View single post by dromat
 Posted: Sat May 2nd, 2009 02:54 pm
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Joined: Sat May 2nd, 2009
Posts: 3

I wondered how write synopsis to rather unusual play - where dramatic action
is not simply "telling a story".

For example: how may look synopsis to Samuel Beckett's "Kraps Last Tape" ?

My play has some connections with this Beckett's play (f.e. title - variation)

I wrote something like this, but it's not synopsis, I think, rather "statement" or something..


 „Cut’s Last (But One) Show” is a drama of ego – actually, it is a monodrama; still, it is written for two actors. Cut’s personality is not revealed through actions – Cut prides himself on not taking any actions (dicit et non facis – though referring to which as devil’s definition is an exaltation in a certain way). There is no conflict – but a longing for a conflict (even shown literally). A conflict between existence and aspirations of existence (their irrelevance). A certain staticality is a dramaticality here, as Pieta or the Thinker by Rodin are static.
The drama has some features of a mass.
A mass is a celebration – a celebration can be either a despair or hope.
The essence of a mass is based not only on a ceremonial but also on evoking – one evokes “deeds and conversations, impressions, thoughts, and they become symbolized. A mass is a way of sharing collective consciousness and emitting of collective consciousness. Everything that happens on the stage evokes everything what happened outside but; also and first of all, „inside”. Ceremonies evoke memory; sometimes they try to sift it, determine it more, catch it in the past and in everything that is changing; everything what „happens” is a ritual which refers to something (particularly, it concerns recollection, hope, experience, ultimate – boundary idea (of love) – it concerns absolutely). Exceeding the limits of permissible repetitiveness, we refer by a ritual to what was before an „automatism” of sensation.
Everything is a ceremony since everything is a reference.
Paradoxically, a ceremony is horrendously difficult to be played. It is also about grasping a plane – where between a blasé ritual, which is actually empty, and a pure idea (which is not fouled by it) the truth about a man is revealed. But this truth must be purified.
The „séance” is a black mass („burying” Isis little by little) and an Easter morning mass. At the end of drama some “movement” is started – a movement (a change) is earlier referred to statically – because a change is something that hurts Cut („former days were better than these”…”Say not thou that the future days would bring what they always bring” – melancholy of loss, of what is removed by a change, of what is gone) – still, a movement simultaneously means life, stillness means death. „A moment, last forever” actually means „it would be better for me to never be born”.
Written for two actors, the monodrama, the ego drama has, in an ideal prospect, another function of ceremony, ritual – forgetting about your ego.
Isis a total reference for Cut because she is: the absolute (the One, perfection), the personal God (and these are both this withdrawn one and this engaged one, immanent towards Cut and transcendent one); besides she is Isis – a mother, Isis – a wife, Isis – a feminine element, exiled Shekinah, a woman as everything what is different but also everything what is found in yourself, a neighbor (“You”, a man). What is more and first of all – she is hope for Cut to find himself.
In everything that Isis on the stage and Isis on the screen do (and in the fact of her being divided into stage and projection) there is a consequence of it (a consequence of a total reference – a word – a thought – a feeling – an impression – magic (what is mystic, what is seen). Prima facie, it might seem to have other type of consequence – a rather banal consequence: the stage – reality, the projection – Cut’s images or dreams.