School Version

41. Director's Story

In this scene Deguchi's frame reasserts itself, triggered by Titania's verbal invitation to Oberon to analyse the events of the night.

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 doubling.

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 action.

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?

See also:

> Bar 41. Moment of Transition

> Mask 34. Day breaks

A Midsummer Night's Dream