOE: If you can pass only through

thickets, I'll be glad to show you the way.

GHOST: Isabelle--

X to sumnvlson ISABLLLE: Dear Supervisor-—tomorrow I will

listen to you, I promise. But let me have
X to GHOST this moment-—this last little moment—~with
him.

SUPERVISOR: If I should desert you in the

face of my enemy, tomorrow you would despise
me.

Turns to SUPLEVISOR ISAEILLE: But he has come to give me the

answer to the riddle that has troubled me
all my lifel

SUPERVISOR: I'm not in favor of the answers

to riddles. A riddle is amusing only while
it is a riddle. An answered riddle has no
dignity whatever-—it becomes an absurdity.
that riddle?

ISABELLE: The riddle of death.

SUPERVISOR: The death of a star, an ideal,

a flower?

ISABELLE: The death of a man.

X UC SUPERVISOR: That's not even a riddle. Do

these trifles interest you? Everyone in
the Weights end measures knows the ensuer
 132

to that. ueath is the next step after

the pension—~it's perpetual retirement
without pay. And even if that were a
riddle——which it isn't-—what makes you
Stops in to (HOST think the dead would know the answer?
If the dead know any more about death
than the living know about life, I con—
gratulate them on their insight. And
Turns left that's all I have to say.

Turns to SUPERVISOR ISnblLLE: Well, if you won't go, let him

speak in your presence. Perhaps he will?

X PR], GHOST: He won't.

IShELLLb: You could stop your ears a

moment.

SUPERVISOR: I'm sorry, but that is just

what I can't do. I am provided with eye-
lids, but not with earlids.

GHOST: Such is the lump of concrete out

of which destiny is forced to make spirits!

I to GHOST SUPLPVISOR: Don't worry about me, my

friend. If there's one thing I'm sure of,
it's that when my turn comes I will make a
perfectly adeduate spirit.

GIDST: Oh, you think so?

SUPLhVISOR: when I come to my final assign-

ment, my colleagues will know that I was
alsays dependable as a man and that I can
be relied upon as a ghost. They will know
that I lived my life fully to the extent of
my capacity--that I never flagged in my
duty to those I served, nor in my devotion
Turns to ISEBFLLE to those I loved. They will know that in
the years I Spent in Isabella's town, I
never let a day pass without assuring my-
X to_ISABELLE self that Isabelle was well and happy.
They may remember the hour I spent one night
scratching out with my pezkuife the word that
someone had painted on her door, the morning
when I replaced the broken milk bottles on
her doorstep, the afternoon then I saved her
mail from being soaked by the rain. They will
 133
realize that in my modest way, I did my
best always to soften the blows that for-
X UL._ tune aimeo at her.

X to. _ SUPERVISDE ISABELLE: Lear Robert-~l

GHOST: I beg pardon?

ISAEELLE: Nothing.

GHOST: Why do you say, "Dear Robert"?

SLBELLE: Because—-. Why? Do you mind

my saying it?

GHOST: Not at all. I thank you for saying

it. It shows me where I stand with relation
to dear Robert. Thanks very much. You have
saved me from committing a great folly, the
greatest possible folly. I was about to be-
tray an inviolable secret for the sake of a
girl. Luckily she betrayed me first.

SAELLLE: But how have I betrayed you?

X UC: GHOST: And that's how it always is and

how it always will be. And there you have
the whole story of young girls.

X to log and sits down SUPEEVISOR: Now what is he talking about?

)1 UL of SUPERVISOR GEDS : I am speaking of young girls. Sitting

in the park, staring at the passerby without
looking at him; lounging with their bicycles
at a railroad crossing, in order to welcome
the traveler with a gesture of parting; seat—
ed at their windows with a book in the lamp-
1ight, a pool of radiance between shadow and
shadow; like flowers in summer, in winter
like thoughts of flowers; they dispose them-
selves so gracefully in the world of men that
we are convinced we see in them not the child-
hood of humanity, but its supreme eXpression.
Between the world of a young girl and the
world of the Spirit, the wall seems no more
than a gossamer; one would say that at any
moment, through the soul of a young girl, the
infinite could flow into the finite and pos—
sess it utterly. But all at once—-
 13h
SUPLEVISOR: Now, please--!

GHOST: The man appears. They watch him

intently. He has found some tricks with
whicn to enhance his worth in their eyes.
He stands on his hind legs in order to
shed the rain better and to hang medals
on his chest. He ShGllS his biceps.
They quail before him with hypocritical
admiration, trembling aith such fear as
not even a tiger inepires, not realizing
that of all the carnivorous animals, this
biped alone has ineffective teeth. And
as they gaze at him, the windows of the
soul, through which once they saw the
myriad colors of the outer world, cloud
over, grow Opaque, and in that moment,
X DR the story is over.

Rises from log SleEVISOR: and life begins—-

‘Turns out GHOST: Yes. The pleasure of the bed begins.

And the pleasure of the table. And the
habit of pleasure. And the pleasure of!
jealousy——and the pleasure of cruelty.

X_ to ISABELLE SUPLRVISOR: It's a lie. Don't listen to

him, ISabelle.

GHOST: And the pleasure of suffering. And

last of all, the pleasure of indifference.
So, little by little, the pearl loses its
lustre, and long before it dies it is dead.

X_to GHOST ISABELLE: Oh, Ghost--Ghost-—l If this is

that 11'fe is, save me from it!

Turns out GHOST: No, Isabelle. Your Supervisor is

right. You belong not to us, but to him.
You are as false and shallow as the others.
What you really love is not the truth, but
the pleasure of vibrating enCIEssly between
two falsehoods, between Nice and Tours.
Well, you are welcome to your little game.
It is not through you that the riddle will
be solved and the miracle accomplished.

ISABLLLF: Oh, please-—tell me.

GhOST: I will tell you nothing. I will


SUPZFVISOR X to IELELLLE
and takes her in his arms
she moves away from him
and X to the GHOST
She runs into the arms of
+he HOST, who Kisses her
tenderly, tlen rushes her
amay
Re
epea
at sound cue #25, fade
;in aqd_clt
Light cue f9
Kneels on the ground to
the L“9f_ISLBZLLL and shouts
Huns in from UL, X above
the_body of IELLELLE
Feelsflher_forehead
Touches her hands
Opens her. .9119 8. . . . I
Takes hellin_his arms but
She_£eintsuegain
Stirring restlessly
135
tell you not even the name of the
little fIOner mhich carpets the fields
of death, whose petals I shall bring
one day to someone more fortunate than
you. Take her in your arms now, Super-
visor. bpring that wolf—trap of yours
about her-~and may she never again excape
while she lives!
IE;h1LLL+ : Oh please,—-please!
GHOST Farewell, Isabelle.
(THL c 03$ :1ITs an. 19LLT’LLLTLLLL
STILL n ;.1'3;:ll;-IT, TIL'J‘J SH:- 57-00313. THE
7:313v130s LUlS TO Hih, CBIGRL:
/
PLACES th G_HTLY OJ Thl GtO-NL, C.)
SUPFHVISOE: Doctor! Loctor! Help!
Quickly!
IJSPLCTOR: What's happened? Has he come?
Has he gone?
: He tried to take her with him.
still breathing—-.
Ivar") nrw
a‘Ul bvler: Her head is hot.
SUPLLVISOR: Her hands are cold.
IJ81 ROTOR: He must have tried to drag her
Olf. Rather Cl sy of him.
IEALELLE: Where am I?
SUPERVISOR: In my arms, darling. Oh!
She's gone again!
INSPECTOR: Because your answer was in-
sufficient. ohe is trying to come back
from very far away. the requires precise
directions.
ISABELLL: there am I? Where am I?
INSPECT B: On the planet harth, my child,
the hird satellite of the sun. And if you
feel a little dizzy, it's only because the
earth is spinning. One soon gets used to it.
L

136

ISLTILLE: Who am I?

CUPLHVISOM: ISLbCllE. Isatslle.

INSPLCTOB: You are one of the higher

mammals. Species: human. Sex: female.
find a first-rate specimen.
m1d1-CU_e.j;é'26
Listening. IELETLLE: Bhat's that?

maize. U-p SEPEEVISOE: It's the military Land

rehearsing.

IHSPECTOH: It's a wave motion of the air,

little female, vibrating on your eardrums,
which convey the impulse through the hammer,
the anvil and the stirrup to the cochlea of
the ear. There--she's coming to. You see?
Nothing like a rose of science to restore
one to one's senses. Give a young school—
teacher a whiff of a technical term, and
she pricks up her ears at once.

SUPERVISOR: Her heart has stopped! Help!

Help! Doctor!

Enters Calmly from UR DOCTOR: Here I am. It's all right.

Gestures LL I've brought the remedy.

TWO of the town's citizens, SUPERV SOP: Doctor! She's dead!

M. ALHILN and M. TLLLILH,
enter from the audience IOCTOR: Don't worry.
entrance, DL
M. ADRIAN: What's happening?

Directs ADRIAN to the log DOCTOR: You're just in tine, Hr. Adrian.
Sit on that log, please.

K to ISABELLE, moving M. TELLILR: Give her room. bhe needs air.

DOCTOR out of the way
Directs T:LLIER_to the a TOCTOR: Rhe doesn't need air. She's not
log and gives him a neck breathing. Sit here on the log. Here's a
of cards deck of cards. When I give the word, begin
to play.

M. TELL ER: To play shat?

DOCTOR: Anything. Casino.

 137

Enter from UL and X DC THE GIPLS: Is she alive? 3 sue alive?

Z_to GIRLS LECTOn: Not yet.

IESPLCTUE: Clear out, children.

.)

g;thers the CISZS in a IOCTOR: No, no. Come in. Come in, all
wmi-circle UC of you. he shall all have to «ork at this.
Now. When I give the word, you will start
reciting your lessons.

THE GI_RLS: Lhich lessons?

DOCTOR: Any lessons.

IISPECTOR: Doctor, what in the ame of

heaven-—?
C mm
The-EnJGZbOISe «*4
.enter_€rom UL and X0 AEJAHLE: I hear she is burnt to a dinner.
to 1:1”:
~—-
l“L313:

SUPEIfi'ISJR: Not quite.

’“Wle Th e be st t:1in
ng to do is to rub
C0
0")

her nos ith rlic.

.Directs_theSIETQIS to LOCTJP: Never mind the garlic. Come in,

please. And your sister. And start
chatterinc'

LLOJILE: [hat noes he say?

’TzflpIDE: To start chattering.

1'
LEJHIDE: 'hy should we Chet+PF he never
chatter. I? 10 says we chatter?

LOCTOR: That's it. Don't stop.

X to DQCTDR IISPLCT 35: Doctor, what is all this nonsense?

-To the IXSPECTQh, then EOCTQ.: Don't you unnerstand? Isabelle is

Sgeaks to all neither drowned nor run over. Her body is
in perfect condition. But her sgirit has
left it. To induce it to return, we must
better at the gate of oeath with the sounds
of life.
giIO~R_ e_nters from UL and
X 'bove ISLE-L’L I“EPZCTOR: fiouldn't it be better if you
gave her some adrenalin?
 138
DOCTOR: that she needs is not sorenelln
but oersuusion.

INSRLCTUL: I uon't understsne.

WPYOF: NOT I.

A. ADRIAN: Do you get it?

M. TELL EB: nhut?

LIOJIZT: hhet are they esying?

AL LI“L That they won't understend.

LLJKIEE:‘ tho noes?

THE GITLS: fie col fie co!

3113?: You do?

In
fl"

U)
R)
(9

out DAISY: e h:ve to make life more real

than death for her.

Steps out DEfiISE: Ne have to b ring the sounds of

life to Lear on her syirit.

iteps.out ILLZMLL. Like a ray of sunshine.

DAISY: Like svmphony.

DEIISE: Like artificial respir mti .

CILEERTL: And when she feels the tempo of

living-—

DAISY: Hhen she catches the rhythm--

DENISE: A word will touch her heart-—

GILILFTE: And her heart will begin to beat.

GIRLS return to UC DOCTOR: Bravo, children! And now that you

X to MAYOB_ ge
Hr. HEYOT, vTill You take char
understand,eet
of the str ses noi
A

.lufi: The blacksmith? The carpenter?

MLYOR hurries out DL DOCTOR: The carts. The trucks. Insuector,

you rill contribute at regular intervals
the phrases ofyour pro..;ession.

'X to SUPERVISOR.”
Still zneeling OV?I_V
I,;::LTF
Ponpously :nd loud,”
Tenderly and soft 4_
~DOCTO§ngcke_up a loose
stick from the ngund
and_teps_it on his hund,
LELSL-ngffl 8-8m £31888
the. ...gr.oup,.. s tb.lC« in; DC
( IIIIQrY FLJWHI%H, HE GIV:" TII SIGULL
Sound cis 1-26 up
139
I‘SBLJTOn. I have no groiessionel
phrases other than those thet test
ex:ress the griuciples of Truth and
Justice.
DDCTOE: Thut's it exactly. And you—-
uu-L;;I 3?. I love you, Isabelle
DOCTOR: hut's it.
I CPLCTOF: As an elected official of a
glorious democracy-_
LCTanIsoh. I love you, Isabelle.
DOC TEE: The "I love you" is a trifle
neck, the "Glorious Democracy" a bit
too loud. And pleese remember this is
a very ciificult tr-nsition to nanege.
he must keep in time. Ready?
(TEL hiCTOR T'FS HISS TICK “1'3 TH;
CJHTUCTO; OF 1 CLCIM- TEL. {IT F A
TO LL: .ui Til - iY.Th3.Y LLG 33. L333,
SJFT, LLG.IOO n STLCCATO, 'CCOrLI G TO
HIS hZIT. THE Cb-U FLAYLRo ELGIJ PLUYIEG,
THE- TILL-LE. I-rGII Cii.'.T_.:--'I-‘I3, THE LILILCTOH
LLGINS ANS;L;CH.-FTHQ- SSUITS OF LIE: EEGIN.)
THE GIRLS: Two times two is four.
ADRIAN: Your deal.
TEL GIRLS: Tmo times three is six.
THL GIRLS: Two times four is eight.
IJSPECTOR: Ingerishable honor--
THE GIRLS: Two times five is ten.
Mini-IJLE: I don't lil:e to send it to the
cleaner.
GIRLS: Henry the Fourth died in 1610.
 1&0
INSPECTOR: Socio-economic determinism.

TELLIlfi: I'll take the Jack.

THE GIRLS: Louis the Thirteenth--

LLOHIDE: The yolk of two eggs.

IHSPECTOF: Ensuring a living wage for

all.

F3
TE GIRLS: Mounted the throne.

SJPIRVISDR: I love you, Isabelle.

THE GIRLS: Louis the Fourteenth was

born-—

LEONIDE: In a moderate oven, not too

hot.—

I love you, Isabelle.

IJSPECTOR: The Progressive Party—-

THE GIRLS: Ascended the throne--

LEOIIIE: Laroed .ith suet.

TLLLIER: And the ace of spades for me.

THE GIRLS: Died in the year 1715.

The DDCTQR signals for a
pianissimo passage INSPECTOR: The re-orientation of
Sound cue_#£6 (military basic products.
hell-M1150. fades in
mines SUPERVISOR: I love you, Isabelle.

IHSPECTOR: The implementation of

government policy—-

A buttonhole stitch is the

ARTS-TI DE- :
only solution.

TILLIER: Take some and leave some. I'll

take the ten.

INSPECTOR: Syecial areas of legislation.

THE GIRLS: 1793-—The Terror.

 lhl
IHSPECTOR: Liquidation of the loser
brackets.

ADRIAN: Building sixes, if you olease.

THE GIRLS: Louis the Sixteenth lost his

head——

SUPIRVISOR: I love you, Isabelle!

ARTAHDE: Chiffon velvet COESH'C wear.

DOCTOR signals for TELLILR: Two of clubs.

crescendo and maroato
Cue-£6 fuse. up THE GIRLS: Columbus discovered-—

IJSPFCTOH: The business cycle—-

FF GIRLS: In Fourteen hundred and ninety-

LEOEILE: With a woman he found in the

gutter—-

ISSPECTOR: Horizontal integration.

THE GIRLS: Magellan sailed around the

world--

INSPECTOR: Cartelization of industry.

THE GIRLS: Fifteen hundred and twenty—

Orle o

AEJAHDE: She wore black lace petticoats.

LIONILE: Bich lace? Really?

Starting to rise then ISABELLE: Black lace! Really!

faints again
§QPQQ_99§DTQQ fade down ALL: What? What did she say?

SUPERVISOR: Doctor! She spoke!

All crowd in near ISLEELLE DOCTOR: If black lace petticoats won't

do the trick, nothing will. We're
getting through to her. Now once more—-
and all together.
 1&2

Sound_cue fizé up THI GIhLS: Vasco ca Gama--

LEONILE: Brown on both sides-—

ADRIAN: I have cards——

IJSPECTOR: And vested interests--

THL GIRLS: Sailed to India--

TLLLIER: Spades as well-—

THE GIRLS: In Fourteen hundred ninety-

eight--

ARAANDE: Lined throughout with crimson

satin—~

Murmuring restlessly ISABELLE: Crimson-—crimson satin--

Face and cut_sounc cue
INSPICTOE: Poor girl-—

SUFLRVISOR: Isabelle-—

Sitt ing up suddenly ISABELLE: Robert!

,1
.6119 s_ISAFILLE in his SUPERVISOR: I love you!
£13119 , they both rise
INSFLCTOR: She's saved.

THE GIRLS: She's Saved! She's saved!

SABLLIE: Black lace! Crimson satin!

Oh, Bobertl~~life is so beautiful.

Tosses stick in the air DOCTOR: She's lost.

and X UR
LEJJIDE: What? What are they saying?

AsJARDB: She's saved and lost.

LEOHIDE: What a scatterbrain!

X DC INSPECTOR: Fellow citizens, the Adminis-

tration desires to thank you for your
cooperation in this most unusual and
difficult case. Trivial as it may now
seem, it was neVertheless pregnant—-

LEONIEE: What's he saying?

 1&3
ARMANDE: Pregnant.

[—4
LOHIDE: hhat? Already?

INSPECTOR: With incalculable conseguences.

I am happy to say that through the com—
bined efforts of government and science,
we have brought to a successful conclusion——

THE GIRLS: Conclusion.

INSPECTOT: One of the most dangerous

outbreaks of radical activity in the
history of the Republic.

THE GIRLS: Republic.

Turns to GIELS IICPECTOR: Quiet, you. After this

victory, we may be sure that the natural
order will resume its normal functions
in accordance with logic and common
sense--

Runs in_breathlessly MAYOR: Inspector! Inspector! The

from the audience lottery!
entrance DL and X to the
IEPBECTOR ILSPECTOR:
lottery?
what's wrong with the

flAYOh: Guess who won the motorcycle?

INSPICTOR: Who?

ELISE: The Mother Superior.

INSPECTOR: Aha! And the grand cash

prize?

Jumping up and down THE GIRLS: Monsieur Dumas! 'Monsieur

Dumas!

MAYOR: Monsieur Dumas, the millionaire!

Kisses the ELISE on INSPECTOR: Mr. Mayor, my congratulations.

Enlightened democracy is working as
usual. I restore your district to you
in perfect order. The danger is past--
«128

1M!

Sound cue £27 play_to SAYOR: And Isabelle?

.sur taxis
INSPECTOR: Isabelle is saved.

ISLBLLLE: I love you, Robert.

-X DC and addresses the DOCTOR: The interlude is over.

audience

Light cue #IO

CURTAIN
CHAPTER V
 CHAPTER V

STAGING THE PRODUCTION

Today the art of the theatre is better understood to be a

single thing, a great art made out of a complete fusion of
many lesser arts-acting, dancing, music, scenery, properties,
costumes, and lighting--all carefully orchestrated before they
are placed before an audience. The conductor of the projected
dramatic symphony is the director. 1
The purpose of this chapter is to show the actual staging of

the production, the theatre, scenery, lighting, prOperties, and sound.

THE THEATRE

The director, after selecting The Enchanted, then planned the

place or theatre in which to present it. Desiring a playing area of

intilicy, and working with a small budget, 2 the director had three
possible choices.

Available for productions was a small indoor theatre called

"Studio Theatre," which would seat a little over a hundred people.

There was an outdoor theatre called the "Garden Theatre," which would

also seat around a hundred peOple.

Because the Auditorium was frequently closed at night during

the summer months, and because of the lack of an air-conditioning system,

the "Studio Theatre” was ruled out. The Enchanted's setting being an

outdoor one, the director recognized the possibility of an outdoor

1 Samuel Selden and Hunton Sellman, Stage Scenery and Lightigg

(New York: Appleton-CenturyaCrofts, Inc., 1936), p. h.

2 The production was planned on a budget of $100.00.

th
 lué

production. The "Garden Theatre" was eXperimentally tested accousti-

cally. After testing many voices and varied groupings around the stage,

it was found technically impossible to project voices clearly beyond

eight feet. Coupled with the accoustic difficulty, lighting an out-

door stage would have been difficult and costly. The director then

planned to stage the production in the "parlors," calling the location

"The Parlor Playhouse."

The stage or playing Space must have the power to attract and
hold the attention of the audience. Any type of playing space
which has that essential quality may serve as a stage...The tenden-
cy of modern thought in the theatre is toward a playing space of
greater intimacy than that afforded by the platform...Attempts to
create even greater intimacy by eliminating the platform have
taken various forms, the two most common being the small studio
type theatre...and the arena theatre, with the audience banked on
all sides of the playing Space...In an arena theatre the Space
for acting is less definitely separated from the audience, at
least as to level...The fact that the action takes place in the
midst of the audience does create a feeling of closer relation-
ship between actors and audience. 3

The Parlor Playhouse was a large air-conditioned room approxi-

mately fortybfour feet long with a width of fortyeone feet. At the south

end of the room.was a draped window area twentyaone feet six inches wide.

The director had two possible playing areas to choose-— the center of the

room.or a semi-circular area against one of the walls. Because of nec-

essary action in the script that would make it impossible to seat an

audience in a complete circle, a semi-circular playing area was planned.

The window located at the south end of the room would be comparable

3 Gilmor Brown and Alice Garwood, General Principles of Play

Direction (New York: Samuel French, 1937), pp. 3-5.
The Parlor Playhouse
 1147

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to the proscenium opening. Three-fold flats could serve as wings on

either side. The wings would serve the function of masking the offstage

area and also serve as part of the stage setting. The playing area

would extend eighteen to twenty feet from the wall and curve in a semi-

circle back to the wings. The chairs for the audience would determine

the limits of the acting area.

This area next to the window was justified by two technical and

practical reasons. Three electrical outlets were located on the south

wall. It was necessary to have the sound equipment offstage. The drapes

covering the window were colored in soft browns, greens, and yellows.

The director reasoned that here was a suitable backdrop for the action

of the play. The colors suggested the outdoor setting of a clearing in

the woods. The expense and valuable time of making a backdrop was avoid-

ed by practically using what was available.

Thus, a room.was to be a theatre. The actors would move in front

of a draped window, two wings would be used for exits and entrances,

sound equipment could be Operated offstage, and the audience would sit

around the playing area in a semi-circle.

Having selected the location for the production, the director

then turned designer.

THE STAGE SETTING

Designing the stage setting is a creative function that often,

in the amateur theatre, is done by the director. "In the organic design
 150

of play presentation scenery should function as the visual environment

of theatre action." 4 This is a task that presents many problems.

"The designer must be guided by the script, must be prepared to

be circumvented constantly by the inadequacies of the amateur stage and

its limited equipment, must keep within the production plan...and must

be able to recognize and solve the several problems that each new situa-

tion presents." 5 In other words, with a limited budget and no physical

theatre, the designer will meet many difficult problems. It was the

purpose of the director-designer to capture the mood and style of the

play by an imaginative setting simply conceived in a stylized manner.

The production script of The Enchanted called for a clearing in

the woods. Realistically, a designer could create an entire forest

through the use of ground rows, set pieces, platforms, wings, and a

ground cloth. Imaginatively, he could suggest a clearing in the forest

through the use of line, color, and a few set pieces.

As has been determined, Giraudoux's The Enchanted is a poetic-

fantasy, romantically conceived. It is definitely non-realistic. There-

fore, the director-designer planned the setting unrealistically and imp

aginatively, leaving the specific environment to the author's descriptive

word imagery and to the imagination of the audience.

Serving as entrances and exits were two wings placed four feet

h Selden and 891131“, 920 £20, p. 70

5 Willard Friederich and John Fraser, Scenery Design for the

Amateur Stage (New York: The Macmillan Company, 1950), pp. 1-2.
 151

from.the back wall. 6 They served also as a backstage area for stage

manager cues and changes of costume. Each wing was constructed by

hinging three flats together. They were booked at a forty-five degree

angle to stand unsupported. The wings were painted in green and brown

pastels showing forms of trees and foliage to suggest a wooded area.

The angle of the wings and their color blended into the window drapes

which served as the backdrOp. The drapes were also softly colored in

greens, yellows, and browns.

Ekiending from the wings and backdrop was a playing area of

eighteen feet in depth which curved in a circle to the wings. The

distance between the opening of the wings was twentyhfour feet. In

this playing area were placed a stump and a log. The stump and the

log were placed in the setting not only to further suggest a forest,

but to provide a variety of levels in the acting area. The stump

was placed upstage right. It was constructed of scrap batten, chicken

'wire, and canvas painted brown and gray. The log, upstage left, was

an actual log, four feet in length. It was touched up with brown and

agreen paint to conform.with the basic color pattern of the setting.

This basically was the design for the setting. It met the de-

fluinds of the script and the theatre. It was conceived simply because

01‘ the physical limitations, and the budget. It was conceived imaginative-

14V'because of the style of the play.

6’ See ground plan for The Enchanted.

 152

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 153
LIGHTING THE PRODUCTION

"The primary function of lighting is to give emphasis and visibil-

ity to the actors." 7 In producing a show in'a bare room without a source

of electric current, without a switch board, and without dimming apparatus,

the most a director can desire is the primary function of lighting. Special

effects are almost impossible without the necessary lighting equipment.

However, spots and floods can be located in various areas of a room to

adequately light a production.

"The fundamental lighting of a production is outlined by the play-

wright's manuscript." 8 Giraudoux's locale is a forest in the late after-

noon in Spring. There is a reference to the twilight when the Ghost appears.

The light designer's problem is then to provide afternnon light and suggest

twilight when the Ghost enters.

The problem of providing general illumination was hampered by the

fact that Spotlights clamped on stands near the acting area would shine into

the face of the audience. The seating area extended half-way around the

playing area. There were two air conditioning units in the ceiling of the

room, directly above the acting area. If lamps could be attached to these

units the entire acting area could be illuminated without disturbing the

audience, as the beams would shine downward. However, Spots plaCed in

this position lighted only spedific areas and left most of the stage in

7 Stanley McCandless, A Methgd of Lighting the Stage (New York:

Theatre Arts, Inc., 1947), p. 13.
8 Ibid., p. 16.
 15h

dark patches. The problem was solved by attaching two sixteen inch

flood reflectors with a hundredawatt white bulb'tO‘the two ceiling

units. With four reflectors beaming at the acting area, clear stage

visibility was possible.

Toning and blending the general illumination plus lighting the

backdrop was solved by making use of the room's fluorescent lighting.

Four units were located along the back wall. These lights were left

on, and it was thus possible to blend and distribute the floodlights

on the backdrop.

The only possible means of controlling the lights was manually.

The two most accessible light outlets were located on the east and west

walls. 9 Two stage hands manually Operated the lights by pulling and

plugging the units on cue. The house lights were Operated by a circuit

box located outside of the room in the hallway. The house light cues

were given by the director, who was standing in the back of the house.

The special lighting effect for the Ghost's entrance was diffi-

cult because of this hand-controlled system. Two 250-watt baby spot-

lights were placed on stands on either side of the playing area and

crossbeamed. Cross-Spotting with lavender and pink gelatine would give

an illusion of mystery and twilight. By careful rehearsal, the floods

could be disconnected and the Spots plugged in at the given cue.

The purpose of the special lighting was to change the mood of the

scene, build interest and suspense, and establish information concerning

9 See light plot for The Enchanted.

 155

the character who was about to appear. The mood of the scene preceeding

the entrance of the Ghost was light and capricious. The lighting of

the preceeding scenes were the blue-white of the floods and fluores-

cents. With the sudden break of daylight and the appearance of two

beams of lavender and pink, the audience might upset the unusual. With

the appearance of the Ghost to lights, he was further emphasized as

mysterious and unreal. On the Ghost's exit, the daylight floods were

plugged in and the Spots cut.

"The electrician is...aided by the suggestibility of the audience,

that is, by its willingness to complete a pattern of which only certain

general characteristics are actually present." 10

10 Bernard Hewitt, Art gnd Craft of Play Production (New York:

J- B. Lippincott Company, 19M», p. 219-
 156

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 157

PROPERTIES

"Properties make the visual scene intimate by relating it directly

to human action." 11 The use of set properties has been discussed in

the consideration of the design. Hand props, or character prOps, are

items that must be decided upon by the director.

The script called for the InSpector to enter. It was obvious

from.his lines, his social position, and his characterization that he

was a well-dressed governmental offical. He was outdoors, walking in

the woods, and wearing a hat. He was a conservative man, both in man—

ner and dress. It seemed prOper for him to<:arry a walking stick of

some sort, specifically an umbrella-cane. With the aid of this property

the Inspector's characterization could be further emphasized. After

having established the InSpector's habit of pounding the cane on the

ground whenever irritated, a comic touch was devised. The inquisitive,

blundering mayor just happened to cross in next to the InSpector while

an argument was taking place. The Inspector, not noticing the Mayor,

brought his cane down fbrcefully on the Mayor's toe. The result was

that the Mayor was extra cautious when near the Inspector thereafter.

A hand prop often used by directors is a cigarette. Used wrong,

an audience will feel that an actor has nothing to do, so he smokes.

Used properly, smoking can be an important piece of business.

ll Selden and Sellman, 22. git., p. 17.

 158
In the first act of the play, the Supervisor spends most of his

time seated on the log. He has very few lines. His attitude is one of

boredom. The actor found it difficult to sit for twenty minutes and

look bored. The director worked out Specific movements such as standing

and delivering a line and sitting down again. Yet this movement wasn't

enough. Therefore, during one of the lengthy political speeches by the

InSpector, the Supervisor casually took out a cigarette case, produced

a cigarette, lighted it, and blew smoke rings upstage. He showed quite

clearly what his attitude was toward the situation. When the InSpector

ordered the Supervisor to leave the locale and search for Isabelle, the

Supervisor got up from the log, stared at the InSpector, took an extra

puff on his cigarette, threw it on the ground, stamped on it, and made

a hasty exit. A tense relationship was established betweent>he Super-

visor and the Inspector.

The Little Girls, in the first act, were looking for flowers.

In their second appearance, Daisy, the smallest child, carried a

cluster of daisies. The flowers harmonized with her personality, because

she was played as the most feminine of the three. As a part of the plot,

the flowers were used later when Daisy is asked to eXplain the function

of the flower.

Other preperties used in the production were specific items called

for by the script. Leonide entered using an ear trumpet. When asked

to empty their pockets, the Executioners produced cough drOps, coins,

toothpicks, cigarettes, a key, and a broken comb. The First Executioner

 159

entered carrying a rifle. Because of the incongruity of his character

and costume, a comic touch was employed. His rifle was an 1863 Civil

War musket.

Hand preperties can merely be something for the actor to carry

on stage, or they can serve a dramatic purpose. If the director makes

wise use of properties, they can serve an intelligent and expressive

purpose.
 160

PROPERTY PLOT

Act One

On Stage:
Tree Stump - UR
Log - UL

hAYOR:
Pipe and matches
INSPECTOR:
Cotton Caterpillar
Black Derby
Umbrella-Cane
White Handkerchief
ISABELLE:
Blueboard
Pocket Mirror
SUPhRVISOR:
Cigarette Case
Cigarettes
Lighter
LEONIDE:
Ear Trumpet
Diary
Black Handbag

Off Stage: Stuffed Muskrat

Act Two

On Stage:
SUPERVISOR:
Colored Ruler
INSPECTOR:
Two EnveIOpeS
Two Letters
Pocket‘Watch
FIRST EXECUTIONER:
Rifle
Corkscrew
Cigarettes
Coins
Toothpick
 161

SECOND EXECUTIONER:
Pistol
Cough Drops
Rubber Band
Broken Comb
Key
Coins
DOCTOR:
Pitch Pipe
Tuning Fork
DENISE:
Garter

Act Three

On Stage:
MAYOR:
Pocket‘Watch
INSPECTOR:
Rolled Document
Spectacles
Red Ribbon
Medals
DOCTOR:
Deck of Playing Cards
Twig of Wood
 162

COSTUMES

The design and selection of costumes should be apprOpriate

not only to the characters themselves but also to the Spirit and style

of the play. A director should value costumes as necessary pictorial

aids to the production as a whole. The costume should not serve as the

dominant factor in the actor's characterization, but as a well planned

subordinate one. 12

Three factors were considered in the costuming of The Enchanted.

First, the costumes were designed to help express the character--to

identify him to the audience, to Show his social position, his taste,

his emotional state, the period, and the locale. Second, costumes were

used to intensify and re-emphasize the theme of the play, to Show the

fundamental conflict of the real and the ideal. Third, the costumes

'were considered as an integral element of the basic composition and

color of the production. 13

Mr. Walkup, costume and make-up director of the Pasadena Playhouse,

claims, "Costumes designed for small, intimate stages, where the audience

:13 fairly close to the action, should be planned with careful detail." 1‘

Since The Enchanted was designed for intimate staging, the consideration
(It detail in costume was not overlooked. For example, the script calls

12 Hewitt, 9p. c_i§., pp. 256-257.

13 Ibid., pp. 255-257.

1h Heffner, Selden, and Sellman, Modern Theatre Practice (New

I0rk: F. S. Crofts and Company, 19%), p- 1029.
 163

for the Ghost to appear in brown trousers. Because of the intimacy of

the audience, it was discovered in dress rehearsal that there was an

obvious crease in the Ghost's slacks. This tended to give him a mundane

appearance. For the performance, the slacks were re-pressed to remove

the crease and thus eliminate any possible audience association of the

Ghost with such earthly fetishes as creased trousers and dry cleaners.

Isabelle's social status was that of a small town school teacher,

her mood was one of whimsy, her taste was modern, the period was con-

temporary, and the locale was a clearing in the woods. She wore a neat,

sleeveless brown-and-white check cotton dress in the first two acts.

In the third act she appeared in a pale yellow sun dress. Her shoes

were flat, child-like ballet slippers. With the emphasis on simplicity,

both dresses were light and full-skirted. Her behaviour was unpretentious

and innocent. The colors, lines, and material of Isabella's costume

showed her as the imaginative, provincial girl who loved life and nature.
The Executioners were costumed humorously to express the situation

and their character. Both were dressed in black, as one might assume an

executioner to be dressed, but each had a style incongruous with the other.

The First Executioner was costumed in a black waist coat, dark trousers,

black string tie, and black shoes. His outfit was carefully cleaned,

pressed, and well sized. The Second Executioner wore a dark, baggy suit,

black knit tie, open-collared and frayed white shirt, and an oversize

slouch hat. The irony of the costuming was that the executioner who was

carefully dressed gave the impression in his character of isolation. The

 16h

SIOppy executioner was played as a man of the world, one who knew life

and its customs.

"A designer can play with color as with notes of a musical instru-

ment; the principal character should sound a dominant note of color, the

other characters should echo this note, to some extent, but also be blend-

ed into the general harmony." 15 On the side of the unreal, the fantasy,

the whimsy, and the ideal, were the three Little Girls, Isabelle, and the

Ghost. 0n the extreme Side of the scales was the realistic, down-to-earth

Inspector, the Mangebois Sisters, the Mayor, the Supervisor, the Card

Players, and the Executioners. Harmonizing the two forces, a shade on

both sides, was the Doctor. The director, in intensifying this funda-

mental conflict, in order to further the theme and capture the mood of

the play, costumed the three types in color patterns.

The imaginative and the ideal were costumed in warm colors. The

drab and real were contrasted in cold shades of black and gray. The Little

Girls wore bright yellows, the Ghost tan and brown, and Isabelle wore

brown checks and pale yellow. The stabilizing Doctor appeared in brown

tweeds. The ethereal was contrasted with the blacks of the Inspector,

Mayor, Executioners, and the Mangebois Sisters, shaded by the blues and

grays of the Supervisor and the Card Players.

The locale of the production was a clearing in the woods. The en-

tire setting was designed in browns and greens. It was obvious that the

15 Ibid., p. 431.
 165

imaginative idealists belonged near the natural color of nature. The

somber materialists struck a discord in the surroundings.

Costumes, and eSpecially their colors, are a very vital element

in productions demanding a stylized setting and an atmosphere of fantasy.

 166

COSTUME PLOT

Character: MAYOR

General Costume: Black cutaway coat, gray striped trousers, white

wing-collared shirt, black bow tie, gray vest, and
black oxfords

Accessories: Gray Spats and a gold watch and chain

Character: DOCTOR

General Costume: Brown tweed suit, tan Shirt, brown tie, and brown
oxfords

Character: LITTLE GIRLS

General Costume: Bright yellow pinafores

Accessories: Yellow hair ribbons

Special: The GIRLS were barefooted

Character: ISABELLE

General Costume: Act one and act two--Brown and white checked cotton
dress, black ballet slippers
Act three-Pa1e yellow sundress, black ballet slippers

Accessories: Small gold bracelet

Character: INSPECTOR

General Costume: Black tuxedo, white shirt, black bow tie, and black
oxfords

Accessories: Black derby, silver pocket watch, gold medals

Special: Black thread attached to derby for illusion of wind

blowing off hat
 167

Character: SUPERVISOR

General Costume: Act one and act two--Dark blue business suit, white
shirt, blue tie, and black oxfords
Act three--Black cutaway coat, gray striped trousers,
white wing-collared shirt, black bow tie, and black
oxfords

Accessories: Act three-Chamois gloves, walking stick, and a black

felt Homburg

Special: Gold cigarette case and silver watch and chain

Character: ARMANDE

General Costume: Full length black dress and black pointed-toe shoes

Accessories: Black and gray hat with a gray feather and black gloves

Character: LEONIDE

General Costume: Full length black dress and black pointed-toe shoes

Accessories: Black, round hat and a black purse

Special: Ear trumpet

Character: GHOST

General Costume: Tan turtle-neck sweater, brown slacks, and brown

shoes

Character: FIRST EXECUTIONER

General Costume: Black waist jacket, gray striped trousers, white shirt,
black string tie, and black oxfords

Character: SECOND EXECUTIONER

General Costume: Dark blue suit, blue shirt, black knittie, and black
shoes

Accessories: Black, battered Stetson

 168

Character: MR. ADRIAN

General Costume: Blue sweater, dark blue slacks, and black shoes

Character: MR. TELLIER

General Costume: Black sweater, blue slacks, and brown shoes

 169

MAKE-UP

Theatrical make-up is the art of transformation of the actor's

appearance:

1. for the purpose of creating artistic representations;

2. according to the conception of the author of the play;

3. according to the style of the setting;

A. and in harmony with the facial expression and physical

build of the actor. 16
These four points are necessarilly taken into consideration when

planning make-up for a production. However, the make-up should first

be planned to suit the physical theatre. Thus in arena staging because

of the proximity of the audience to the actors the make-up requirements

are less rigid.

With the exception of special effects, the majority of the

characters in The Enchanted should be made up "straight." 'Straight

make-up is merely emphasizing the natural, that is, re-enforcing the

pink in the complexion, the red in the lips, and emphasizing the smaller

features.

Certain characterizations called for marked changes in the appear-

ance of the actors. The Mangebois Sisters were pictured as elderly Spin-

sters. The actresses' appearance was changed to that of ladies in their

late sixties. One of the Executioners had a scar placed on his cheek. To

l6 Serge Strenkovosky, The Art of Make-up (New York: E. P. Dutton

and Company, 1937), p. 1.
 170

make the Ghost stand out from the rest through the use of make-up, his

complexion was re-colored. A thin coat of white powder was spread

over a light brown base. Applying the grease base and powder to his

face, neck, arms, and hands gave the Ghost a mysterious white glow,

unlike a normal person.

The script called for a scar on the Inspector's nose, which was

done with red liner. Small red lipstick dots were applied to the necks

of the Little Girls to conform to the situation in the script. Because

of the inconvenience of false beards when viewed closely by an audience,

the Doctor started to grow an actual beard a month before the production.

The beard had only to be touched up with brown liner to emphasize it

under the lights.

 171

RAKE-UP PLOT

Character: MAYOR

Description: Middle-aged government official, bald, heavy lines

from worry

Make-up: 5% and 8 base* Gray-brown shadow and dark rouge

Special: Gray sideburns

Character: DOCTOR

Description: Middle-aged Doctor, very sensitive looking, wears

a Van Dyke beard

Make-up: 5% and 7a base Gray—brown shadow, medium rouge

Special: Beard touched up with brown liner

Character: LITTLE GIRLS

Description: Three ten year olds, juvenile characterization, healthy

and active

Make-up: 5% and 7a base with a touch of light rouge

Special: Lipstick marks on necks

Character: ISABELLE

Description: Beautiful young girl, about 2h, sensitive and active

Make-up: 5%; and 7a base, light rouge, white highlight

Character: INSPECTOR

Description: Middle-aged government official, very pompous, active

Make-up: 7a, 8a, white base, graybbrown shadow, dark rouge

Special: Gray hair, small scar on nose

* Max Factor Theatrical Tube Grease

 172

Character: SUPERVISOR

Description: Handsome young man, around 30 years of age

Makeaup: 7a and 8 base, straight

Character: ARMANDE

Description: Elderly spinster in late sixties, character

Make-up: 5% base, dark gray shadow, wrinkled face

Special: Gray hair

Character: LEONIDE

Description: Sister to Armande, a few years older, character

Make-up: 5% base, dark gray shadow, wrinkled face

Special: Gray hair

Character: GHOST

Description: Pale young man of 30, mysterious

Make-up: 5% over white base

Special: White talcum powder over base

Character: FIRST EKECUTION“R

Description: Thin, eccentric young man, pale and nervous

Make-up: 5% and 8 base, blue shadow, medium rouge

Character: SECOND EXECUTIONER

Description: A chubby young man who likes life, character

Make-up: . 7a base, dark rouge, brown Shadow

Special: Long scar on left cheek

 173

Character: MR. ADRIAN

Description: One of the local characters, a card player

Make-up: 5% and 7a base, straight

Character: NR . TELLILR

Description: Also a local card player

Make-up: 5% and 7a base, straight

 17h

THE MUSIC FOR THE ENCHANTED

Over a hundred years ago Richard wagner said, "Music is the soul

of drama, drama is the body of music." 17 From the theatre of the Greeks

down to the present, music has served some function in drama. Gordon
Craig conceived of music as an important material to production because

of its formal rhythmic character. 18 Appia believes music to be the

basic determinant of the dramatic action. 19

The Enchanted is musical, not only in the suggested use of song

and dance, but in the style of its writing. Original incidental music

by the French composer Francis Poulenc was written for the original

production in Paris in 1933 and for the 1950 Broadway production. In the

Paris production Beauplan called Poulenc's music "beautifully picturesque."

He claimed Poulenc created an atmOSphere of dreams which counterparted

the poetic-prose of Giraudoux. 20 The New York production, in spite of

its failure, was called musically successful. 21

This was not Poulenc's first success as a composer, nor does he

write only incidental music for the stage. In his own right, his music

shows him to be one of the most outstanding musicians and composers living

17 John Gassner, A Treasury of the Theatre (New York: Simon

and Schuster, 1951), p. 260.

18 Hewitt, 29. 933., p. 277.

19 Ibid., p. 277.

20 Robert de Beauplan, "Intermezzo," Lg Petite Illustrgtion, 525:32,

May 6, 1933.
21 Maurice Valency, "About the Play," Theatre Arts, 34:56, October,
1950.
 175

today. Born in Paris in 1899, Poulenc was a self-taught student Of piano

and composition. 22 After the first World War, Poulenc became famous in

France as a "first-rate pianist and composer." 23

Poulenc stated that music should be an "everyday, man—in~the-street

art." 24 At first glance, much Of his work seems to strive for surface

glitter, but beneath the tinselled trappings can be discerned a careful

craftsman who, for all his satire and wit, shows truly emotional and

beautiful music. 25

Poulenc has been influenced by Ravel Satie, and Stravinsky, but

his style is definitely his own. Poulenc's dramatic music is light,

satirical, and whimsical. His style of writing is quite similar to the

style of Jean Giraudoux's writings, eSpecially The Enchanted. The direc-

tor made use of Poulenc's music throughout the play.

At the Opening of the play Poulenc provides the three deep,

somewhat mysterious chords on the piano whicheet the mood. Immediately,

the cautious Mayor enters, accompanied by sprightly piano music Signi-

fying nervousness. The Mayor shouts, "Hello! Hello! -~ Strange; not

even an echo." A clarinet answers back melodiously, "Hello." The

' 22 Oscar Thompson, editor, The International Cyclopedia of Music

and Musicians (New York: Dodd, Mead, and Company, l9h6), p. lh33.

23 Ibid., p. 291.
2A Morris Hastings, "Meet the Composer," Columbia Record, 19:95,
1950.

25 Ibid.
 176

scene is then dialogue going between the Mayor and the Doctor. Music

at the beginning of the play serves a most important function in the

first act-- it sets a tempo and a mood.

Poulenc's music does not end at only setting mood and tempo, but

it also serves as character motif. For example, in act one, the three

Little Girls enter dancing. Their music is that of a harpsichord playing

gay, whimsical music in two-four time. From their first entrance to the

exit and subsequent entrances, the Little Girls are accompanied by the

same type of musical background.

The entrance Of the pompous InSpector is accompanied by the flat,

stale notes of a trombone. The town's gossips, the Mangebois Sisters,

enter and exit to the sounds of twittering birds. The Ghost always

appears with the sounds of a low clarinet and harpsichord. Thus, besides

setting a mood and a tempo, the music performs the task Of establishing

firmly and cleverly individual characterization.

A third function Of Poulenc's incidental music is to intensify

the emotion or atmOSphere of a scene. This type of dramatic music is

often the most important and the most misunderstood. A director with a

complete understanding of the play and an equal knowledge of the music he

is using can re-enforce emotion and atmOsphere unobtrusively. For example,

the realistic InSpector delivers a lengthy political address throughout

which there are sounds Of a military band softly rehearsing. This satir-

ically emphasizes the militancy of the occasion. The atmoSphere becomes

one of military parade instead of the quietness of a forest.

There is a fourth function for stage music to perform, that is perhaps

 177

the most common-emusic for music's sake. The script called for a song or

a dance. Music was used to accompany the performers.

Sometimes a director may call for a musical bridge to space a

pause or length of time between scenes. Harmonious flute and oboe music

by Poulenc was used to Space the exit of the Doctor in act two and the

delayed entrance of Isabelle. She readted to the music as if something

strange was about to happen, and immediately the Ghost appeared.

A sixth function of theatrical music might be called overture and

entre-acte music. The problem in producing this type of music is to

decide whether it is an integral and related part of the total mood of the

play. 26 In the case Of Obtaining muSic for The Enchanted, the director

secured the "Concerto in D Minor" by Francis Poulenc. The concerto is

primarily styled in capricious images. Its gay, nursery-like melodies,

coupled with subtle and witty tempos, served as an adequate prelude to a

fantastic play. The same composition was used for fiveeminute interludes

between the acts.

The problem that confronts a director is not whether he should use

music or not, but whether he has the prOper musical baCkground and exper-

ience tocbcide the question. If the director does have some knowledge of

music, then his purpose in using it dramatically is to effectively empha-

size the play, not the music. 27

27 Ibid., p. A6.
 178

The fantastic play is uaually heightened in its effect by a

good musical score eXpressing the dramatic action and the changing mood

and tempo throughout. 23 Both the critics 29 and the director felt

that Poulenc provided such a score for The Enchanted.

28 Ibid., p. 279.
29 New York Theatre Critics' Reviews (New York: Critics' Theatre
Reviews, 1950), pp. 387-389.
 179

MUSIC CUE SHEET

Act One

LINES CUES CUE #* MUSIC

l on Overture
MAYOR enters after
three individual notes
Play to end of cut

ECHO: Hello! 1 Off

DOCTOR: Hello! Hello! 2 on Covering entrance

of ISABELLE and GIRLS

GIRLS: Is this it? 2 fade under

MAYOR: Oh, Miss Isabelle!

What a start you gave
us! 2 off

MAYOR: My dear Doctor-- 3 on INSPECTOR enters with

music
Play to end of cut

DOCTOR: ...spirits of nitre,

Spirits of camphor-- A on MANGEBOIS SISTERS
enter
Play to end of cut

INSPECTOR: ...I trust, we

shall be in a po-
sition to conteme
plate the naked
truth. 5 on MANGEBOIS exit
ISABELLE and GIRLS
5 quick fade enter
and off

*zzThe numbers under CUE # cOrreSpond to the number of the cut in

the original records expecially transcribed by Poulenc for The Enchanted.
The records are two twelve-inch discs, 78 r.p.m., and are distributed by
the Samuel French Company.
 180

LINES CUES CUE # MUSIC

SUPERVISOR: What in the world

could I teach them?
6 on

ISABELLE: You may go now,

children. 6 quick fade
and off

DOCTOR: And now my assis-

tants-- 7 on-—low

DOCTOR: The crickets. 7 fade and Off

DOCTOR: The overture begins. 8 on Play to end of cut

ISABELLE: The military band

of the garrison. 8 fade into
9 on and cut

DOCTOR: ...through the Shad-

ows of cypress and
pine- 10 on-low

DOCTOR: You see, it's done. 10 swell to full ”GHOST appears

10 off ISABELLE sees GHOST

GHOST: well, the moment

one dies- 11 on--low Covering rest of
ISABELLE'S speech-
lines interspersed
with music

Curtain Simultaneously with 11 off

Act Two

12 on Overture, play to
end of cut

12 fade into
13 on Entrance of GIRLS
and SUPERVISOR

SUPERVISOR: The Triangle. 13 off

 181

LINES CUES CUE # MUSIC

SUPERVISOR: Besides, it's time

for recess. Van-
ish! 13 repeated

13 off GIRLS exit

DOCTOR: ...the other world,

perhaps- In on INSPECTOR and
hAYOR enter

14 off Play to end of

cut

INSPECTOR: Oh, come on in,

Mr. Executioner. 15 on EXECUTIONERS enter
15 off Play to end of cut

INSPECTOR: Come along, boys. 15 repeated EXECUTIONERS exit,

to couple of bars
15 off of cut

DOCTOR: ...as safe in a

whirlwind as in a
church. (Blows into
pitch pipe.) 16 on

16 off DOCTOR exits, is off

on last note

17 on Follows 16 by two
beats

17 fade and off ISABELLE enters t 0

music, sits

18 on Follows 17 immediately

ISABELLE: If I were a
phantom—- 18 fade slowly
and off

19 fade in softly GHOST reenters

INSPECTOR: Be calm, my
Children e 19 fade out and
20 bring up Under INSPECTOR'S speech
 182

LINES curs CUE # MUSIC

GHOST: Tomorrow at six-- 20 fade into

21 up

GHOST: Tomorrow, Isabelle.

Tomorrow. 21 out

DENISE: Because I love to be

alone at night in the
forest! lO repeated

10 off GHOST exits

Curtain

Act Three

22 on Overture, GIRLS enter

dancing

22 off Play to end of cut

GIRLS: Effect. 23 fade up slowly Play through to--

INSPECTOR: Paragraph 8, Sec-

tion 2. In witness
whereof-- 23 out quickly

ISABELLE: I don't know. I

don't know. Please
stay. Please. 2A on Clock strikes six
2h off Play to end Of cut

SUPERVISOR: The slightest word

may be construed as
an invitation. 25 fade Play to end of cut
25 off

25 repeated GHOST exits

25 off Play to end of cut

INSPECTOR: And a first-rate

Specimen. 26 up Play through to--
 183

LINES CUES CUE # ' MUSIC

DOCTOR: We must keep in time.

Ready? 26 increase

INSPECTOR: The re-orientation

Of basic products. 26 fade slowly

GIRLS: Columbus discovered-- 26 increase in volume

ALL: What? What did she say? 26 fade down

GIRLS: Vasco da G -- 26 fade up

ISABELLE: Crimson satin-- 26 off As Isabelle moves

MAYOR: And Isabelle? 27 on Play to curtain

27 Off

Curtain
CHAPTER VI
 18h

CONCLUSION

In the art of the drama the playwright supplies the principal idea,

purpose, and style Of a drama. But once a piece of literature has been

selected, prepared for production, and performed before an audience, the

playwright's work becomes a play. The director, not the writer, is then

responsible for the finished product. The problems faced by a director

in the translation of a written work into an actual production and the

director's attempts to solve these problems and to draw conclusions as

to the validity of his judgment and technique were the subject Of this

thesis.

The director feels that a more thorough examination of his own

attitudes toward the play and toward directing the play will be of

value in determining whether the favorable reception of The Enchanted

was a fortunate accident or a natural result of careful efforts based

on a genuine understanding of the play and its needs.

The director has concluded that the primary appeal of Giraudoux's

play is based on its whimsy, its fantasy, and its poetry. All of the

subtle intangibles that create an imaginative play have been superim-

posed by Giraudoux onto a foundation of ideas. What the playwright has

to say he says imaginatively, and it is in the realm of the imagination

that the play's appeal lies.

The basic production problem was then one of retaining this imag-

inative quality. This problem was solved by means of a unity of mood.

The over-all mood of The Enchanted, the director decided, was light, 185

ethereal, almost feminine. In order to establish this mood the director

set out to use everything at his diSposal...music, dance, costumes,

arbitrary movement patterns, and rhythm...and to coordinate all these

into unity.

The director decided that the physical aSpects of the production

should be as imaginative as the aesthetic aSpects. To create an intimate

actor-audience feeling the audience was seated in a semi-circle on the

same level as the actors. The lighting, make-up, and costumes were all

as simple as possible. The set was skeletal; two wings, a log, and a

stump. The green aSphalt tile of the Union Parlors was to be the grass

of the forest; the beige and green draperies toeserve as a backdrop for

the action. The set was suggestive enough to inform the audience that

they were supposed to be viewing a forest. Later, as the audience reac-

tion clearly indicated, the set became for them a forest. Their own

imagination and the actors' adherence to the basic mood of the play made

this transition.

Fantasy, in the experience of the director, is more difficulty to

act than drama, melodrama, farce, or the other more conventional theatrical

styles. The director did his casting with theciesired mood Of the play

in mind. An actor with a dynamic, heavy voice, for example, could easily

have destroyed the illusion the director wished to create._

The Enchanted was a successful production, according to the news-

paper revues, the audience reaction, and the box office receipts. The

play paid for itself (it was produced on a limited budget, with production
 186

costs drawn from the receipts). It received generous response from

the audience throughout its two performances, and also generous applause

following them. The director was satisfied that he had chosen carefully

the play, the cast, the setting, the location for presentation, and the

myriad small details that had to be decided upon.

Objectively, the director himself considered the play a success

since the previously determined mood was carried out throughout the

production. From a personal point of view the director considered.Th§

Enchanted's performance an educational success, for the reSponse Of the

audience proved that they were not only willing but pleased to use their

own imaginations.
The Program
.I 0.0 "l.’ '1'! e' .‘
187
 188

thWfibmege _ ,
Stf'esses ‘InfOr, f; jg
of France and civillxstion. ‘
spector’s path. however.1s

i
with s series of 11111111ch

3
Elsi-sltnzmb'.whwh and supernatural event‘s. '
is no theater endno def of the girl
men. and {111% . .
, ‘
mw.hsnalnu- appearance of the g .
afloat-sled. actor -
3?;smmcpsflorin Enchanted"iss
the surface but you - 1 '

for s com
e sunpileity'tm3
of nature even
death and
cruelty of his end even
an.
In the last scenathe is faced
with choosing between love and
life or sun licity and ,, mgnd.
in true msdenlyi . cos
mher (1 several moo: she
lets audience at M Pits
The oneof 'studutsmm
7 step
1mm!“
' excellent performance ndeu: his di~
(action of Marvin , _ Flint
graduate student.
sentssecondsnd t as
of
ot“TheEnshsnhfl”8s night,
fap.1n.intheM.8.(':. ‘

The Lansigg State Journal,

July 28, 1951.

which suinequenflulme
soils bio the hands-y
«m “n: n:

spectonmfm
l - ‘ 4's w r i r

The Review
BIBIIOGRAPHY
 189

BIBLIOGRAPHY

A. BOOKS

Brown, Gilmor, and Alice Garwood, General Principles of PlayiDirection.

New York: Samuel French, 1936. 170 pp.

Clark, Barrett H., and George Freedley, A History of Modern Drama.

New York: U. Appleton-Century Company, Inc., 1947. 7L0 pp.

Cole, Toby, compiler, Acting, A Handbook of the Stanislavski Method.

New York: Lear Publishers, 19h7. 223 pp.

Dean, Alexander, Fundamentals of Play Directing. New York: Rinehart

and Company, Inc., 19hl. 1128 pp.

Dickinson, Thomas H., editor, The Theatre In afChanging Bugopp. New York:
Henry Holt and Company, l9h7. 439 pp. .

Dolmen, John, The Art of PlgyéPrgduction. Revised edition; New York:

Harper and Brothers, 1946. #21 pp.

Drake, William A., Contemporary EurOpean Ngitggg. New York: The John
Day Company, 1928. 3h5 pp.

Friederich, Willard, and John Fraser, ocenery Design For the Amateur
§tage. New York: The Macmillan Company, 1950. 2h5 pp.

Gassner, John, editor, A Treasugy of the Theatre. New York: Simon and
Schuster, 1950. 1099 pp.

Giraudoux, Jean, Amphitryon 38. New York: Random House, 1938. 176 pp.

, Campaigns and Intervals. New York: Houghton Mifflin Company,

1918. 273 pp.

, The Enchanted. New York: Random.House, 19h8. 136 pp.

, The Madwomgn of Chaillot. New York: Random House, 19A7. 134 pp.

_r_”___J_My Friend £rom.Limousin. New York: Harper and Brothers, 1923.

286 pp.

, Siegfried. New York: The Dial Press, 1930. 167 pp.

___~___J §gganne and the Pacific, New York: G. P. Putnam's Sons, 1923.
286 pp.
 190
Heffner, Hubert 0., Samuel Selden, and Hunton D. Sellman, Modern
Theatre Practice. New York: F. S. Crofts and Company, I9A6.
491 pp.

Hewitt, Barnard, Art and Craft of Play Production. New York: J. B.

Lippincott Company, 1940. 367 pp.

Lemaitre, Georges, Four French Novelists. New York: Oxford University

Press, 1938. 392 pp.

McCandless, Stanley, ArMethod of Lightingkthe Stage. New York: Theatre

Arts, Inc., l9h7. 1h3 pp.

Nelms, Henning, Play Production. New York: Barnes and Noble, Inc.,
19500 288 pp.

New York Theatre Critics' Reviews. New York: Critics' Theatre Reviews,

Nicoll, Allardyce, World Drama. New York: Harcourt, Brace, and Company,
1950. 987 PP-
Selden, Samuel, and Hunton D. Sellman, Stage Scenery;§nd Lighting.
New York: Appleton-CenturybCrofts, Inc., 1930. A02 pp.

Stansbury, Milton H., French Novelists of Today. Philadelphia:

university of Pennsylvania Press, 1935. 220 pp.

Strenkovsky, Serge, The Art of Make-Up. New York: E. P. Dutton and

Company, 1937. 286 pp.

Thompson, Oscar, editor, The InternagionaLCyclopedia of Music and

Musicians. New York: Dodd, Mead, and Company, 1946. 1630 pp.

B. PERIODICAL ARTICLES

Bentley, Eric, "Back to Broadway," Theatre Arts, 33:11-15, November,

1949.

Clurman, Harold, The New Republic, 120:28, January 17, 19h9.

60mmonwea1, 13:4A, November 12, 1930.

De Beauplan, Robert, "Intermezzo," La Petite Illustration, 625:31-32,
May 6, 1933.
 191

Dukes, Ashely, "The Little Professional Theatre Again," Theatre Arts,

1731+95: July 19) 1933-

Eustis, Morton, "A Play in the Making,” Theatre Arts, 21:941-45,

January 17, 1949.

, "Jean Giraudoux," Theatre Arts, 22:128—30, February, 1938.

Giraudoux, Jean, "Paris Impromptu," Theatre Arts, 22:220-62, March,

1938.

Hasting, Norris, "Meet the Composer," Columbia Record, 1895, 1950.

Jouvet, Louis, "Success," Theatre Arts, 20:354, May, 1936.

Kohler, Pierre, "A Balzac of Today," The LivingpAge, 333:545, September,

1927. .

Lefeure, F., "Une Heure Avec...Jean Giraudoux," Nouvelle Revue Francais,

62:149, August, 1927.

Newsweek, 35:67, January 30, 1950.

Time, 55:37, January 30, 1950.

Valency, Maurice, "About the Play," Theatre Arts, 34:56, October, 1950.

, "Playwright Who Kept His Rendezvous," Theatre Arts, 33:14Pl6,

August, 19492

C. UNPUBLISHED MATERIAL

Weiss, William, "A Fifty Year Survey of Modern French Drama on the
New York Stage."’ Unpublished paper submitted to Albion College,
Albion, Michigan, 1950.

D. NEWSPAPERS

Atkinson, Brooks, The New York Times, January 19, 1950.

Barnes, Howard, The New York Herald Tribune, January 19, 1950.

Chapman, John, The New York Daily News, January 19, 1950.
 192

Coleman, Robert, The New York Daily Mirror, January 19, 1950.

Garland, Robert, The New York Journa1_American, January 16, 1950.

Hawkins, William, The New York World Telegram, January 19, 1950.

The Lansing:§tate Journal, July 28, 1951.

watts, Richard, The New York Post Home News, January 19, 1950.
 4
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