Scene I - Any Day
Written by Elisse Power, based on Le Procès-Verbal by J. M. G. Le Clézio.[1]
Adam Pollo’s house on a hill near the sea, it is dusk and the stage is bathed in a soft, yellow light. The set is constructed from abstract geometric shapes with elements of the seaside (see appendix A1). The stage is cluttered with old newspapers, magazines, sheets of paper, pens, pencils, empty bottles, pool balls and a damaged pool cue - it is very messy.
Adam is dressed in shabby trousers rolled up to the knee and a plain tee-shirt. His hair is unkempt. His temperament switches between a listless melancholy and frantic, nervous energy.
As the audience enter he is lying on the floor, centre stage alternately flicking through magazines/newspapers and scribbling on the scraps of paper that surround him.
[Adam begins writing a letter – completely self-absorbed]
My dearest Michelle.
For a long time I've been living alone at the top of this hill in a deserted house that isn't mine
When I first came here I brought all I would need
Then I threw my bike into the sea to give the impression I was dead.
[Now standing, directing this toward the audience]
I like it here but from time to time I go into town
To help me to remember what I need, I usually make a list
Fags, beer, chocolate, stuff to eat, paper, newspapers (if possible)
I don't speak to anyone they think I am deaf and dumb but I am not
Rather than join in I prefer to watch the crowds from a distance
Once I sat for hours watching a dog, I followed it
It knew and looked round with a stare that caught me on the chin
I copied all that it did,
It felt completely natural, more so than talking to those on the beach
[Insular, as though recalling something or dreaming]
The only exception is a woman I know
Let's say ‘Michelle’,
When she visits, the house is immersed in calm
The silence is wonderful
We spend the days just listening to this peace,
Huddled together in the corner making love without even touching
These are some of my happiest days
[Coming out of dream-like state – projected to audience]
Sometimes I am lonely here; I get frightened on my own
There's a narrow space between the deckchair and the skirting board that would fit her like a glove
[He suddenly snaps into the present, no longer day-dreaming, bitter that his fantasy is not real]
It never lasts, the problem with you Michelle
Is your need to express every sensation every feeling with no restraint
When I talk like this it upsets her, she wants to leave me here on my own
Then I don't remember her or remember anything
[He returns to his original position on the floor.]
I cherish the ability to die whenever I want
Men were eternal, God was death
To meditate, motionless, not breathing, reciting
Men were eternal, God was death
Fade to black-out
Adam Pollo’s house on a hill near the sea, it is dusk and the stage is bathed in a soft, yellow light. The set is constructed from abstract geometric shapes with elements of the seaside (see appendix A1). The stage is cluttered with old newspapers, magazines, sheets of paper, pens, pencils, empty bottles, pool balls and a damaged pool cue - it is very messy.
Adam is dressed in shabby trousers rolled up to the knee and a plain tee-shirt. His hair is unkempt. His temperament switches between a listless melancholy and frantic, nervous energy.
As the audience enter he is lying on the floor, centre stage alternately flicking through magazines/newspapers and scribbling on the scraps of paper that surround him.
[Adam begins writing a letter – completely self-absorbed]
My dearest Michelle.
For a long time I've been living alone at the top of this hill in a deserted house that isn't mine
When I first came here I brought all I would need
Then I threw my bike into the sea to give the impression I was dead.
[Now standing, directing this toward the audience]
I like it here but from time to time I go into town
To help me to remember what I need, I usually make a list
Fags, beer, chocolate, stuff to eat, paper, newspapers (if possible)
I don't speak to anyone they think I am deaf and dumb but I am not
Rather than join in I prefer to watch the crowds from a distance
Once I sat for hours watching a dog, I followed it
It knew and looked round with a stare that caught me on the chin
I copied all that it did,
It felt completely natural, more so than talking to those on the beach
[Insular, as though recalling something or dreaming]
The only exception is a woman I know
Let's say ‘Michelle’,
When she visits, the house is immersed in calm
The silence is wonderful
We spend the days just listening to this peace,
Huddled together in the corner making love without even touching
These are some of my happiest days
[Coming out of dream-like state – projected to audience]
Sometimes I am lonely here; I get frightened on my own
There's a narrow space between the deckchair and the skirting board that would fit her like a glove
[He suddenly snaps into the present, no longer day-dreaming, bitter that his fantasy is not real]
It never lasts, the problem with you Michelle
Is your need to express every sensation every feeling with no restraint
When I talk like this it upsets her, she wants to leave me here on my own
Then I don't remember her or remember anything
[He returns to his original position on the floor.]
I cherish the ability to die whenever I want
Men were eternal, God was death
To meditate, motionless, not breathing, reciting
Men were eternal, God was death
Fade to black-out
Scene II - A Different Day
At Adam’s house – the set is the same. It is day-time; a strong orange/yellow light comes up on Adam, resting on his back. He comes across a rat – it is never seen. Adam becomes more and more unpredictable, his emotions flash wildly between rage and terror, at moments he sings with sadistic humour, at others with compassion. He alternates between addressing the rat and singing out - commenting for himself.
[Adam sits up, a little curious. His curiosity grows and he stands. He tentatively approaches and retreats from the beast – never taking his eyes from it.]
Aren't you a rat of handsome size.
White, not black like most sewer rats
Look at your pink nose, your little tail... those paws the piercing blue eyes!
You look courageous! Why aren't you afraid of me?!
Look me in the eye!
[Adam is growing in confidence, becoming dominant, no longer addressing the rat]
I'm turning into a rat just like you,
I've still got my own body, my hands and my feet aren't pink
My teeth aren't fangs like yours
My fingers smell of tobacco, my armpits of sweat, but I am turning into a rat
Because I am thinking of myself as a rat
Are you looking at me?
How brave you are!
You know what's ahead of you... they all know, all the white rats
Not only are you a rat in a man's world you're a white rat, where most rats are black
So you're absurd and that's an extra reason to destroy you.
[Adam, searches for a weapon, picks up the pool balls and throws them at the rat]
I am a giant rat ten feet tall! Bursting with life and strength... you see?
I'm going to kill you!
Come out of there you filthy brute, you filthy rat!
[Having injured the rat he brandishes one last ball]
You are quivering, ribs rising and falling,
Pale blue eyes bulging with terror
I am a colossal danger... a gigantic white rat
And you, the real rat, are being transformed into a man... a man cowardly man
Foul white rat – filthy, filthy CAT! [He throws the ball and collapses, exhausted]
[Adam slowly resumes his position lying on the floor, he is dispassionate, as though recalling a tale]
The white rat lies on its stomach
As though asleep, at the bottom of an aquarium.
Very close to bliss... fear has left its body
It is far away, waiting for white rats paradise.
He stooped down and picked up its dislocated body and threw it to the distance.
[Begins flicking through a magazine and scribbling as though nothing had happened]
[Adam sits up, a little curious. His curiosity grows and he stands. He tentatively approaches and retreats from the beast – never taking his eyes from it.]
Aren't you a rat of handsome size.
White, not black like most sewer rats
Look at your pink nose, your little tail... those paws the piercing blue eyes!
You look courageous! Why aren't you afraid of me?!
Look me in the eye!
[Adam is growing in confidence, becoming dominant, no longer addressing the rat]
I'm turning into a rat just like you,
I've still got my own body, my hands and my feet aren't pink
My teeth aren't fangs like yours
My fingers smell of tobacco, my armpits of sweat, but I am turning into a rat
Because I am thinking of myself as a rat
Are you looking at me?
How brave you are!
You know what's ahead of you... they all know, all the white rats
Not only are you a rat in a man's world you're a white rat, where most rats are black
So you're absurd and that's an extra reason to destroy you.
[Adam, searches for a weapon, picks up the pool balls and throws them at the rat]
I am a giant rat ten feet tall! Bursting with life and strength... you see?
I'm going to kill you!
Come out of there you filthy brute, you filthy rat!
[Having injured the rat he brandishes one last ball]
You are quivering, ribs rising and falling,
Pale blue eyes bulging with terror
I am a colossal danger... a gigantic white rat
And you, the real rat, are being transformed into a man... a man cowardly man
Foul white rat – filthy, filthy CAT! [He throws the ball and collapses, exhausted]
[Adam slowly resumes his position lying on the floor, he is dispassionate, as though recalling a tale]
The white rat lies on its stomach
As though asleep, at the bottom of an aquarium.
Very close to bliss... fear has left its body
It is far away, waiting for white rats paradise.
He stooped down and picked up its dislocated body and threw it to the distance.
[Begins flicking through a magazine and scribbling as though nothing had happened]
Scene III – The Next Day
In the town, on the promenade. It is morning; the light slowly changes to an orange hue. Adam jumps up, frantically scoops up sheets of paper and tries to hand them out. He has a manic urgency.
[As though addressing a crowd – between lines he scoots around the stage, offering ‘leaflets’ (papers from the floor)]
Do you want to know something my brothers?
We possess the earth... all of us.
Don't you see how it resembles us?
Don't you see how everything that grows on it and everything that lives,
Has our faces and our bodies?
Look around you... is there one single thing in sight that isn't yours or mine?
The following words are sung over a recording of the text printed on pages x-xi.
[He gets hold of a loud-hailer (through which he sings). He is centre-stage facing the rear – away from the audience.]
Listen to me.
Pay attention.
Human. Living. Beings.
Meet yourselves, as I did.
[Becoming more agitated – he drops the loud-hailer leaps around delivering each line imploringly to a different part of the stage.]
Let me tell you something.
Wait, can tell you a story.
Like the wireless.
I can argue with you.
Haven't you anything to say?
[Exit Adam; he runs from the stage babbling, occasionally shouting]
Lights down
[As though addressing a crowd – between lines he scoots around the stage, offering ‘leaflets’ (papers from the floor)]
Do you want to know something my brothers?
We possess the earth... all of us.
Don't you see how it resembles us?
Don't you see how everything that grows on it and everything that lives,
Has our faces and our bodies?
Look around you... is there one single thing in sight that isn't yours or mine?
The following words are sung over a recording of the text printed on pages x-xi.
[He gets hold of a loud-hailer (through which he sings). He is centre-stage facing the rear – away from the audience.]
Listen to me.
Pay attention.
Human. Living. Beings.
Meet yourselves, as I did.
[Becoming more agitated – he drops the loud-hailer leaps around delivering each line imploringly to a different part of the stage.]
Let me tell you something.
Wait, can tell you a story.
Like the wireless.
I can argue with you.
Haven't you anything to say?
[Exit Adam; he runs from the stage babbling, occasionally shouting]
Lights down
Interlude
Backdrop changes to projection of ‘Local Newspaper’ (see appendix A2). Very dim lighting (relief for projection). A caretaker enters, sweeps the stage clean and place a small iron-frame bed towards the rear of the stage – when Adam enters they exit without acknowledging him.
Adam enters near the end of the Interlude, he is wearing a straight-jacket but looks comfortable, as though he hasn’t noticed. He sits on the edge of the bed, motionless.
Adam enters near the end of the Interlude, he is wearing a straight-jacket but looks comfortable, as though he hasn’t noticed. He sits on the edge of the bed, motionless.
Scene IV - A Number of Days Later
Backdrop changes to ‘Geometric Shape on Red’ lighting is dim white.
[Adam is withdrawn, he looks tired. He sits in silence for a long time before he sings]
Who are you?
Doctors? Nurses? Policemen? Prison officers?
[Suddenly aggressive] I don't care who you are - just no more questions!
[Adam leans forward, drops his head to his knees, sings to the floor]
How long have you been here? What's your name?
How old are you? Are your parents still alive?
[Becoming agitated]
Do you live with them? Where do you live?
Why does no-one ever visit you? Are you ill?
What do I care? Shut-up! – I want to speak
[Adam stands. Like scene 1 he is fantasising, but is less convincing, more resigned, knowing]
I want to tell you about a man I used to know.
Let’s say... Michel.
He said to be human we must rise up through the stages of creation
When I knew him he had spent two long years as an animal
Then he began to worship Satan,
He believed God must be understood through his opposite as through himself
He rose up through human beings through angels until finally he ceased to exist
Men were eternal, God was death
[Drops to his knees]
I want to be left in peace I want to do as I'm told
The nurse told me that I must be good
So that's what I'll do
I don't want to be by myself any more
I want to be with people
[By the end of the scene Adam is on all fours - the instrumental players place the scenery around him (see appendix 1D), forming a cage.]
I don't want to die; it can't be restful to be dead.
I'd be bursting to be reborn!
It is in life that one can be at peace... can really experience freedom.
Men were eternal, God was death.
___________________________________________________________________________________________
[1] J. M. G. Le Clézio – Le Procès-Verbal, Editions Gallimard, Paris, France (1973).
[Adam is withdrawn, he looks tired. He sits in silence for a long time before he sings]
Who are you?
Doctors? Nurses? Policemen? Prison officers?
[Suddenly aggressive] I don't care who you are - just no more questions!
[Adam leans forward, drops his head to his knees, sings to the floor]
How long have you been here? What's your name?
How old are you? Are your parents still alive?
[Becoming agitated]
Do you live with them? Where do you live?
Why does no-one ever visit you? Are you ill?
What do I care? Shut-up! – I want to speak
[Adam stands. Like scene 1 he is fantasising, but is less convincing, more resigned, knowing]
I want to tell you about a man I used to know.
Let’s say... Michel.
He said to be human we must rise up through the stages of creation
When I knew him he had spent two long years as an animal
Then he began to worship Satan,
He believed God must be understood through his opposite as through himself
He rose up through human beings through angels until finally he ceased to exist
Men were eternal, God was death
[Drops to his knees]
I want to be left in peace I want to do as I'm told
The nurse told me that I must be good
So that's what I'll do
I don't want to be by myself any more
I want to be with people
[By the end of the scene Adam is on all fours - the instrumental players place the scenery around him (see appendix 1D), forming a cage.]
I don't want to die; it can't be restful to be dead.
I'd be bursting to be reborn!
It is in life that one can be at peace... can really experience freedom.
Men were eternal, God was death.
___________________________________________________________________________________________
[1] J. M. G. Le Clézio – Le Procès-Verbal, Editions Gallimard, Paris, France (1973).