In this scene
Deguchi's frame reasserts itself, triggered by Titania's
verbal invitation to Oberon to analyse the events of the
His narrative needs
no words. The sad Felliniesque accordion music of the
opening scene returns, Oberon and Titania take off their
wings, leave them "mounted" on either side of the circle,
and re-enter as Theseus and Hippolyta, a traditional
This is a famous
"blank" spot in the play, inviting metatheatrical addition.
It is, after all, the dividing point between dream and
waking, night and day, illusion and reality. The wings have
been taken off, but are prominent on stage, framing the
Whatever it is, in
between the transition from Oberon to Theseus and Titania to
Hippolyta, slips Deguchi's personal narrative. The "school"
becomes visible as a backdrop image and the man in black
(the director?) is reunited with the woman and girl who left
him at the beginning of the play. Here they embrace, hold
hands, and circle clockwise ("signifying harmonie"?) before
the 'daughter' runs off. In this moment of epiphany, they
are 'watched over' by Puck.
Deguchi has spoken
about the personal nature of this production in interview. Are we meant to see this
reunion of husband and wife with their child as a comment on
the healing powers of art? Could Puck be an image of the
director's youthful self, projected as inspiration?
> Bar 41.
Moment of Transition
> Mask 34.