I adore this play. I saw it performed at the Denver Center for the Performing Arts a couple of years ago and it has held a special place in my heart since then.
I love the inclusion of the whisperers. Having the text broken up by whispers from the 'people of Vienna' adds an intensity to the story that is, in part, lost without those lines. The whisperers are vaguely reminiscent of the chorus in Greek tragedy, except that the Greek chorus (in addition to maintaining the tension) provide a lot of exposition, while the whisperers are mostly just to create and hold the tension. Most of the exposition is given by Salieri himself, or by the "little winds."
I think that this play could almost be seen as an adaptation. Mozart and Salieri, obviously did actually exist, and Mozart's death was shrouded in mystery and his life fraught with trouble. I think that this is an interesting concept, for one to adapt not necessarily a story that has already been written, but one that could have actually happened, with well known historical figures, imagining the ending to a story that we will never know the "true" ending to.
Another thing that I really enjoy is the intended seamlessness of the production. There are a lot of pretty big things that happen, and a lot of breaking down of the fourth wall, established in the first scene when Salieri invites the audience into the scene and gives them a character "ghosts of the future." This trains the audience to listen in a way that will allow them to participate, and make them aware that partitpating in this production is what they've signed up for. Establishing what the audience is in for is essential as theatre isn't usually a participatory activity. By starting the play off with a broken fourth wall, it becomes and doesn't jerk the audience out of the story when the characters address them with great frequency throughout the rest of the play. That strikes me as a good lesson about playwriting, one that I have learned as an actor, but only just realized as a playwright: the first scene or couple scenes are all about teaching the audience how to listen, and what to expect from the rest of the play. I think this is something that Amadeus does really well.
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Me too, I love this play. The comparison of Greek chorus to the whisperers is an interesting one. Those whisperers are the sort of thing I never think about writing into a play -- they almost seem a directorial choice though of course they aren't -- and yet they make a world of difference in this play. Very cool way to begin. And you're right -- this opening, combined with Salieri turning the house lights on and conjuring us from the future, demands that we come into the play. One thing to start thinking about is how you want your audience involved in your plays and how to make that happen.
ReplyDeleteAnd yes, this is another kind of adaptation for sure. It buys you the same things -- the audience comes in with a base of knowledge that the playwright then manipulates and plays with. It gives people a reason to come see your play and hear your story. History is a great mine for stories.
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ReplyDeleteI know we aren't technically responding to blogs this time around- but I can't keep quiet!
ReplyDeleteI was feeling the same way about the Venticelli- they really do have similar elements to that of a Greek Chorus. I love that comparison. There is a tragic sense to this play that lends well to a chorus- but more interesting is how they are also individualized. It is more complex than just a chorus- just like this play is more complex than your typical tragedy.
As for the idea of adaptation- yes. I truly believe that this play is an adaptation- but not of history. I think this play is an adaptation of the music itself.