Departments
Arts
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Week of 9 October 1998 |
Vol. II, No. 9 |
Arts
BU Theatre Arts' novel adaptation
Setting the stage for a collaborative approach to a woman's long dazed journey into light
By Judith Sandler
When Kate Chopin published The Awakening in 1899, it marked the beginning of the end for a popular and respected writer. The literary community ostracized Chopin, and her novel, which questions social mores and the place of women in society, was banished from library shelves. Chopin's name evaporated into obscurity until its reawakening with the revival of feminist literature in the 1970s.
"I learned about The Awakening at school in England," says Caroline Eves, School for the Arts guest artist and associate professor. Intrigued by this story of courage and discovery, Eves has brought the novel to the Boston University Theatre stage in a Theatre Arts Division production from October 14 through 17.
"Though it may not be as well known in this country, I think The Awakening is one of the seminal American novels," says Eves. "Kate Chopin [1850-1904] was writing at the time of the Victorian novel, before Lady Chatterley's Lover. Without role models, she writes a very feminist novel and shocks society."
Since the revival of interest in this far more sympathetic era, the author and her writings have been included in many anthologies of American literature, short stories, Southern fiction, and women's literature. Closely identified with the South, Chopin's writings are remarkable for their rich descriptive language and colorful images of Louisiana Creole life.
Living a life of privilege in turn-of-the-century New Orleans, Edna Pontellier, the central character of The Awakening, is a young wife and mother seemingly contented with her lot. "Over the course of the novel," Eves explains, "she awakes to possibilities beyond being a mother and dutiful wife. It's Edna's physical, sexual, financial, and emotional awakening. She awakens her potential as a human being as her faculties are stretched and extended, as layer upon layer of scales fall from her eyes."
The culture of New Orleans
To prepare for translating the book to the stage, Eves and
the actors and production crew carefully examined the novel
and explored the life of its author. "We researched the
geography and climate in and around New Orleans," Eves says.
"We read other writers and studied the music, education,
costumes, and lives of other women of the period. We also
brought in writings by authors who had influenced Chopin,
such as Longfellow and Emerson."
Eves decided on an all-female cast. "Women are playing the male roles," she says. "That sort of evolved."
Staging the novel has been a process much like Edna's discovery of her own essential nature. With no script or preconceptions, Eves and the troupe of 15 actors and 10 members of the production crew all helped to create the play. "When we started," explains stage manager Mollie Reding (SFA'99), "we didn't know casting, what the set would look like, what the script would look like, or how to translate text into dialogue. We had to decide what needed to be told and how to tell it."
Creative freedom
"Collaborating on The Awakening has been a different
experience from any play I've been involved in," says Dana
Cruz (SFA'99), who plays Adele Ratignolle. "It's freeing
because we're putting ourselves into the play; it's the
combined vision of all of us, as opposed to just the
director. It's freeing to be as creative as you want to be
-- to try things and not be confined by a script."
"We began by reading the story together," says Stacy Rock (SFA'99), whose character is Mademoiselle Reisz, "and responding to it through improvisation -- with singing, dialogue, or movement -- just reacting to the story. Then we incorporated the improvs into the play as we shaped the story. It was very loose. I like working this way because everyone has a lot of creative input."
Woman vs. society
Working on The Awakening has been challenging and
enlightening for everyone in the production, particularly
for Susy Ibrahim (SFA'99), who plays the enlightened Edna.
The role is double cast, with Karine Koret (SFA'99) as Edna
before her awakening. "What she goes through is incredible,"
says Ibrahim. "Even now for a woman to take her own life in
her hands and go against society is extremely difficult. A
lot of people in my generation never realize the opportunity
to be true to themselves." Although Ibrahim hasn't had
Edna's life experience, she says, "I've experienced the
emotions. I can't be afraid of this woman's journey -- I
need to take it head on."
"It's empowering to tell a story about a woman who took so many risks," says Cruz. "It helps to give you the courage to believe in yourself. This woman was so strong and beautiful, and she came so far."
The Awakening will be performed at the Boston University Theatre Studio 210, at 264 Huntington Ave., Wednesday, October 14, through Saturday, October 17, at 8 p.m. Admission is $6, $4 for students and senior citizens, and free for the BU community. For further information and tickets, call 266-0800.
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Getting carried away during a
dress rehearsal for The Awakening is Karine Koret
(SFA'99). Other actors in the production include
Karin Webb (SFA'00) (left) and Daria Polatin
(SFA'00) (right). Photo
by Albert L'Etoile
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