"Bridges"
An Honors Thesis (10 499)
by
Amy Schafer
Ball State University
Muncie, IN
May, 1990
Expected date of graduation:
May 5, 1990
Dedication
This thesis project is dedicated to the memory of Howard
Michael Ryan, who loved the news and politics.
special Thanks
I would like to thank the cast who participated in the
staging of the script, bringing life to the words:
Heather Baker
Cathleen Casazza
Lisa M.E. Cesnik
Kenneth Dingledine
Sara Rene Martin
M. Anthony Reimer
Michael A. Rhea
Shawn Stoner
Melissa Van Kersen
Also, special thanks go to Judy E. Yordon, for being my very
patient advisor, and to my family, for always believing in me.
The creation of "Bridges"
My basic objective in fulfilling my 10 499 requirement was
to find a way to incorporate my interests and my major fields of
study into a special project.
After considering several kinds of
creative projects, I chose to focus on writing--my specific
objective was to create a full-length original script.
After
focusing my thesis intentions, I asked Dr. Judy E. Yordon,
professor of oral interpretation, to be my advisor.
agreeing, we met and talked about some ideas.
After
I then began to
formulate my ideas and tried to develop clearer concepts of them.
After deliberating over five different ideas, I chose one and
began working on the script.
The first two original scripts I wrote, The Damned, and
Nobody's Home, both suffered from the same thing: lack of
originality.
It was then that Dr. Yordon approached me about
writing a script for the Ozarks Performance Festival.
Each year
the Theatre Department sponsors a trip to the festival, which is
held in Springfield, Missouri at Southwest Missouri state
University.
I agreed to write and possibly direct a script.
that time, the theme of the festival was history.
At
I thought
about writing a script on a idea I had been working on for some
time and which fit the theme.
I shared it with Dr. Yordon, who
suggested I try something more experimental.
So, taking my
original idea, which had been a German-American family living in
America during World War I, and current situations in Eastern
Europe, I came up with a theme that would center on the recent
2
"revolutions" and subsequent changes that had taken place.
Instead of creating a conventional play, I opted to compile
a readers theatre script.
Readers theatre "is a flexible,
creative medium for presenting all kinds of literary texts with
emphasis on the experience in the literature.
,,1
Readers theatre
stages literature not originally intended for the stage.
The
recent Broadway hit, Cats, is an example of a readers theatre
script.
Readers theatre combines various genres of literature in
an attempt to present a certain theme or idea; it is an effective
medium to comment on a problem or situation.
Unlike conventional
drama, readers theatre does not require elaborate stage devices
to tell its story, because it is an experimental form of theatre
which maximizes the audience's imaginative participation.
Readers Theatre is consequently considered presentational.
Presentational theatre rarely shows "reality or a realistic
impression of life.,,2
In a readers theatre script, a piece of
literature can take on other meanings, since it is put into a new
context.
The piece of literature changes and thus can be used by
the compiler to say something which may have been only implied in
its original context.
For instance, in "Bridges," the phrase
1 Judy E. Yordon, Roles in Interpretation,
William C. Brown Publishers, 1989), p. 382.
2 Yordon.
p. 383.
(Dubuque, Iowa:
3
"children guessed,,,3 becomes a cry for help by the character
Doctor Freedman.
According to Marion Kleinau and Janet Larsen McHughes in
their text Theatres for Literature, there are six steps to
creating a readers theatre script:
1) Finding the Core, 2)
Finding Material, 3) Analyzing and Asserting the main idea, 4)
crystalization (which is solidifying the approach and
perspective), 5) The Search for Form (which is determining what
types of characters will be in the script and how the script will
be structured, and 6) Reevaluating the script and making sure it
says what it is supposed to say.4
These are the six steps I
followed in compiling "Bridges."
The first step, Finding the Core, involved my getting the
idea.
After determining that my subject matter would be Eastern
Europe, I decided my theme would be the building of walls between
people, specifically the walls of mis-communication.
step was to find material.
My next
I began collecting magazine and
newspaper articles about Eastern Europe and China, and I also
perused many different forms of literature.
In gathering
material for my project, I consulted magazines such as Newsweek,
which gave in-depth information on Eastern Europe, as well as the
3
.
e.e. cummlngs, "anyone lived in a pretty how town,"
western Wind: An Introduction to Poetry (New York: Random House,
1974), p. 531.
4 Marion Kleinau and Janet Larsen McHughes, Theatres for
Literature (Sherman Oaks, California: Alfred Publishing Company,
1980), pp. 143-146.
4
poetry of Eastern European and non-Eastern European poets.
The
poetry of the Eastern Europeans helped to show a perspective that
was not present in the other works.
I felt that the poetry
written by Eastern European writers was more effective in showing
the stress and trauma of oppressed people.
For example, Vladimir
Batshev's liTo Karalena" expresses an emotion that cannot be
understood by a person who has never lived behind a wall.
A poet
can imagine what it is like, but until he has experienced it, the
emotions are not the same.
Once I had collected my material, I was ready to organize it
and analyze my main idea.
Originally, my main thesis idea was to
create a script that showed the media's exploitation of the
situation happening in Berlin.
drafts of the script.)
inadvertently
happening.
(This can be seen in the earlier
In pursuing this approach, however, I
presented a very negative view of what was
Since this was not what I had intended to do, I cut
parts of the script, such as the "commercial segment," to try to
show the changes in Eastern Europe in a more positive light.
Before organizing my material, I had to develop my assertion
and make sure that the organization of the script conveyed this.
At first, my assertion was unspecific, and therefore, not clear
enough to be of any help in organizing the script.
My assertion,
after clarification, is that walls are not only physical objects
between people, but are also created by prejudice and
misunderstanding; communication is the way to knock down these
walls.
5
In organizing my material, specifically the poetry, I tried
to use poems that flowed naturally together.
I then collected
quotes that I thought would fit between them, as well as news
articles to show what was happening worldwide.
Once this was
done, and I was satisfied with the outcome, I went on to the
fourth step in compiling a script--the "Crystalization" stage.
The "Crystalization" stage is where the assertion and the
perspective are solidified.
During this process, I had to make
sure the material I was using fit my assertion.
This was
probably the hardest step, since much of what I had collected had
to be discarded as "unusable" because it did not fit my assertion
or was inappropriate.
Sometimes the material was cut because it
did not fit the main theme.
For example, the poem "The Man He
Killed," by Thomas Hardy, was originally spoken by Kurt Kidwell,
the newscaster, in one segment of the script.
During an editing
process, however, I realized it did not fit in with any of the
other material.
While everything else dealt with freedom and
democracy, Hardy's poem was about war; it was simply
inappropriate.
Once I had completed discarding the unusable
text, I was ready to start fitting things together.
Fitting things together, or searching for form, was also
difficult.
Now that I had the material and knew what my main
theme and assertion would be, I had to find a way to convey this
in the script.
There are many forms or structures a readers
theatre script can take.
The pattern I chose for "Bridges" was
the rondo, one of the several types of structures known as
6
"musical forms.
,,5
The rondo pattern is ABACADAE ... etc.
The
script always returns to the "A" to provide structure for the
audience, as well as to remind them of the central idea.
In
"Bridges" the pattern became "ABACADAE," with the "A" segments
being those that involve the news station, and the other segments
providing different glimpses of the events taking place in
Eastern Europe and China.
"Bridges" starts off with a brief news message about the
building of the Berlin wall.
It then proceeds to "B," where the
performers or cast tell what it is like living in oppressed
nations.
After this, a report on Romania and Berlin is given,
which is followed by a scene which takes place at the Berlin
wall.
The script then returns to the news station and an
interview with Shen Tong, a student leader from Beijing.
Next,
is a scene concentrating on the riots in the Azerbaijan Republic
of the Soviet Union.
The script then returns to the news station
and a debate between Henry Jones, who is a "self-proclaimed
expert of foreign affairs," and Doctor Freedman, who is a
"professor at Brentwood University."
This debate escalates into
a chaotic frenzy when a crowd of angry viewers storms the
station.
The final segment contains the script's message
presented outright:
"we should be building bridges and not
walls."
5
.
KI elnau
and McHughes,
p. 157.
7
The final step in compiling a script is Reevaluation, which
is making sure the script says what it is supposed to say. This
process probably took the longest.
I re-wrote the script several
times before I was satisfied with what I wanted it to say.
When
I had finished the final version, I knew it was "done," because I
felt I had accomplished my goal, and I was ready to begin
directing.
Even though I already knew which people were going to the
Ozarks Festival and kept certain casting considerations in mind
while writing, I still wanted to hold an audition.
I felt that
if I pre-cast my show, I would later change my mind or overlook
someone's possibilities.
After holding a readthrough/audition on
March 24, I was ready to begin rehearsing; the first rehearsal
was on March 25, 1990.
The first step was blocking.
Blocking is the movement of actors in relation to other
actors and furniture, and is the director's way of organizing or
placing his actors onstage.
Blocking is an important aspect of
directing, because it is a tool a director can use to convey his
message.
Although, at first, I began blocking the script as a
conventional script, I later changed much of it so as to
experiment with more presentational-style blocking, such as using
offstage focus.
Offstage focus is where the actors do not
literally look at the person they are talking to, but "see" them
offstage.
Offstage focus helped to show how the actors were not
communicating. Since they were not looking at one another, it
created frustration for the actors as well as the audience.
This
8
frustration helped, in my opinion, to parallel the frustration
created when people do not communicate properly.
In my opinion,
using offstage focus was a crucial element in communicating my
assertion.
(For a better understanding of the different kinds of
focus, see Roles in Interpretation by Judy E. Yordon, especially
pp. 33 and 111.)
By blocking my script I became more aware of its strengths
and weaknesses.
I also began seeing some of my ideas coming
together; I was only able to imagine so much when I wrote.
By
blocking the script and setting down firmly what I wanted, I was
able to communicate my ideas more effectively.
Also, having the
input of the eight different people in my cast helped.
My cast
was free to comment or ask questions about any aspect of the
script.
The rehearsal process also helped me to find loose ends
in the script.
With a minimum of re-writing, I was able to tie
them together and the script became a little stronger in the
process.
Besides blocking, other tools which the director can use to
his/her advantage are stage effects and costuming.
In my readers
theatre script, however, I knew at the start that I would not be
able to employ technical aspects to a great degree because I had
no budget and limited resources.
two: costuming and sound.
production was very simple.
all black.
So, I basically concentrated on
The costuming in the original
To show unity, I had the actors wear
This not only kept things simpler, but also was my
attempt to show that people are basically the same no matter what
9
nationality, etc. they are.
By having my actors wear black I
hoped to communicate this "oneness" to my audience(s); I felt
this was an important aspect of the theme of "building bridges."
As for sound, my designer and music director, M. Anthony Reimer,
and I talked about different ideas.
One of our ideas was to use
a "teletype" sound for the newsroom--this also helped to
reinforce the rondo pattern of the script because the news
segments began with this sound.
M. Anthony Reimer also composed
original music for the script, which was used to underscore and
heighten the emotional scenes.
"Before I Built a Wall, I'd Build a Bridge" (the original
title) was presented at Ball state University on April 17, 1990
in the Edward S. Strother Theatre.
This performance led to more
changes in the blocking and presentation, as well as in the
script itself, because parts of the script, especially the lyric
segment--where everyone expresses his or her own opinion--were
very static and boring.
Re-working this segment was especially
effective in the end result.
instead of very boring.
This segment became very powerful,
At the Ozarks Performance Festival in
Springfield, Missouri, the cast and I, along with the assistance
of Dr. Yordon, re-staged the script; in the process about a page
and a half of dialogue was cut, making the script tighter and
much more effective.
The audience's response to the script (presented at the
Coger Theatre on April 20, 1990) was extremely positive.
critique was led by Dr. Michael Bowman professor of oral
The
10
interpretation at Louisiana state University in Baton Rouge,
Louisiana. I was shocked and amazed--I had not expected such a
reaction!
Not only was the audience's response very positive,
but several people expressed interest in obtaining the script,
including Jo Ann Schmidman of the Omaha Magic Theatre in Omaha,
Nebraska--a professional, experimental theatre company.
The ID 499 course originally allowed me to explore a
creative opportunity that is not offered in my major fields of
study:
writing an original script.
Once I had changed the focus
of my project to creating a compiled script, I had to study and
research (independently) how this was done since I had never
taken the presentational course offered at Ball state.
One of the bonuses of "Bridges" was that I was able to stage
it and see it performed in two distinct versions for two
different audiences.
Through the staging of the script, I have
become more aware of the problems that often occur in my writing,
such as inconsistency and lack of originality in topic
development.
Being aware of these problems and ways of solving
them will help me in the future when I work on other scripts.
The ID 499 course has allowed me to study an alternative way
of creating a script.
Through the creation of "Bridges,"
able to study readers theatre.
I was
My only regret is that, knowing
what I know now, I cannot do the project again from the
beginning.
My understanding of the readers theatre form has
grown tremendously, and I have also learned alternatives to the
11
conventional way of directing and staging a script.
12
Bibliography
cummings, e.e.
"anyone lived in a pretty how town." Western
Wind: An Introduction to Poetry. (Nims, John Frederick,
author/editor) New York: Random House, 1974.
Kleinau, Marion L. and McHughes, Janet Larsen. Theatres for
Literature. Sherman Oaks, California: Alfred Publishing
Company, 1980.
Yordon, Judy E. Roles in Interpretation.
William C. Brown Publishers, 1989.
Dubuque, Iowa:
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BEFORE I BUILT A WALL,
I'D BUILD A BRIDGE
Written/Compiled by Amy Schafer
Honors Thesis (ID 499)
Before I Built a Wall, I'd Build a Bridge
Cast of characters:
Male 1
Chorus 1 (Cl)
Berlin crowd (Bl)
Shen Tong (ST)
Man 2 (M2)
Disgruntled crowd (Dl)
Male 2
Chorus 2 (C2)
Kurt Kidwell (KK)
Male 3
Chorus 3 (C3)
Dan Cristescu (DC)
Man at wall (MW)
Father (FA)
Henry Jones (HJ)
Female 1
Chorus 4 (C4)
vJendy Day (WD)
Small chorus (SC)
vJoman 1 (WI)
Female 2
Chorus 5 (C5)
Producer (PR)
Small Chorus (SC)
Woman 2 (W2)
Female 3
Chorus 6 (C6)
I-lakeup girl (MG)
Woman at wall (WW)
Teenaged daughter (TD)
Disgruntled crowd (D2)
Female 4
Chorus 7 (C7)
Berlin 2 (B2)
Maggie O'Riley (MR)
Woman 3 (W3)
Disgruntled crowd (D3)
Female 5
Chorus 8 (C8)
Berlin 3 (B3)
Hother (MO)
Dr. Freedman (DF)
Male 4*
Announcer's voice (AN)
2
Before I Built a Wall, I'd Build a Bridge
(At the beginning of the show, all of the cast is dressed in black.
They are center stage, arranged as a "Greek Chorus." They address
the audience.)
C8:
They have left me a strip of skull,
just enough to hold me together
and now, swollen with bandages, I lie
on a stretcher somewhere between life and death.
C 7:
and sc I continue to exist.
C3:
hear without ears and see without sight,
like feeling a pulse still beating in amputated arm.
I li~e in myself as a souvenir of myself,
My whole being is just thought and memory.
C4:
You can do all sorts of things but never understand me.
I
you will never be able to get a single thought out of
C6:
me
C2:
Only I can tell you--but how,
when there is no way we can communicate
and my mind seems mute for ever?
C5:
You need a new invention
which will enable us to get in touch
with each other without machines to mediate,
All: thought with thought, so I can roam freely
through a world of just brain.
C8:
But until then, mysterious and mute
I remain in exile in the absolute.
Cl:
What was it like before?
(C4 steps forward.
The chorus loses their formality.
sit, stand, lean against furniture, etc.)
C4:
behind the door
they are plotting our lives
we donlt even know the questions
we try to pass off answers
memorized beforehand
C2:
All this was, was.
All this burned us.
They can
3
C5:
But we learned to fight
But we learned to take heat
from the hidden sun
C6:
and to steer earthward
without pilot or chart
but, above all
not to repeat ourselves
C7:
anyone lived in a pretty how town
No more.
(Cries of "Freedom," "Freiheit," "Liberte", etc. ring out.)
C3:
Freedom?
C8:
I never saw a moor
I never saw the sea
Yet know I how the heather looks
And what a wave must be.
C3:
They're
because
in this
waiting
C5:
(to C3) Don't you see, the result now is that everything can
change for the better?
C3:
How can you know about freedom?
running away from communism toward our way of life
of television and basketball. You play basketball
country for a month, you're never going to be happy
on line for a potato.
(sarcastic)
o who shall from this dungeon raise
A soul enslaved so many ways?
Cl:
What we need is better understanding.
C5:
More compassion.
C7:
More money.
C2&
C4: Better communication!
(At this the chorus, except for C2 and C4, begin to form a "news
station", as Wendy Day and Kurt Kidwell, the two newscasters from
the chorus, narrate.)
KK:
Good evening. A report on Romania. A group of Romanians
overtook the Bucharest broadcast station and turned it into
Radio Free Romania after Nicolae Ceausescu's fall.
4
WD:
None of the members was a journalist. Dan Cristescu, an
engineer and self-appointed leader of the chapter, admitted
that his only qualification for the job was that he was at
the front of the crowd occupying the radio station at the
popular uprising.
(A man steps forward)
DC:
I organized the defense of the second floor.
KK:
stay tuned for more news after this brief message.
(News music)
PR:
Okay, we're off.
(A makeup girl comes in and fixes KK's hair, then exits.)
PR:
Ten seconds.
(WD and KK assume their new positions at newly organized station.)
PR:
Five, four, three, two ...
(points at Newscasters)
KK:
Good evening.
Kidwell.
WD:
And I'm Wendy Day.
KK:
The top story of the hour.
Berlin. Several thousand
protestors began a march outside East Berlin's state
television headquarters today, unaware that they were
starting one of the biggest demonstrations in European
history. As they paraded through the streets, nearly
two-thirds of the city's population turned out to join
them.
This is the five o'clock news report.
I'm Kurt
(During Kidwell's speech, Bl-3 enter as the crowd at the wall. Bl
is a West Berliner, the others are East Berliners.
They begin
chanting "Freiheit!")
WD:
"Freedom," they chanted.
"Democracy." They waved
banners: Egon, here we
come--a warning to the
country's new leader that
the people were on the
rise.
Bl:
Democracy!
B2:
Democracy!
B3:
Freiheit!
(The chanting begins again.
An" invisible wall" becomes the
barrier between Bl and B3, who try to reach out to each other.
A man and woman enter and step up to the wall.)
5
B3:
(to audience) I see my relatives there.
have not talked in twenty years.
B1:
Perhaps we never shall.
MW:
Though no voice should call
hands are on the wall
WW:
Lips are on one side
though no voice is heard
MW:
We were young
when lovers tore their hands
WW:
in a longing to hold each other through the barbed wire
we were young
when a layer of flagstones ....
MW:
Somehcw I shall get
through to you.
(Chanting again, more subdued this time.
apart by crowd. All exit.)
MW and WW are pulled
KK:
There is some talk of the wall in Berlin opening up.
WO:
Wouldn't that be wonderful?
Germany?
KK:
People on both sides of the wall are hoping for that. And
that's our news for tonight. stay tuned for a special
interview with Shen Tong, part of the ongoing special,
"Beijing--ten months later." I'm Kurt Kidwell.
WO:
And I'm Wendy Day.
(New music up,
side. )
~
I wave, but we
No more wall?
A reunified
Goodnight.
as Wendy and Kurt exit.
Father exits opposite
AN:
This has been the 5:00 news. stay tuned for an in-depth look
at "Beijing--ten months later." Hosted by Maggie O'Riley.
Tonight features a special interview with Shen Tong.
FA:
Well, we missed the news again.
MO:
(off) That's all right.
on Beijing.
TO:
(entering) What's on?
FA:
Some special report on China.
Maggie O'Riley's hosting a special
6
(Mother en1:ers.
During above exchange, Shen Tong
O'Riley have entered and are in their places.)
and
Maggie
MO:
Shh!
I want to hear this.
MR:
Good evening, and welcome to tonight's interview, part of
our ongoing series, "Beijing--ten months later." with us is
our special guest, Shen Tong. I'd like to welcome you to our
show, Shen.
ST:
Thank you.
MR:
Now, you were one of the student leaders in the uprising in
Beijing, correct?
ST:
That is correct.
MR:
What led you, the students I mean, to begin an uprising?
It's nice to be here, Maggie.
(During Shen Tong's answer, the small chorus enters.
Underneath
the entire interview they softly perform "My Generation.")
ST:
Well, Maggie, we wanted to show new possibilities for our
generation, to show that communism isn't the only way.
But the slaughter in Beijing showed me that China is not
ready for this kind of total social revolution.
MR:
And indeed it appears that China isn't. Only recently did
the Chinese government lift martial law.
ST:
This is true, Maggie. However, campaigns of censorship,
repression, and forced political re-education have continued
unabated.
MR:
Right, and The People's Daily warned that, and I quote, "a
small number of stubborn bourgeois liberals have not
reconciled themselves to defeat." What did you think of
this, Shen?
ST:
I hope they haven't. The Chinese struggle is not only for the
Chinese people.
If someone somewhere wants to get freedom,
it's a struggle for the whole human people.
MR:
With that sentiment, we'll end our report.
ST:
Thank you.
Thank you, Shen.
(New music again , with Announcer: "This has been an interview with
Shen Tong, part of our ongoing series on Beijing. stay tuned for
more news coverage on Eastern Europe.
More music.
Following
overlaps. )
7
FA:
That was it?
TO:
That was so sad. What happened in China. I couldn't believe
they would gun down their own people like that.
FA:
That's commies for you.
AN:
We interrupt the regularly
scheduled program to bring
you this special report.
(Kurt Kidwell enters.)
MO:
Wait, what's this?
FA:
How should I know?
TD:
Shhh!
MO:
My God, what's happening?
(All exit.
Noise offstage.
WI enters.)
KK:
Hello, I'm Kurt Kidwell. At least twenty-five people
are dead after ethnic rioting broke out in the
Azerbaijan republic in the Soviet Union this evening.
Extra internal security troops were flown to the
southern republic to try to quell the violence, a
military commander of one besieged area called for a
state of emergency. That is all we have confirmed for
now.
Stay tuned for other bulletins.
AN:
(voice warps near end of announcement) This has been a
special report. We now return to our regularly scheduled
program, already in progress.
WI:
My god, what's happening?
(Noise. Chaos. Confusion. W2 enters, screaming, as she is chased
by MI. They exit, then Woman 3 enters, sobbing.)
W3:
They threw them off the balcony.
like puppet or dolls!
WI:
(to W3) Who?
W3:
My daughters!
WI:
What is going on?
They just threw them off
WHO?
My daughters!
(exits)
(A man entE!rs)
M2:
Who are you? What are you doing in the streets?
you know it's dangerous to be out here?
Don't
8
(Ml enters, with W2, who is still screaming. )
Wl:
What is going on?
MI:
This is none of your affair.
W2:
Help me, please, help me!
(W2 is dragged off by Ml.)
~
M2:
It isn't safe for you out here.
WI:
What?
M2:
We have to get off the streets!
Come on.
(They exit, as Makeup girl and Guest debaters enter.
enters at the same time from opposite direction.)
MG:
They're all set.
PR:
Good, they're on next.
MJ:
May I say it is a pleasure to be on the show.
Producer
(During the above, Kurt and Wendy have slipped into their places.)
PR:
Now, Mister Jones, if you'll just sit next to Wendy.
MJ:
Thank you.
PR:
And Doctor Freedman, you can sit on the other side.
OF:
Thank you.
(They take their places.
Makeup girl exits.)
PR:
Okay, the commercial's almost over.
Five, four, three, two, ..
KK:
And welcome back.
WD:
Thanks, Kurt. Tonight's debate is between Mister Jones,
a self-proclaimed expert on foreign affairs, and Dr. Freedman,
a professor at Brentwood Uni versi ty.
Thank you both for
joining us.
Mister Jones, I believe you won the coin toss
and will present you remarks first.
MJ:
Thank you, Wendy. Tonight I'd like to talk about the Berlin
situation.
(Makes a big deal out of clearing his throat,
shuffling papers, etc.) I'm so mad that they're knocking down
the Berlin wall over there in Germany and good-hearted
Americans are falling for this scheme. As if we didn't have
It's time for our guest debate.
Wendy?
9
enough problems, now we've let those goose-stepping, beerguzzling strudel eaters get back together again.
Great!
Let's face it. Germans have never really liked living in
their own country. They're always trying to live somewhere
else.
I mean, what if they corne over here and say, "Vee
Vont Disney Vorld."
~ister
WD:
But,
Jones ...
MJ:
(continuing) We'd have to blast 'ern back to the Rhine to
keep them from shelling the daylights out of Cinderella's
castle:.
But you know what's really got me bouncing off
the walls is all the liberal, bleeding-heart newspapers
blubbering about how great it is that this "fairy-tale"
country that gave us HANSEL AND GRETEL is getting back
together again.
WD:
Aren't you looking at things ... ?
MJ:
(continuing) Germany gave us fairy tales, all right.
But
it also gave us Adolf Hitler and those stupid looking
Volkswagens. The Wall oughta go back up pronto--and I'll
lay the first brick.
(pause; clears throat) Thank you.
WD:
(flustered) Well, thank you, Mister Jones.
do you have a reply?
DF:
I certainly do, Miss. Day. I think Mr. Jones is taking a very
negative view of the changes in Germany.
Instead of viewing
these change in Germany, in fact in all of Eastern Europe as
postive changes, he looks at them negatively and bases his
opinions on old stereotypes that simply don't apply anymore
or perhaps never did. I think the changes in Eastern Europe
are pragmatic and will affect us all.
WD:
What kinds of changes will there be, do you think?
DF:
Well, I foresee better relations between our
Eastern Europe, better attitudes towards "bloc"
and, hopefully, a chance for peace.
I'm afraid
too many people side with Mr. Jones, we will be
ourselves off and putting up walls of our own.
WD:
Walls?
DF:
Yes.
If we continue to look naively at our fellow man,
not even attempting to understand him or what he does or
why, we many eventually fear him.
Fear, misunderstanding,
confusion, prejudice ... all these things can lead to faulty or
ineffective communication.
If people don't communicate
on what we term the first level, where peak communication
takes place, or if they don't communicate at all, and simply
Doctor Freedman,
country and
countries,
if that if
cutting
10
assume things about the other person, a lot of mistrust and
bad feelings can develop.
WD:
Well, thank you, Doctor. And you, too, Mister Jones.
This concludes our guest debate.
Please remember that
our guest's views do not necessarily represent the
views of this station. Thank you and Goodnight.
AN:
This concludes our program.
Please stay tuned for a
special report on the elections in Poland.
(DF and HJ exit, while WD and KK stick around. News music. During
the above, an angry crowd has gathered"outside" the station and
have forced their way in.)
PR:
Okay, everybody, we're off the air.
KK:
(to crowd) Sorry, ladies, sorry.
D1:
Who wculd want your stupid autograph?
WD:
I told you they were my fans.
D2:
We're not here for you, either.
scum-bucket you let on TV.
WD:
I admit Kurt's pretty bad, but he's not a scum-bucket.
D3:
She's not taking about Kidwell. She's talking about that
guy, .. Henry ... whatever his name was.
WD:
Jones.
views
D2:
Don't necessarily represent the views of this station.
D1:
They don't necessarily represent the views of a thinking
human being, either.
D2:
That's the truth.
D1:
Why don't you let Mr. Jones step out and speak for himself.
D2:
Yeah, bring him on out here.
D3:
Bring out the scum-bucket.
WD:
Now, please, let's not get out of control here.
Henry Jones.
No autographs.
We're here about that
And might I remind you that our guest's
D3:
You hit it on the nose!
(The crowd begins to chant, "Bring him out! ")
11
KK:
What are we going to do?
WD:
I guess the only thing we can do is bring Mr. Jones out.
Mr. Jones, Mr. Jones!
HJ:
Yes, what is it?
WD:
Oh, good, you haven't left yet.
to see you ...
HJ:
A crowd to see me? Well, they must be a group of sensible
people who realized I was right.
(The crowd is still chanting.
give a victory cry.)
There's a crowd that wants
At the sight of Mr. Jones, they
HJ:
Oh, they're not very friendly, are they?
Dl:
There he is!
(The following three lines overlap.)
Dl:
Where do you get off talking about Germans like that?
Don't you know that's how all problems start?
D2:
You know, I really resented everything you said tonight.
You are a real loser, and I mean loser.
D3:
Your narrow mindedness and predujice are frightening, truly
frightening.
I don't really understand why you had to say
all of those things.
(PR and DF enter, saying "What's going on?")
HJ:
Please, please, one at a time, one at a time!
(At this point everyone begins to express his or her opinion in a
continual flow of words, sometimes overlapping one another.)
D2:
It was the first female style revolution:
we all went shopping,
no violence and
WD:
according to Gloria steinem.
KK:
In an interview, Mario Cuomo commented on the situation in
Eastern Europe:
HJ:
They're
because
in this
waiting
running away from communism toward our way of life
of television and basketball. You play basketball
country for a month, you're never going to be happy
on line for a potato.
12
DF:
Many people criticize Gorbachev, but we should try to understand how complicated everything is ..... The most important
thing is freedom ....
D3:
0 who shall from this dungeon raise
A soul enslaved in so many ways?
D1:
I do not believe we should change the order of things,
WD:
said the French president, Francois Mitterand, while meeting
with Mikhal Gorbachev in Kiev last week.
DF:
The result now is that everything can change for the better,
KK:
said, Zhelyu Zhelev, a resident of Bulgaria.
WD:
Naomi Jacobson, a survivor of the Nazi concentration camps,
had this to say about the German re-unification plan:
PR:
I hoped in my lifetime I wouldn't see the German people
enjoy themselves so much. The Germans don't deserve this
happiness.
KK:
In reply to Naomi Jacobson, Betty L. Fonk of
Indiana said:
D3:
Are young Germans supposed to wear sackcloth and ashes for
something their ancestors did? It's time to get on with
living and peace.
KK:
Democracy is the fundamental aim of life.
DF:
Hungary has always been like a ferry boat, plying the
river between East and West. For too long we have been
moored to the Eastern bank. Perhaps soon we will have a
berth on the Western shore.
PR:
Freedom of choice is a universal principle,
KK:
according to Mikhal Gorbachev.
DF:
People have breathed too much fresh air to be subdued.
WD:
There are no alternatives to democracy.
D2:
0 who shall deliver whole
From bonds of this tyrannic soul?
D1:
The Chinese struggle is not only for the Chinese people.
If someone somewhere wants to get freedom, it's a struggle
for the whole human people.
Bloomington,
13
WD:
HJ:
KK:
HJ:
My soul there is a country
Far beyond the stars
Where stands a winged sentry
All skillful in the wars
D3:
There, above noise and danger,
PR:
Sweet peace
HJ:
sits crowned with smiles.
PR:
They had everything--houses, cars, money ... They left it all
behind to get more.
DF:
Estonia is showing the way out--not necessarily the way out
of the union itself, but the way out of a desperate situation.
If we ~an be free, then they all can be free.
D2:
To fling my arms wide
In some place of the sun,
To whirl and to dance
D3:
Democracy is the fundamental aim of political life.
PR:
The world is too much with us;
D3:
HJ:
late and soon
Gettin9,
DF:
and spending
WD:
we lay waste our powers.
KK:
There are no alternatives to democracy.
D1:
Little we see in Nature that is ours;
DF:
We have given our hearts away;
D3:
a sordid boon.
D2:
Freedo~
of choice is a universal principle.
PR:
Cold in the earth--and fifteen wild Decembers,
From those brown hills, have melted into spring:
WD:
We are showing the way out
14
03:
Faithful, indeed, is the spirit that remembers
After such years of change and suffering!
KK:
1989 was the year the communist god failed.
WO:
When it was over the people had changed the course of
history.
PR:
But when the golden dreams had perished,
And when even despair was powerless to destroy
OF:
Then did I know how existence could be cherished,
strengthened, and feel without the aid of joy.
02:
To fling my arms wide
PR:
They had everything
WO:
There are no alternatives
(By this time everyone has formed a wall around OF.)
HJ:
anyone lived in a pretty how town
women and men (both little and small
cared for anyone not at all
OF:
children guessed
KK:
anyone lived in a pretty how town
01:
women and men
02:
(both little and small
03:
cared for anyone not at all
OF:
children guessed
All:
but only a few
and down they forgot as up they grew
(OF tries to break through, but is unable.)
OF:
How could I seek the empty world again?
WO:
But when the golden dreams had perished
PR:
anyone lived in a pretty how town
OF:
And even despair was powerless to destroy
D1:
women and men (both little and small
15
OF:
Faithful indeed is the spirit that remembers
02:
cared for anyone not at all
OF:
children guessed
KK:
but only a few
All: and down they forgot
OF:
NO!
(By this point the actors have formed their chorus positions from
the first scene.
OF/C8 breaks through.)
C8:
Something there is that doesn't love a wall.
C3:
What?
C8:
If we build walls will we be forced to live behind them?
Separated from one another?
(Silence.
Chorus digests this information.)
C3:
(looking at C6)
hands on the wall.
C6:
Lips on one side
though no voice is heard?
C1:
Something there is that doesn't love a wall.
C4:
Before I built a wall I'd ask to know
All:
(*eventually adding voices until entire chorus is speaking)
What I was walling in or out,
And to whom I was like to give offence
Something there is that doesn't love a wall
That wants it down
(Pause)
C8:
Before I built a wall, I'd build a bridge.
Poem Insert
Poem Insert "My Generation"
Small Chorus:
Snow scatters where your foot treads
Laughter peals like dainty bells ...
Why do you kneel to old gods?
Why do you chalk prayers on walls?
Why do you bow down to earth?
Why look out for heaven's treasure?
Have you dreamed of spring's rebirth?
Or have you grown weak from pleasure?!
Why crush flowers beneath your heel?
Why count out the grains of corn?
Either you are clear of evil! ....
(pause)
Or has your heart turned to stone?
"The FINAL draft"
"Bridges"
compiled by Amy Schafer
Bridges
cast of characters:
Male 1 (MI)
Eastern European Man
Dan cristescu
Man at wall
Shen Tong
Man 2
Disgruntled crowd
Male 2 (M2)
Eastern European Man
Kurt Kidwell
Small Chorus
Male 3 (M3)
Eastern European Man
Berlin crowd
Father
Man 1
Henry Jones
Female 1 (F'I)
Eastern European Woman
Wendy Day
Small chorus
Female 2 (F'2)
Eastern European Woman
Producer
Small Chorus
Woman 3
Female 3 (F'3)
Eastern European Woman
Makeup girl
Woman at wall
Teenaged daughter
Disgruntled crowd
Woman 2
Female 4 (F4)
Eastern European Woman
Berlin crowd
Maggie O'Riley
Woman 1
Disgrunted crowd
Female 5 (F5)
Eastern European Woman
Berlin crowd
Mother
Dr. Freedman
Announcer (AN)
2
Bridges
(News music up.
Kurt and Wendy enter with the producer.
KK and
WD are center stage, the PR is SL. The producer cues them and they
begin the news report.)
11m Kurt
KK:
Good I~vening.
Kidwell.
WD:
And I'm Wendy Day.
KK:
The top story of August 13, 1961 marks a change in relations
between East and West. Today, the East German government
closed the borders, dividing the city of Berlin into two
parts: East and West.
WD:
The government erected a low, wire barrier and posted a
twenty-four hour watch to patrol the area now known as
"No Man's Land." It is a three-mile strip between East
and West. A concrete wall is in the works to replace the
wire barrier.
KK:
It seems now that the Germans will be living separate lives.
THis
is the
six
0'
clock news.
(During the above report the cast has entered and formed a "wall."
News music out. other music up.)
F5:
They have left me a strip of skull,
just enough to hold me together
and now, swollen with bandages, I lie
on a stretcher somewhere between life and death.
F4:
and so I continue to exist.
M3:
hear without ears and see without sight,
like feeling a pulse still beating in amputated arm.
I live in myself as a souvenir of myself,
My whole being is just thought and memory.
Fl:
You can do all sorts of things but never understand me.
I
F3:
you will never be able to get a single thought out of
me
M2:
Only I can tell you--but how,
when there is no way we can communicate
and my mind seems mute for ever?
F2:
You need a new invention
which will enable us to get in touch
with each other without machines to mediate,
3
Ml:
thought with thought, so I can roam freely
through a world of just brain.
F5:
But until then, mysterious and mute
I remain in exile in the absolute.
Fl:
behind the door
they are plotting our lives
we don't even know the questions
we try to pass off answers
memorized beforehand
M2:
All this was, was.
All this burned us.
F2:
But we learned to fight
But we learned to take heat
from the hidden sun
F3:
and to steer earthward
without pilot or chart
but, above all
not to repeat ourselves
F4:
anyone lived in a pretty how town
All: No more.
(Cries of "Freedom," "Freiheit," "Liberte", etc. ring out.
The
actors brE~ak out of the "wall" formation into less formal
positions. )
M3:
Freedom?
F5:
(to M3)
I neVE!r saw a moor
I neVE!r saw the sea
Yet know I how the heather looks
And what a wave must be.
M3:
They're
because
in this
waiting
F2:
(to M3) Don't you see, the result now is that everything can
change for the better?
M3 :
How can you know about freedom?
running away from communism toward our way of life
of television and basketball. You play basketball
country for a month, you're never going to be happy
on line for a potato.
(sarcastic)
o who shall from this dungeon raise
A soul enslaved so many ways?
4
Ml:
What we need is better understanding.
F3:
More compassion.
F4:
Better relations.
All: Better communication!
(At this the chorus, except for M2 and Fl, begin to watch a the
"news" with Wendy Day and Kurt Kidwell.)
M2:
Good evening. A report on Romania. A group of Romanians
overtook the Bucharest broadcast station and turned it into
Radio Free Romania after Nicolae Ceausescu's fall.
Fl:
None of the members was a journalist. Dan Cristescu, an
engineer and self-appointed leader of the chapter, admitted
that his only qualification for the job was that he was at
the front of the crowd occupying the radio station at the
popular uprising.
(A man steps forward)
Ml:
I organized the defense of the second floor.
M2:
stay tuned for more news after this brief message.
(News music.
F2:
(exits)
Producer enters.)
Okay, we're off.
(A makeup girl comes in and powders Kurt's nose and fixes Wendy's
hair. )
F2:
Ten seconds.
F2:
Five, four, three, two .•.
M2:
And we're back. The top story of the hour. Berlin. Several
thousand protestors began a march outside East Berlin's state
television headquarters today, unaware that they were
starting one of the biggest demonstrations in European
history. As they paraded through the streets, nearly
two-thirds of the city's population turned out to join
them.
(points at Newscasters)
(During Kidwell's speech, Ml, M3, F2, F3, F4, and F5 become the
crowd at the wall.
MI, M3, and F5 are SR, the others SL. They
begin chanting "Freiheit!", "Democracy!", "Down with Egon!")
WD:
"Freedom," they chanted.
"Democracy." They waved
Bl:
Democracy!
5
banners: Egon, here we
come--·a warning to the
country's new leader that
the people were on the
rise.
B2:
Democracy!
B3:
Freiheit!
(The chanting begins again.
An "invisible wall" becomes the
barrier between F5 and F4 who use offstage focus to see one
another. )
F5:
I see my relatives there.
twenty years.
F4:
Perhaps we never shall.
I wave, but we have not talked in
(A man (Ml) and a woman (F3) step up to "opposite sides" of the
wall. During the following poem, they slowly try to reach out to
each other, using offstage focus, but never quite touch.)
Ml:
Though no voice should call
hands are on the wall
F3:
Lips are on one side
though no voice is heard
Ml:
We were young
when lovers tore their hands
F3:
in a longing to hold each other through the barbed wire
we were young
when a layer of flagstones ....
Ml:
Somehow I shall get
through to you.
(Chanting again, more subdued this time.
"living rooms" and watching tv.)
The actors return to the
M2: There is some talk of the wall in Berlin opening up.
Fl:
Wouldn't that be wonderful?
Germany?
M2:
PeoplE~ on both sides of the wall are hoping for that.
And
that's our news for tonight. stay tuned for a special
interview with Shen Tong, part of the ongoing special,
"Beijing--ten months later." I'm Kurt Kidwell.
Fl:
And I I'm Wendy Day.
(New music up,
side. )
No more wall?
A reunified
Goodnight.
as Wendy and Kurt exit.
Father exits opposite
6
AN:
This has been the 5:00 news. stay tuned for an in-depth look
at "Beijing--ten months later." Hosted by Maggie O'Riley.
Tonight features a special interview with Shen Tong.
M3:
Well, we missed the news again.
F5:
That's all right.
on Beijing.
F3:
What's on?
M3:
Some special report on China.
Maggie O'Riley's hosting a special
(During above exchange, Shen Tong (Ml) and Maggie O'Riley (F4) have
assumed their places at the news station.)
F5:
Shh!
I want to hear this.
F4:
Good evening, and welcome to tonight's interview, part of
our ongoing series, "Beijing--ten months later." with us is
our special guest, Shen Tong. I'd like to welcome you to our
show, Shen.
Ml:
Thank you.
F4:
Now, you were one of the student leaders in the uprising in
Beijing, correct?
Ml:
That is correct.
F4:
What led you, the students I mean, to begin an uprising?
Ml:
Well, Maggie, we wanted to show new possibilities for our
generation, to show that communism isn't the only way.
But the slaughter in Beijing showed me that China is not
ready for this kind of total social revolution.
F4:
And indeed it appears that China isn't. Only recently did
the Chinese government lift martial law.
Ml:
This is true, Maggie. However, campaigns of censorship,
repression, and forced political re-education have continued
unabated.
F4:
Right, and The People's Daily warned that, and I quote, "a
small number of stubborn bourgeois liberals have not
reconciled themselves to defeat." What did you think of
this, Shen?
Ml:
I hope they have not.
The Chinese struggle is not only for
the Chinese people.
If someone somewhere wants to get
freedom, it's a struggle for the whole human people.
It's nice to be here, Maggie.
7
F4:
With t.hat sentiment, we'll end our report.
Ml:
Thank you, Maggie.
Thank you, Shen.
(New music again, with Announcer: "This has been an interview with
Shen Tong, part of our ongoing series on Beijing. stay tuned for
more news coverage on Eastern Europe.
More music.
Following
overlaps. )
M3:
That was it?
F3:
That w'as so sad. What happened in China. I couldn't believe
they would gun down their own people like that.
M3:
That's: commies for you.
AN:
We interrupt the regularly
scheduled program to bring
you this special report.
(Kurt Kidwell enters.)
F5:
Wait, what's this?
M3:
How should I know?
'FB:
Shhh!
F5:
I wonder what's happening?
(Boom mike operator becomes KK. Noise up.
F4, as Womanl, enters.)
M2:
Hello, I'm Kurt Kidwell. At least twenty-five people
are de!ad after ethnic rioting broke out in the
Azerbaijan republic in the Soviet Union this evening.
Extra internal security troops were flown to the
southe!rn republic to try to quell the violence, a
militalry commander of one besieged area called for a
state of emergency.
F4:
My god, what's happening?
(Producer becomes grieving woman.
caught in t:he crossfire.)
Falls SL.
F2:
They t:hrew them off the balcony.
like puppet or dolls!
F4:
(to W3) Who?
F2:
My daughters!
F4:
What i.s going on?
WHO?
My daughters!
MR becomes woman
They just threw them off
8
(ST/Ml becomes man tyring to get F4/woman off the streets.
use onstagE! focus, after Ml makes F4 look at him.)
Ml:
Who are you? What are you doing in the streets?
you know it's dangerous to be out here?
They
Don't
(SR, TD/F3 runs out from behind chair. FA/M3 follows her, with a
threatenin9 stare.
Both use offstage focus.
M3 comes forward,
while F3 backs up.)
F4:
(to M3) What is going on?
M3:
This is none of your affair.
F3:
NO!
(F3 is dragged off by M3.)
Ml:
It isn't safe for you out here.
F4:
What?
Ml:
We have to get off the streets!
F3:
Help me, please, help me!
(M3 "hits" F3.
Come on.
Everyone but KK freezes.)
KK:
That is all we have confirmed for now.
bullet:ins.
stay tuned for other
AN:
This has been a special report. We now return to our
regularly scheduled program, already in progress.
(Setup:
F3, F4, and Ml go out into audience.
M3 becomes Henry
Jones, F5 becomes Doctor Freedman, F2 returns to being producer.
WD and KK t:ake their places for the interview.)
F2:
I'm glad they're all set.
M3:
May I say it is a pleasure to be on the show.
F2:
Now, Doctor Freedman, if you'll just sit next to Wendy.
F5:
Thank you.
F2:
And Mister Jones, you can sit on the other side.
MJ:
Thank you.
F2: Okay,
two I • • • • •
the
commercial's
They're on next.
almost
over.
Five,
four,
three,
9
wE~lcome
M2:
And
back.
It's time for our guest debate.
Wendy?
Fl:
Thanks, Kurt. Tonight's debate is between Mister Jones,
a self'-proclaimed expert on foreign affairs, and Dr. Freedman,
a professor at Brentwood University.
Thank you both for
joining us.
Mister Jones, I believe you won the coin toss
and will present you remarks first.
M3:
Thank you, Wendy. Tonight I'd like to talk about the Berlin
situation.
(Makes a big deal out of clearing his throat,
shuffling papers, etc.) I'm so mad that they're knocking down
the BE~rlin wall over there in Germany and good-hearted
Americans are falling for this scheme. As if we didn't have
enough problems, now we've let those goose-stepping, beerguzzling strudel eaters get back together again. Great!
Let's face it. Germans have never really liked living in
their own country. They're always trying to live somewhere
else.
I mean, what if they come over here and say, "Vee
Vont Disney Vorld."
Fl:
But, Mister Jones ...
M3:
(continuing) We'd have to blast 'em back to the Rhine to
keep 1:hem from shelling the daylights out of Cinderella's
castlE~.
But you know what's really got me bouncing off
the walls is all the liberal, bleeding-heart newspapers
blubbE~ring about how great it is that this "fairy-tale"
country that gave us HANSEL AND GRETEL is getting back
together again.
Fl:
Aren' 1: you looking at things ... ?
M3:
(continuing) Germany gave us fairy tales, all right. But
it also gave us Adolf Hitler and those stupid looking
VolksYlagens. The Wall ought a go back up pronto--and I'll
lay the first brick.
(pause; clears throat) Thank you.
Fl:
(flust:ered) Well, thank you, Mister Jones.
do you have a reply?
F5:
I certainly do, Miss. Day. I think Mr. Jones is taking a very
negative view of the changes in Germany.
Instead of viewing
these change in Germany, in fact in all of Eastern Europe as
postive changes, he looks at them negatively and bases his
opinions on old stereotypes that simply don't apply anymore
or perhaps never did.
I think the changes in Eastern Europe
are pragmatic and will affect us all.
Fl:
What Jdnds of changes will there be, do you think?
F5:
Well, I foresee better relations between our country and
Eastern Europe, better attitudes towards "bloc" countries,
Doctor Freedman,
10
and, hopefully, a chance for peace. I'm afraid that if
too many people side with Mr. Jones, we will be cutting
ourselves off and putting up walls of our own.
Fl:
Walls?
F5:
Yes. If we continue to look naively at our fellow man,
not even attempting to understand him or what he does or
why, we many eventually fear him.
Fear, misunderstanding,
confuBion, prejudice ... all these things can lead to faulty or
ineffE~ctive communication.
If people don't communicate
on what we term the first level, where peak communication
takes place, or if they don't communicate at all, and simply
assumE~ things about the other person, a lot of mistrust and
bad fE~elings can develop.
(During the above, the disgruntled
quietly among themselves.)
crowd enters
SR and talks
Fl:
Well, thank you, Doctor. And you, too, Mister Jones.
This concludes our guest debate. Please remember that
our guest's views do not necessarily represent the
views of this station. Thank you and Goodnight.
F2:
Okay, everybody, we're off the air.
AN:
This concludes our program. Please stay tuned for a
special report on the elections in Poland.
(News music.
The angry crowd attempts to gain enterance to the
station, but are held back unsuccessfully by the producer.)
M2:
(to crowd) Sorry, ladies, sorry.
Ml:
Who w()uld want your stupid autograph?
Fl:
I told you they were my fans.
F3:
We're not here for you, either.
scum-bucket you let on TV.
Fl:
I admit Kurt's pretty bad, but he's not a scum-bucket.
M2:
(overlapping next line) Thanks, Wendy.
F4:
She's not taking about Kidwell. She's talking about that
guy, .. Henry •.. whatever his name was.
F2:
Jones.
views
F3:
Don't necessarily represent the views of this station.
Henry Jones.
No autographs.
We're here about that
And might I remind you that our guest's
11
Ml:
They don't necessarily represent the views of a thinking
human being, either.
F3:
That's the truth.
Ml:
Why don't you let Mr. Jones step out and speak for himself.
F3:
Yeah, bring him on out here.
F4:
Bring out the scum-bucket.
Fl:
Now, please, let's not get out of control here.
F4:
You hit it on the nose!
(The crowd begins to chant, "Bring him out!")
M2:
What are we going to do?
Fl:
I guess the only thing we can do is bring Mr. Jones out.
Mr. Jones, Mr. Jones!
M3:
Yes, what is it?
Fl:
Oh, good, you haven't left yet.
to seE! you ..•
M3:
A crowd to see me? Well, they must be a group of sensible
peOplE! who realized I was right.
(The crowd is still chanting.
give a vict:ory cry.)
There's a crowd that wants
At the sight of Mr. Jones, they
Ml:
There he is!
M3:
Oh, they're not very friendly, are they?
(The follm·;ring three lines overlap.)
Ml:
Where do you get off talking about Germans like that?
Don't you know that's how all problems start?
F3:
You know, I really resented everything you said tonight.
You are a real loser, and I mean loser.
F4:
Your n.arrow mindedness and prejudice are frightening,
truly frightening.
I don't really understand why you had
to say all of those things.
M3:
Please, please, one at a time, one at a time!
(At this point everyone begins to express his or her opinion in a
continual flow of words, which are "narrated" by Wendy and Kurt.
Once their line is complete, they freeze. Only F5 is able to walk
12
around freEdy.
All address the audience using open focus.)
F3:
It was the first female style revolution:
we all went shopping,
no violence and
F1:
according to Gloria steinem.
M2:
In an interview, Mario Cuomo commented on the situation in
Eastern Europe:
M3:
They're
because
in this
waiting
F5:
Many people criticize Gorbachev, but we should try to understand how complicated everything is .•••. The most important
thing is freedom ....
F4:
0 who shall from this dungeon raise
A soul enslaved in so many ways?
F2:
I do not believe we should change the order of things,
F1:
said t:he French president, Francois Mitterand, while meeting
with f.likhal Gorbachev in Kiev last week.
F5:
The
M2:
said, Zhelyu Zhelev, a resident of Bulgaria.
F1:
Naomi Jacobson, a survivor of the Nazi concentration camps,
had this to say about the German re-unification plan:
F2:
I hOPE~d in my lifetime I wouldn't see the German people
enjoy themselves so much. The Germans don't deserve this
happiness.
M2:
In reply to Naomi Jacobson, Betty L. Fonk of
Indiana said:
F4:
Are young Germans supposed to wear sackcloth and ashes for
something their ancestors did? It's time to get on with
living and peace.
F3:
Democracy is the fundamental aim of life.
F5:
Hungary has always been like a ferry boat, plying the
river between East and West. For too long we have been
moored to the Eastern bank. Perhaps soon we will have a
berth on the Western shore.
running away from communism toward our way of life
of television and basketball. You play basketball
country for a month, you're never going to be happy
on line for a potato.
rE~sul t
now is that everything can change for the better,
Bloomington,
13
F2:
Freedom of choice is a universal principle,
M2:
according to Mikhal Gorbachev.
F5:
People have breathed too much fresh air to be subdued.
F4:
There are no alternatives to democracy.
F3:
0 who shall deliver whole
From bonds of this tyrannic soul?
M1:
The Chinese struggle is not only for the Chinese people.
If someone somewhere wants to get freedom, it's a struggle
for the whole human people.
F5:
Lithuania is showing the way out--not necessarily the way out
of the union itself, but the way out of a desperate situation.
If we can be free, then they all can be free.
M3:
(menacing)
anyone lived in a pretty how town
women and men (both little and small
cared for anyone not at all
F5:
children guessed
M2:
anyone lived in a pretty how town
Ml:
women and men
F3:
(both little and small
F4:
cared for anyone not at all
F5:
children guessed
All:
but only a few
and down they forgot as up they grew
(Dr. Freedman tries to break through, but is unable.)
F5:
How could I seek the empty world again?
Fl:
But when the golden dreams had perished
F2:
anyone lived in a pretty how town
F5:
And even despair was powerless to destroy
Ml:
women and men (both little and small
F5:
Faithful indeed is the spirit that remembers
14
F3:
cared for anyone not at all
F5:
children guessed
M2:
but only a few
All: and down they forgot
F5:
NO 1
All: Something there is that doesn't love a wall
That wants it (pause) DOWN!
(For the first time, the actors look at each. other.
WD and KK
embrace. F4 finds her "mother"/F2 SL. F5 crosses to M3. M1 and
F3 find each other and just stare.)
F5:
If we build walls will we be forced to live behind them?
Separated from one another?
M1:
(looking at F3, from "wall" scene)
hands on the wall?
F3:
Lips on one side
though no voice is heard?
M1:
(embracing her)
Something there is that doesn't love a wall.
F1:
BeforE~
All:
(*eventually adding voices until entire chorus is speaking)
What I was walling in or out,
And to whom I was like to give offence
Something there is that doesn't love a wall
That 'vants it down
I built a wall I'd ask to know
(PausE~)
F4:
(child like and innocent)
Before I built a wall, I'd build a bridge.
Sources
Anger, Ed.
"Put the Wall Back Up."
(MY AMERICA editorial column)
Associated Press.
"Ethnic Rioting Causes at Least Twenty-Five
Deaths in soviet Union." January 15, 1990.
Batshev, Vladimir.
"To Karalena." Russia's Underground Poets.
NY: Fredercik A. Praeger Publsihers, 1969.
Breslau, Karen.
"Kill the Dog, Keep a Chain?"
No.3. (January 15, 1990), p. 39.
Newsweek, CXV,
Brodsky, Iosif. "Verses on Accepting the World." Russia's
Underground Poets. NY: Frederick A. Praeger Publishers,
1969.
Bronte, Emily.
Languagg.
"Remembrance." Immortal Poems of the English
New York: Washington Square Press, 1952.
Cole, Charlie. "People of the Year."
(December 25, 1989), p. 19+
Newsweek, CXIV, no. 26
cummings, ee.
"anyone lived in a pretty how town." Western
Wind: An Introduction to Poetry. New York: Random
House, 1974.
Dickenson, Emily. "I Never Saw a Moor." Immortal Poems of
the English Language. New York: Washington Square
Press, 1974.
Frost, Robert.
"Mending Wall." How Does a Poem Mean?
Houghton-Mifflin Company, 1975.
Boston:
Hughes, Langston. "Dream Variations." Western Wind: An
Introduction to Poetry. New York: Random House, 1974.
Marvell, Andrew.
"A Dialogue Between the Soul and Body."
Western Wind: An Introduction to Poetry. New York:
Random House, 1974.
Meyer, Michael and Breslau, Karen.
Newsweek. November 13, 1989.
"Egon, Here We Come."
p. 52.
Naum, Gellu.
"We Were Young." Anthology of Contemporary
Romanian Poets. London: Peter Owen, 1969.
"Letters to the Editor."
1990), p. 14
"Perspectives."
p. 31.
Newsweek, CXV, no. 2 (January 8,
Newsweek, CXIV, no. 23 (December 4, 1989),
"Perspectives."
p. 19.
Newsweek, CXIV, no. 25 (December 18, 1989),
"Perspectives."
Newsweek, CXV, no. 2 (January 8, 1990), p.15
"Perspectives."
Newsweek, CXV, no. 3 (January 15, 1990), p. 13.
Phillipide, A1.
"Lack of Communication." Antholoav of
Contemporary Romanaian Poets. London: Peter Owen, 1969.
Rakos, Sandor.
New York:
"Interrogation." Modern Hungarian Poetry.
University of Columbia Press, 1977.
Stewart, John (ed.) Bridges not Walls: A Book About
Interpersonal Communication. Menlo Park, California:
Addison-Wesley Publishing Company, 1973.
Vaughan, Hemry. "Peace." western Wind: An Introduction to
Poetry. New York: Random House, 1974.
Wordsworth, William. "The World is Too Much with Us." Western
wind: An Introduction to Poetry. New York: Random House,
1974.