Twelfth night, scenario for pantomime, act first

Scenario for pantomime "TWLFTH NIGHT"

                ACT 1 SCENE 1

Duke Orsino's Palace.

           Totally distraught, Duke Orsino sits pensively day dreaming and listening to music. He suffers from unrequited love.  His despair is so severe that it is even an effort for him to sit erectly. Servers support his arms, struggling to prop him in vertical position. He is consumed by his emotions to the point that he is unaware that he is falling from his chair. A fly buzzing around his face brings him back to reality. At list this nuisance has diverted him momentarily from his despondency. The servants swat unsuccessfully but the fly  has served useful purpose: they realize their master needs distraction from his feelings. In an effort to  lift his spirits, the servants summon entertainers to amuse the Duke. Belly dancers, jugglers, acrobats and mimes parade in front of him. For a brief moment, the Duke perks up, but soon he is bored again and slouches in his chair, almost asleep. Everyone is dismissed. The servants try again to prop him up, but cannot be comforted. His love  sickness for Olivia has sapped his strength completely. The servants plan another diversion. They bring food, but he has no appetite and no will to chew. The food drips down his mouth as the servants attempt to spoon feed him. The food is not satisfying-he rejects it. He decides to concentrate on the problem itself- how to win Olivia's love. Picking a flower from his garden, he plucks each petal, miming she loves me, she loves me not. Every time the Duke picks a petal that represents she loves me, he and the servants rejoice, but for each she loves me not, he sinks back into despair. Convinced that his case is hopeless, he slums in his chair again. The Duke decides to send the servant Curio to Olivia. Curio doesn't believe Olivia will respond to Duke's vows of love, and he feels his effort will be in vain. Because it is hot and Curio lacks confidence in his mission, he is reluctant to go. At the Duke's insistence, Curio departs. Curio pretends to knock at Olivia's house; he will claim no one answered the door. But the Duke has been watching Curio with binoculars and knows that the servant is deceiving him. Infuriated, the Duke admonishes Curio and kicks him out of his place. The Duke is alone in his plight.


ACT.1 SCENE 2

                THE OCEAN

          Viola and her brother Sebastian are swimming toward the audience, caught in a storm. The powerful wind and waves toss them about. Struggling not to separate, their hands touch. But their grasp is overpowered by the surf. They float towards each other only to be parted again by the next wave. Their screams aren't heard as they drift from one another's sight.


ACT 1 SCENE 3

                THE SEA COST

          Pirates sloppily eating fish, licking their fingers and  guzzling wine. A pirate enters, dragging an unconscious can body to the center of the stage. This is Viola whose half naked body has been washed  ashore. She is beautiful inspire of her tattered clothes. Tempted to rape her, the pirates duel to see who,will be first. One grabs her leg, wrapped in a towel, from which a gold coin falls. Now the pirates forget about Viola and fight over the coin. They discovered that the cloth contains more money as they untie it from her leg. They are dividing the coins as the Captain arrives. He scolds them for their lascivious ends and seizes the gold. Viola awakes., not knowing where she is or how she got there. She offers to pay the Captain to help her, but he refuses payment. Instead, he up the Pirates with their backs to the audience so that Viola is concealed from their sight, and he gives her a man's costume to replace her ripped dear emits. When the Pirates turn around, Viola is dressed in male attire and is unrecognizable. Trying to adjust to her new appearance, she comically imitates different characters to the pirate's delight. They demonstrate how various  types of man walk. The Captain takesViola's hand and escorts her to town. He throws the gold which he had confiscated into the air, leaving the Pirates scurrying for the coins.


ACT 1 SCENE 4

                VIOLA'S DUALITY

          Black out; lights reveal stage divided in half; on the left is the Duke's Palace, on the right , the palace of Olivia. Towards the rear of the stage is a screen. The Duke is still suffering from his infatuation with Olivia., his melancholia hAs reduced him to despair. The Captain enters with Viola, dressed as a page and introduces her to the Duke. Having dismissed Curio as his servant, the Duke is happy to meet someone new who may replace his disloyal messenger. The Duke shakes their hands. Viola conceals her joy from the Duke, but expresses it to the audience in a mime-soliloquy. As soon as Captain leaves, the Duke again broods. Aside, Viola laughs. She has fallen in love. She has fallen in love. Her female qualities of tenderness, sympathy, and self-sacrificing devotion have been ignited by this man. She applies a wet towel to his brow to ease his throbbing head. Behind his back, she clowns, prances, grimaces and good naturally mocks him. The Duke employs Viola to replace Curio as his envoy to woo Olivia.How difficult Viola's position is: she loves the Duke but cannot reveal her affection because of her costume; she must express the Duke's love for another woman. Viola and the servants exit behind the screen.

ACT 1 SCENE 5

                OLIVIA'S HOUSE

             Olivia has become a "weeping cloisters" excessively mourning the death of her brother, resolved to shut the gate upon the world. (Orsino and Olivia are both gorging themselves on boundless sentiment, he upon love-melancholy, she on grief), Her roguish maid Maria tries to entertain Olivia by playing ball and dancing, but nothing helps. Finally Maria fetches a doll but her mistress can't be coaxed to play. Maria brings another doll. Sensing Olivia's need for love, she symbolically places the doll on the bench, one on top of another.


ACT 1 SCENE 6

                VIOLA TRUES TO ENTER OLIVIA'S HOUSE. SIR TOBY

          Viola and the servants approach Olivia's door. Viola knocks softly.. No answer. Her knocking soon become pound wing to the point that everything not nailed down is shaking. Even the servants wonder at her intentions. She. Is ready  unhinge the door to gain entrance. Her own feelings of love have filled her with power, as only love can. Sir Toby is looking through the peep hole at the handsome page. He is reluctant to open the door because if he admits this youth, his niece Olivia could fall in love with him. Sir Toby fears that this would upset his drinking bouts with Sir Andrew Aquecheek. Sir Toby is hanger on in Olivia's household, indulging in  and good fellowship. The fears of either mourner or lover Are not for him. Toby has convinced Aquecheek that his niece loves him and encourages Aquecheek to pay court to Olivia as a pretext to flees his friend for his own continued amusement. Parasites of the household, Sir Toby, appropriately surnamed Belch, and Aquecheek overindulge in drink, merriment and mischief, much to Olivia's dismay. Toby is found of the maid Maria, and a she of him, but their positions socially make this match impossible. Similarly, Aquecheek's aspirations for Olivia are preposterous. Because Aquecheek has no sense of reality, sir Toby can continue his deception of intrigue which helps him find more opportunities to get drank. But the rap at the door is so loud, Sir Toby opens the door just a crack to,appears the caller. Seizing this advantage, Viola pushes the door with all her might and gains entrance.

                Blackout.

ACT 1 SCENE 7

                MARIA, TOBY AND AQUECHEEK ARE GETTING DRANK

SIR Toby opens the door for Aquecheek. Maria hears him enter. Sir Toby kisses Maria on the cheek, encouraging Aquecheek to do likewise. Aquecheek tries to hug Maria but she slaps his hand. Maria and Toby laugh at Aquecheek's expense, making him feel self conscious and embarrassed. Sir Toby grabs the bottle of wine which Aquecheek brought.Sir Toby and Aquecheek are ready to return to Olovia's house with the bottle but they are afraid of Molvolio, Olivia's solemn puritanical steward. (The austere character of Malvolio is contrasted with Sir Toby and Aquecheek who are exactly opposite). Sir Toby hands the wine to Aquecheek but doesn't want him to drink it. The temptation is too great for Aquecheek who turns away and starts galping. Sir Toby is peeping through the fence trying to spot Malvolio. Maria is expecting her side kicks to return  home momentarily. When she walks through the inner court of the house, she meets Malvolio who guards the house to keep it peaceful. Malvolio is shrewd enough to know that Maria is waiting for Sir Toby and Aquecheek to stir up trouble. Sir Toby, as usual, has forgotten his key. Malvolio gives the key to Maria and exits. Maria quickly runs to open the gate. Sir Toby doesn't see Maria or Malvolio; he turns to Aquecheek to retrieve the wine bottle and katches him drinking. Surprised to be caught in the act, Aquecheek spies the wine in Toby's face. Toby grabs the bottle and comes closer to the gate, steel trying to peek inside. He fells to his knees, pushing Aquecheek down next to him so he he will keep quiet. He places the bottle near the gate. Simultaneously, Maria opens the gate, searching for the revelers. When she realizes that they don't see her, she quietly picks up the bottle and goes behind the door. Sir Toby moves his hand across the floor, searching for the bottle. He moves inside the court, making circles on the ground, entering the court without even realizing it. Maria playfully extends the bottle under Sir Toby's nose and he fallows it, like a horse fallowing a carrot, without seeing Maria. The scene closes with the group's favorite activity:they drink themselves to a stupor. Sir Toby and Aquecheek are so drank they entwine their legs and can't figure out how to stand up. Maria escorts the tipsy friends home. Toby kisses Maria, encouraging Aquecheek to do the same, to develop his friend's self confidence as a lover. Aquecheek comically parodies Toby. Maria is now anxious to see Olivia. Toby and Aquecheek exit to Toby's room.


ACT 1  SCENE 8

                OLIVIA FALLS IN LOVE WITH VIOLA.

Hearing the confusion, Maria runs to the door. A light in Olivia's room reveals the despondent, phlegmatic mistress of the house. When Maria sees the handsome page carrying the scroll, she senses immediately that this boy might cure Olivia. Maria expresses this idea to Sir Toby, who doesn't.t like the plan because of his ulterior motives. Maria and sir Toby argue.  He pretends to bark like a dog, she acts like a cat. They joke, make up and a kiss. Molvolio enters, informing Olivia that messenger has arrived. Sir Toby moms Molvolio behind his back. Maria also announces the arrival of the handsome boy but Olivia is disinterested. Maria tries to comb her mistress's hair so she will look pretty when she meets the page, but Olivia refuses to cooperate. Viola and the servant are approaching Olivia's quarters, gaping at the beautiful decorations lining the corridors. Maria is at her wit's  and with Olivia. Maria wraps herself and a Olivia in a shoal because she can't convince her mistress to make herself attractive. Covered, Olivia can at least give the impression that she isn't ready. Seeing two women under the shawl, Viola doesn't know what to think. She is flabbergasted. But when Olivia sees the boy,she is charmed immediately, drops the shawl and stares intently into the page's eyes. Viola prepares to read the letter from the Duke, in an official stance. Malvolio moves closer, to take a look at the scroll, but Olivia dismisses the steward and Maria as well. She opens her heart to the new love that is being born within her. Olivia offers the page a seat on the bench so they can read together. As Olivia boldly moves closer, Viola inches discreetly away. But Olivia's unabashed passion  moves her closer, till finally Viola falls off the bench in an effort to keep a modest distance. Viola reveals that she is the Duke's messenger, pointing on his portrait on her chest. Viola leaves, bowing deeply. Olivia is upset that he is leaving so quickly. She offers a bag of money to delay him, but Viola refuses and exits. Olivia is disappointed. She summons Malvolio, instructing him to give Viola a ring, pretending that the page accidentally left it. Malvolio catches up with Viola who doesn't want to accept the ring, understanding that Olivia has fallen in love with her, thinking she is a boy. Malvolio places the ring on the floor, claiming that he will not return it to his mistress. He clearly pretends he doesn't notice Viola picking up the ring. She realizes the complications of this love triangle. Malvolio and Viola leave the stage in different directions.


ADDITION

          MAlvolio leaves. They (Sir Toby, Maria, Aquechik) all laugh and make fun of him. The men especially get a kick out of Maria's mimic of him. They laugh. Aquechik declares that he'd will fight a duel with Malvolio for his uppity behavior towards them.
Sir Toby agrees that this would be a good idea to make a fool out of him and pantomimes the event of Malvolio coming to the field of bAttle where no one shows up. He shows how the day turns into night and and still Malvolio waits on the field of battle for an invisible foe.

Maria has another idea. She says that that they should write a letter to Malvolio which she will compose in her own hand to resembled the hand of Olivia's. She does this up center table  while the two other clowns look on. The then comes downstage front, taking hold of the two men's hands, placing each on either side of her. Aquechik she molds to resemble an exaggerated version of Olivia; Sir Toby she molds  to resembled an exaggerated version of Malvolio. The then puts herself into the part of messenger who delivers the rose (her affection) from Olivia to Malvolio  He receives that with great admiration. She and Aquechik laugh. Then she is the messenger again taking a pair of Galya yellow stockings for Malvolio to put on, thinking they are again from Olivia. Sir Toby puts them on in a ludicrous manner. Maria and Aquecheek are again laughing together but this time sir Toby resents their closeness. He comes over to part them, making sure Maria knows that she is his woman.

          After Maria allayed his fears, they once again share in the joke and laugh heartily. At the end , the two men make a bond of their arms upon which Maria sits, holding the triumphant letter high above her head.

                END OF FIRST ACT.

AUTHORS:

Aleksander Beniaminov
Grigory Gurevich

Coloration 1983, New York.

Transcribed and typed by Demetria DeLia.
Author of English text: Demetria DeLia.

Typed from original transcript by Grigory Gurevich.
Shamorin, Slovakia, August 3, 2016.



This scenario for pantomime is not finished and possibly will be continued if I will find a time to gather hand written notes from our rehearsals.

Сценарий возможно будет продолжено, если мне удастся найти время собрать и систематизировать вручную написанные записи.

At the time of rehearsals of this play in my apartment on 282 Barrow Street Jersey City, I had in my company 15 professional actors from different theaters of New York, including my main actress Lisa Hearth, who studied pantomime with me since 1977 when I started to. teach my class at Morelly Ballet studio in Manhattan. Lisa participated in my first pantomime group and went to Denmark in my company of fur pantomime actors, lighting person and a person responsible for the sound.

Во время репетиций этой пьесы в моей квартире по адресу 282 Barroww Street v Jersey City, в моей группе пантомимы было 15 профессиональных футеровки из разных Нью Йоркских театров, включая главную актрису пантомимы Лису Нерт, кто была моей студенткой когда я создавал свою компанию здесь в 1977 году в Морелли Балет студиях Нью Йорка. Лиса чувствовала в нашей поездке в Данию вместе с четырьмя актерами, осветителем и ответственным за музыку.

Lisa played Viola in "Twelth Nights" and Malvolio-Aleksander Beniaminov, my great friend since he and his wife Svetlana arrived to Hotel St George. He also took biggest rolе in directing this play together with me. We were good team together and were adding many interesting situations during the rehearsals.
All actors must have a day time job. Rehearsals started around seven pm and continued sometimes until one-two in the morning. Often I was bringing actors to NEW. York with my car after we were done. Lisa must take bus to Oakdale from New York Penn Station, arriving home close to 3 in the morning. She did not have any job at that time and her mother was very much against our rehearsals, but she was really good for role Viola. We already had ready three acts when she called me and said she is quitting rehearsals. All of us were very disappointed. I visited several places I thought I will find replacement for Lisa, but couldn't find anyone, who could play as good as her. American actors don't study pantomime. Finally I   our rehearsals and stopped production.

Лиса играла Виолу в нашей "Двенадцатой Ночи", a Maльволио-Александр Бениаминов, с кем мы подружились в тот же день когда он и его жена Светлана прибыли в знаменитую гостиницу "Святой Георгий". Он также взял на себя значительную роль в режиссуре этого спектакля и мы вместе были хороши сочетанием, дополняя друг друга в движении и смысле действия.
Все актеры работали на разных службах в течение дня, поэтому репетиции начинались около семи вечера, а заканчивались где-то в час, два ночи. Часто я привозил актеров в Нью Йорк после репетиции. Лиса возвращалась домой в поселение Окдайл на автобусе от Penn Station около грех ночи. Работы в это время у неё не было и её мама была категорически против наших репетиций. Лиса идеально подходила к роли Виолы. У нас было отрепетировано почти три акта, когда Лиса позвонила и сообщила, что она больше не будет участвовать в этом спектакле. Все были страшно огорчены. Я посетил многие места, где думал найти ей замену, но это было невозможно. В американских театрах актеры не занимались пантомимой. В конце концов я закрыл продукцию нашего спектакля.

Aleksander Beniaminov had heart attack, went to the hospital, lost his hearing and his health started quickly to decline? Few month passed and he again went to the hospital. This time he knew it would be his last visit to a medical institution. Svetlana, his wife became a nurse to be closer to him and trying to prolong his life, but nothing could help. I was preparing vegetable souls from well grinder products so he can swallow it, but he was fading like a candle very quickly. Newer the less, when I was at his bed, he played with his oxygen mask, taking let off and putting on, as he tried to chit death. But it came fast. He is my hero.
Sveta, his wife, even after his departure, many ears was saving his photos, filling all walls of their apartment with characters he played in all movies and a Komedy Theater.

Grigory Gurevich

Александер Бениаминов попал в госпиталь с сердечным приступом, затем потерял слух и его здоровье стало ухудшаться. Через какие-то месяцы он снова попал в госпиталь. На этот раз он сознавал, что это его последний визит в больницу. Его жена Света устроилась медсестрой, чтобы быть рядом с ним и помогать чем может, но мало чем , кроме своего присутствия. Я привозил хорошо протертые овощные супы, чтобы он мог глотать, но он угасал, как затухающая свеча. Несмотря на это, когда я был у его постели, он играл со своей кислородной маской, то снимая её, то одевая, как если бы он играл со смертью, стараясь её обмануть. Но она пришла быстро. Света, даже после его ухода, много лет сохраняла на стенах квартиры его фотографии, запечатлевшие удивительное множество характкров, которые Александр Бенивминов сыграл в фильмах и на сцене Театра Комедии на Невском Проспекте.

Григорий Гуревич.