Cosi study_notes

TickingMind–CosiStudyNotes 1

Cosi–StudyNotes

Thesetting“Thetimeis1971.TheplayissetinaMelbournementalinstitution.”Suchisthedescriptionforthesettingoftheplay.Therearesomehistoricalandsocialfactswhichneedtobedrawnouthere.Firstly,thereisabackdropofsocialunresttotheplay.In1971theVietnamwarhadbeengoingfornearlytenyears(since1962).Oppositiontothewarhadincreasedthelongerithadgoneonandralliesandprotestsagainstthewarhadbeguntoincreasealongwithmovementsforothercausessuchasequalrightsforwomenandantiracismprotests.Thereisanotherimportantelementtothehistoricalbackgroundtotheplay–people’sattitudestowardsthementallyill.Attitudestowardsthementallyillinthe1960sand1970swerepredominantlynegative:“thetopicsofmentalhealthingeneralandpersonswithmentalillnessinparticular…wereoflimitedconcerntothepublic.Mentalillnesswasatopicmostoftentreatedbyindividualsandfamiliesasa“privatematter”thatwasmoreorlessoff‐limitstooutsiders,except,perhaps,medicalprofessionalsandotherfamilymembers.”(fromPublicAttitudesTowardPersonsWithMentalIllnessbyAndrewB.Borinstein).Thephysicalsettingoftheplayis“Aburntouttheatre”with“abitofahole”intheroofandsomeproblemswiththewiring.Thephysicalderelictionofthetheatrerepresents,ononelevel,theattitudespeoplehavetowardsthementallyill–neglectful–andwherethementallyillfindthemselvesinsociety–ontheedge,ignored.Thereisalsoanothersymbolicleveltothesetting.Intheopeningscene,thetheatreis“pitchblackinside.”TheentranceofLewis,NickandLucybringsa“chinkofdaylight”.Thisverymuchsymbolizesaphysicalcrossingfromthe‘normal’worldintoadifferentworldnotseenfromtheoutside.ItmarksthebeginningofajourneyforLewis.

ThenarrativeCosiisnamedaftertheoperaCosiFanTuttewhichLewishelpsthemembersofthementalinstitutionputon.Thenarrativestructureoftheplayparallelsthestructureoftheopera.BotharedividedintoTwoActs.TheoperaCosiFanTuttetellsthestoryoftwoofficers,Guglielmo(playedbyRoy)andFerrando(playedbyDougthenbyLewis),whoarechallengedbyanoldphilosopher,DonAlphonso,toputthefidelityoftheirlovers,Fiordiligi(playedbyJulie)andDorabella(playedbyRuth),tothetest.GuglielmoandFerrandothenpretendtobecalledofftowar.TheyreturneddisguisedasAlabaniansandbegintowoothetwowomen.Eventuallytheyaresuccessfulinwooingnottheirreallover,buttheotherwoman.

2 TickingMind–CosiStudyNotes

AsimilarstorylineunfoldsinCosi.Act1:InthefirstAct,Lewisundertakestodirectagroupofpatientsinthementalinstitutioninaplaybecause“Ineedthemoney.”Initiallythereissomedisagreementaboutwhatplaytoputon.Roy,themostenthusiastic(andalsooneofthemostextremelybehaved),wantstoputontheoperaCosiFanTutte,despitethefactthatnoonecanreadItalian(whichtheoperaiswrittenin)orsing.Lewisisagainsttheideabecauseitisimpractical,andalsobecauseofthethemesoftheopera–“Loveisnotsoimportantnowadays.”Eventuallyheagreestodotheopera.However,thereareanumberofhurdles.Firstly,Doug,apyromaniac(andtheothermostextremelybehavedpatient),setsfiretoatoiletandthreatenstohavetheprojectcancelled.DougisremovedfromtheshowafterhelightsasecondfireoutsideandLewisisconvincedbyRoytoplaythepartofFerrando.Lewisalsofindsitverydifficulttodirectthepatients.Lewis’moreexperiencedfriendNick,though,isabletodirectthemmoreeasily.Buthisarrogance–“Christ,you’llneverbeadirectoruntilyoucanconvincethemthatwhatyouwanttodoiswhattheywanttodo”–andhislackofempathyfortheirviews–getshimoffsidewithanumberofthepatients.TowardstheendoftheactLewisbeginstofindmoreconfidencedirectingthepatientsandhasbeguntodevelopafriendshipwithJulie.Act2:Thingsseemtobegoingwellatthestartofthesecondact.Rehearsalsarewellunderwayandthepatientsarebecomingmoreinvolvedintheproduction.Duringtherehearsalofonescene,thefuseboxblowsandthetheatreiscastindarkness.LewisandJuliekissatthismoment.Inthenextscene,Lucy,Lewis’girlfriend,iscontemptuousoftheproduction–“Workingwiththesepeoplehaschangedyou.Weusedtotalkaboutthings.Importantthings.NowallyoucantalkaboutisreactionarydrivellikeCosiFanTutte.”SheandLewisargueanditisrevealedthatLucyishavinganaffairwithNick.AfterwardsLewisconfrontsNickandpuncheshim.TheproductionofCosiFanTuttegoesaheadandissuccessful.TheplayendswithamonologuefromLewisthatnarrateswhathappensaftertheplaytoallthecharacters.

ThecharactersLewis:Lewisistheprotagonistoftheplay.Forhim,puttingontheplaywiththepatientsofthementalinstitution,isverymuchaboutgoingonajourney.Julieremarksinthefirstact–“Inawayyou’resortoftestingyourselfbycominghere?”WhileLucylatersaysinthesecondact:“Workingwiththesepeoplehaschangedyou.Weusedtotalkaboutthings.Importantthings.NowallyoucantalkaboutisreactionarydrivellikeCosiFanTutte.”Tobeginwith,Lewislacksconfidence,thestagedirectionsdescribehimas“notknowingwhattosay,”and


talking“hesitantly”and“uncertainly.”PuttingontheplayforLewisissimplymotivatedbyhisneedforsomequickcash.SohewantstoputonaplaybyBrecht–somethingheiscomfortablewithandwhichhethinkshasvalueswhichareimportantin“thesedays…[of]…theVietnamwar.”LewisinitiallyseestheoperaCosiFanTutteasbeingtrivial–“Loveisnotsoimportantnowadays.”InthisviewheisreallyafollowerofNickandLucywhoareoutspokenagainstthetraditionalvaluesofsociety.FerrandoandGuglielmotestthefidelityoftheirloversintheoperaCosiFanTutte.ThatCosiparallelsthistestisveryapparent.LewisendsupplayingthepartofFerrandointheproductionofCosiFanTutte,andfallsforJulie,whileit’srevealedthathisrealgirlfriend,Lucy,hasbeenhavinganaffairwithNick.LewisisattractedtoJuliebecauseofherpassion–“I’vealwaysthoughtthatlovewasbeingfoolishandstupid.It’saboutbeingontheedgeandIlikebeingontheedge”–andherbeliefthatloveisimportant.Lewisdoesn’tonlychangeinhisviewsaboutlove.Hecomestoempathisewiththepatientsofthementalinstitution.IndoingsoheisgoingagainstingrainedattitudesofthedayrepresentedbyNickwhoseesthepeopleLewisisworkingwithas“loonies”ina“funnyfarm.”AtthestartoftheplayLewiswascertainlyoverwhelmedbythepersonalitieshehadgothimselfinvolvedwith–“Justleave,”hesaystohimself–“They’remad.It’smadness.”Butslowlyheovercomestheframeworkofseeingthecharactersaroundhimas“mad.”“Mygrandmotherwentmad,”hetellsJulie.“Ilikedmygrandmother,Iknewshehadgonemad,butshewasstillmygrandmother.”Andsohecomestorelatetothecharactersaroundhim,who,thoughmad,arealsojustpeople.Hetakesagenuineinterestintheirviewsandvalues,andimportantly,recognizesthatonesuccessfulproductionofaplaywon’tbethedifferenceinthepatientssuddenlygoingfrombeing“mad”tobeing“normal.”“Happyisthemanwhocalmlytakeslifeashefindsit,”isthelastlineofCosiFanTutte.InLewis’finalmonologuetotheplay,hecalmlynarratesJulie’sdeathfromanoverdoseandRoygoing“fromwardtoward.”Therewasnomiraclehappyendingforthesecharacters,andpartofLewis’journeyistoacceptthis.WhathelpsLewisacceptthethingshedoes,isthatheisabletojourneybeyondtheboundariesoftheoutside,normalworld,intothedifferentworldofthementalinstitution.Thesettingofaburntoutshellofatheatre,ontheboundariesofthementalinstitution,createsalandscapefarawayfromwhatLewisisusedto.Whileothercharactersfromtheoutside,suchasNick,LucyandJustin,enterintothisworld,itisLewiswhofullybecomesapartofthisworld.Julie–whoespousesthevaluethat,”That’swhatloveis,beingfoolish,”isthelinkforhim.Theirkiss,inthedarkofthetheatreasthefuseboxblows,marksLewis’completeentryintotheworldofthementalinstitution,wherehecomestobecomfortablewithhisownidentity.Julie:Julie’scharacterissignificantinanumberofways.Firstly,herviewsaboutloveseemtobeindirectoppositiontoLucy’s.Juliehas,“alwaysthoughtthatlove


wasbeingfoolishandstupid.It’saboutbeingontheedgeandIlikebeingontheedge.”WhereasLucyseesloveaswelldownthelistofprioritiesinlife:“Afterbread,ashelter,equality,health,procreation,moneycomesmaybelove.”However,interestingly,theircharactersarealsosimilar.Juliesaysaboutmenandfidelity:“Idon’tlikemen’sdoublestandards,Iguess.Menwantwomentodeceivethembecauseit’llprovetheirworstthoughtsaboutwomen…”WhileLucysaysthatmenwantwomento“pretendthey’retrueandfaithful”because“that’showtheywantustobe,evenifthey’renottrueandfaithfulthemselves.”Julie,inaway,isanalteredversionofLucyintheworldofthementalinstitution.SheisthecharacterwhocompletelybringsLewisintothisnew,strangeworld.HerkisswithhiminthedarkmarksthefulltransitionofLewis.“Ilikethedark,”Juliesays,becauseit’sinthedarkthatyoucanbewhoyoureallywanttobe.ThereisanaturalchemistrybetweenJulieandLewisthroughouttheplay,andasanaudiencewewouldlikethemtohavethefairytaleendingasacouple–buttheydon’t.Asitturnsout,Juliehasalesbianpartnerwhoshewantstobefaithfultobecause“She’sstoodbyme,throughthickandthin,mostlythin.”Lucy:LucyisLewis’girlfriend.Thesimilarityintheirnamesisnotco‐incidental.ItshowshowmuchLewis’valueshavebeeninfluencedbyhisgirlfriend–“Shehatestalkaboutlove.Shethinksitsicky,”Lewissaysatthestartoftheplay,andhisoppositiontoperformingCosiFanTuttebecauseofitstopicoflovereflectsLucy’svalues.ItwouldbeeasytolumpbothLucyandNickinthesamebasketascharacters.Butthereareimportantdifferences.LucyislessegotisticalthanNickandalsolessjudgmentalofthementalpatientsLewisisworkingwith,thoughshedoesultimatelyseewhatLewisisdoingasfarlessimportantthaneitherNick’splayorthemoratorium.Lucyisalsoacatalystforchange–“makeachoice,”shesays.Lewisneedstodecidewhathewillfollow:Lucy’svalues,orthenewvaluesetopeninguptohim.Nick,ontheotherhand,isameasureofchange.HischaracterisusedasacontrastagainstLewis’toshowhowfarLewishascomealongonhisjourney.Nick:Nick’sviews,onthesurface,areextreme:“Barricadesandbombs?Whynot?”hesaysinaninterviewontheradioabouttheupcomingmoratorium.Beneathhisapparentpassionfor“radicalism”though,thereisamotivationofselfishness–“helikesthesoundofhisvoice,”Lewissaysabouthim.Heisacharacterwhowantstobeseentobedoingwhatisimportant–tohavetheattentionofdoingwhatisimportant–ratherthanactuallybelievinginit.WhenhesaysaboutLewisandthepatientsputtingonCosiFanTutte–“Onlymadpeopleinthisdayandagewoulddoaworkaboutloveandinfidelity”–theobjectionisn’ttotheideasofloveandfidelity,butsimplythefactthatthesevalueswillbeseenintheproduction.Nick’ssuperficialitycomesacrossatanumberofpoints–heopenlyadmitsthatisonlyhelpingLewissohehimselfwillgetsomethinginreturn(“soyou’llhelpmeoutonthemoratoriumcommittee.”)andrespondstoseeingJulieinthefirstscenewith,“Wow,she’snothalfbad”(whichisonlyonestepaway


fromDoug’sresponsetoseeingLucy:“Greattits.”).Later,hedescribeshisrelationshipwithLucyas“onlysex.”Roy:It’sRoy’sideatoputontheproductionofCosiFanTutte.Theoperaisimportanttohim,hesays,becauseitwouldsummonupa“worldthatwasasfarremovedfromthisdepressingasylumaspossible.Aworldthatwaslikemychildhood:teaparties,dancesinourballroom,circusperformerscomingtoperformjustforme.”Butnoneofthisisactuallytrue.AsCherryrevealstoLewistowardstheendoftheplay:“Hespentmostofhisearlylifeinorphanagesandbeingfarmedouttofosterparentswho,realizingwhatanutcasetheyhadontheirhands,puthimback,quicksmart.”Royisdelusional–butthedelusionsareawayofcoping,ofmakingsenseofthings:“Withoutthisoperahavingbeencomposed,therewouldbeaclanging,banging,abedlamallaroundus.”HeisconstantlycriticalofLewis,belittlinghimasadirector(“everydayafterrehearsalshecameandcomplainedtomeaboutyourdirection,”saysJustin),deridingtherelationshipbetweenhimandJulie(“he’stestybecausehedidn’tgetapoke!”)andattheendoftheplaygivingLewisalistof“teethingproblemswithyourdirection…Iknowthatyoucantakecriticismbecauseyoumustgetalotofit.”Henry:Henry’sviewsareprobablythemostconservativeofanyofthecharactersinthementalinstitution.HeobjectstocriticismoftheVietnamwarbecause,“Myfffffatherfoughtinthewarforyou.Foryouandfffforme.Hewasaggggreatman.Youaretraitors.”Hebelievesinfidelity–but,morethoughtfully,peoplebeingtrueandhonest‐“ThisCosicondonesthecccoruptionofinnocence.Womenaretoldtobetramps.Freelove.Womenarenottobetrusted.”Thoughtheseopinionsarestrong,Henry’scharacterisquitesubservienttoRoymuchofthetime,takingordersfromhim.However,throughparticipatingintheopera,HenryisabletogiveavoicetohisopinionanditisnocoincidencethatheplaysthatpartofDonAlfonsoinCosiFanTutte,whoisthewiseoldphilospher.PerforminginthisroleHenryhasconfidenceanddoesnotstutter.Justin:Justinisthesocialworkerwhostartstheproject.Heisacuriouscharacter.Inthefirstsceneheisnotsureatfirstwhoisthedirectorandwhoarethepatientsofthementalinstitution.HisadvicetoLewisatthebeginningisanoddmixof“they’llbenotrouble”and“wheneverthisplacegetstoomuchforme,Ialwaysthinkofthisdefinition–amadmanissomeonewhoarrivesatafancydresspartydressedintheEmperor’snewclothes.”WhatthismeansislostonLewis,andJustinsoonaftergoes,leavingtheyoungLewisinarundownbuildingwithfaultywiringandagroupofmentallyillpeoplewhoLewishashadnoexperienceof.Justin’scharacterseemssupportive,butthereisnorealhelpheactuallygivesLewis.Furthermore,whenLewiscomesacrosshisfirstobstacle–thatofDoug(apyromaniac)settingfiretothetoilet‐Justin’sreactionistocallitalloff–“Well,


that’sitthen…theexperimentisover.”Hischaracterseemstorepresentsomeattitudesofneglecttowardsthementallyillinthe1970s.Doug:Dougisapyromaniac–afirelighter–bothinrealityandsymbolically.Hisactionsthreatentogettheshowcancelledinitsearlystageswhenhesetsfiretoatoilet.Dougisthemostsexuallyfrankcharacter‐askingquestionslike:“WasLucyavirginwhenyoufirsthadher?”and“HowmanydidLucyhavebeforeyou?”Hecomesacrossasacrasscharacterbuthisquestionsserveanimportantpurpose.Likefires,hisfrankquestionstendtosparkactionsorreactions.Theyarecatalystsforthought.It’sDougwhorevealstoLucythatJuliehas“gonefor”Lewis,whichleadstothefinalconfrontationbetweenLucyandLewis.Ruth:Ruthseemstohaveanobsessive‐compulsivedisorder.Hercharacterisconcernedwithreality–“themorerealitis,themorerealitis,”and“Comedyisbetterwhenit’sreal.”Hercharacterremindsusthattheprocessofproducingtheplaywithintheplayisaboutfindingadeeper,ormorereal,reality.Cherry:Cherryrepresentsaninterestingmixoffeelingsandideas.ShehasaggressivelyromanticfeelingstowardsLewisfranklydeclaringherpassionforhim.Atthesametimesheisjudgmentalofwomenwhoaretoo“easy”–“It’seasytoseethatFiordiligi’snotlikeDorabella,whowasabitofatartgivinginsoeasily,”and“mostwomenfighthardtokeepmenoutoftheirpants.”However,heremotiontowardsLewisrevealshowloveorpassioncanmakeusdothingswewouldn’tnormallydo.Cherryisalsoacharacterwhoseemstobecutofffromtheworld‐“What’sthisaboutVietnam…”sheasksatonepoint,eventhoughtheVietnamwarhasbeengoingonfornearlytenyears.Zac:Zaconlyhasasmallroleintheplay,spendingagoodpartofthetimedruggedorcatatonic.However,hischaracterpartlyrevealsJustin’sideathattheresidentsofthementalinstitutionhavethought“extraordinary”thoughts.Hissetdesignfortheplaycametohimlike“awhitelightpouringintotheward,”anditconsistsofastarkwhitebackdropthatwashesaway“reality”because“Ican’tstandrealthings.”Zacisabletoseethingsfromadifferentperspective.WhileeveryoneelsefocusesonMozartbeingthe“genius”behindCosiFanTutte,ZacadvertisesDaPonteinhisposterfortheplay–DaPontewasthewriterofthewordsfortheopera.


ThethemesFidilety,CommitmentandLove:TheoperaCosiFanTuttewhichLewisandthementalpatientsareperformingisaplayaboutloveandfidelity.TheconcernsoftheoperaarealsoveryrealconcernsofthecharactersinCosi.Byperformingtheoperatheycanexploretheirviewsandvaluesaboutfidelityandlove.Lewisthinksatthestartoftheplay,inagreementwithLucy,that“loveisnotsoimportantnowadays.”HehastalkedwithLucyabout“freelove”andNickurgeshimnottoletthefactthatheishavingsexwithLucytocomebetweenthemasmates.Butitdoes.Lewisdiscoversoverthecourseoftheplaythatloveis“important”andthatcommitmentandfidelityarealsoimportant.ForJulieloveisaboutbeing“foolish”andonthe“edge.”It’sthisexcitementthatshelikes.ThroughherLewisdiscoversthis.However,forJulie,being“foolish”doesn’tnecessarilymeanbeingunfaithfulasshestaystruetoherpartnerintheendanddoesn’thavearelationshipwithLewis.Otherscharacters,suchasHenry,DougandCherry,allhavestrongopinionsaboutloveandcommitmentthroughouttheplay.TransformationsandIdentity:CentraltothemeaningoftheplayisthejourneythatLewismakesascharacterwhoseesloveasnotimportantatthestartoftheplaytoseeingloveasveryimportantattheend.TomakethisjourneyLewisneededtobetakenfromthecontextofwhatheconsidered‘normal’intoadifferentworld.Thementalinstitutionrepresentsaplacethatisonthefringesofsociety–neglectedandignoredbytheoutsideworld.IntothisworldLewisjourneys‐“testing”himself,asJuliesays.ThroughhiskisswithJulieinthedarknessofthetheatre,Lewisisabletomakehisfinaltransformation.Partofhistransformationistorealizethatthecharactersofthementalinstitutionaroundhimcan’tmakeamiraculouschange.Roydoesn’tsuddenlybecomeanunderstandingcharacterintheend,nordoesJuliegetoverheraddiction.Lewis,andweasanaudience,needtoacceptthesecharactersforwhotheyare,ratherthanwantingthemtoconformtoourideasofwhatis“normal.”Reality,ConfusionandFantasy:Tomakehisjourney,Lewisneededtoenteraplacewhererealityisconfused.ForcharacterssuchasZacandRoy,theplay,andthementalinstitution,isaboutcreatinganescapefromreality‐“Ican’tstandrealthings.IfIcouldputupwithrealityIwouldn’tbeinhere.”Forothercharacters,suchasJulie,thementalinstitutionclosesthemin,butputtingontheplayallowsthemtobreakfreefromreality–“Ilikethedark.That’swhatIhateaboutthewards–they’reneverreallytotallydark.”ThroughhisexperienceswiththesecharactersLewisexploreswhatis‘real’andwhatis‘normal.’AsRoyrespondswhenLewissaysthatloveisn’timportantatthestartoftheplay:“whatplanetareyoufrom.”


ThesymbolsLouisNowrausesanumberofsymbolstomarkkeypointsinLewis’journeythroughouttheplay.

• Thedarkened,derelict,burntouttheatreatthestartoftheplay:Theneglected,burntouttheatrerepresentstheattitudesthatsocietyhastomentalhealth–it’sneglected,andthementallyillaremarginalised.ItalsorepresentsadifferentworldforLewisthatheneedstoenterinto.Aworldthatismuchdifferenttohisownandwherehewill‘test’himself.

• Theflickeringfusebox:Theelectricsinthetheatrearefaulty,andthroughouttheplaythelightsflickerasthefuseboxflickers.ThisrepresentsLewis’uncertainty–hislackofconfidenceaboutwhatheisdoing.

• Thefire:Douglightstwofires–thesecondonegetshimtakenoffthe

play.ThefirerepresentsaninitialhurdleforLewisandtheothercharacters–it’sanobstaclethatnearlyderailsthewholeplay.However,justlikerealfire,Doug’sfirebringswithitchangeandnewbeginnings.ThecharacterscolludewithLewistocomeupwithastoryaboutthefiretomakesuretheplaykeepsgoing.WhenDougdeparts,LewisalsotakesonthepartofFerrando,whichdrawshimdeeperintotheplay.

• Therain:Atthebeginningofthesecondactitisraining.Rehearsalsare

goingwell–thecharactersarebeginningtotakemoreownershipovertheplayandrelateittotheirownreal‐lifeexperiences.Rainrepresentslife,andthisiswhatishappeningatthisstageintheplay.Thecharactersareusingtheoperatoexploretheirownlivesandfeelings.

• Zac’swhitestagedesign:Zac’sstagedesignisastarkwhitebackdrop.

Hesaystheinspirationwaslike“AnnunciationLight”.Lightrepresentsknowledgeandunderstanding.InthefirstpartofAct2thecharactersaregoingdeeperintothemeaningofCosiFanTutte–thestagedesignrepresentstheunderstandingthatLewisinparticulargainsfromhisparticipationintheplay.ThissymbolcomesjustbeforethedarkandthekisswhereLewiscomestoseehowimportantloveis.

• Thetheatrethrownintodarkness:Lewismustfullyimmersehimselfin

theworldofthementalinstitutiontocompletehisjourney.Thedarknessrepresentshisjourneytoapointfarawayfromtheoutsideworld.Inthedarknesshenolongerseesthethingshenormallysees,orthinksthethingshenormallythinks.Heexperiencescompletechange.

• Thekiss:ThekissbetweenLewisandJulieisthepointwhereLewis

finallytransformsfromthecharacterhewasatthestartoftheplay,intoacharacterwithadeeperunderstandingofhisownidentityandvalues.To


makethisfinaltransition,heneedstoembracethisnewworld–thekissdoesthis.

• Lewisturningoffthelightsattheendoftheplay:Asanaudiencewe

likehappyendings–wewouldhavelikedJulieandLewistobeacoupleintheend,forRoytobecomemoreempathetictoLewis.Thesethingsdon’thappen.Instead,Lewisnarrates,inaverymatteroffactway,thedeathofJulieandHenry,thefactthatRoygoesfromwardtoward.Lewis’sfinalactistoturnthelightsoff.Thisheightenstheimpactofwhathehassaid,andleavesuswiththefeelingthatwhatwehaveseenisasnapshotofasetoflivesthatdidn’tallmiraculouslychangeinaHollywood‐endingway.Lifehappenedandafterthelightsgooutlifewillcontinuetohappen.AndasthechorussaysattheendofCosiFanTutte,weneedtoacceptthis.

QuotesLewis:Ineedthemoney,Lucy.Nick:Madactorsarebadenough,butmadmen…Roy:Iwasexpectingsomeoneabitolder.Justin:…Bitshy,theoldHenry.PartofthisprojectistobringoutpeoplelikeHenry.Justin:Youmustfeelabitqueasy.IknowIwaswhenIfirstcametoanasylum…Justin:Theyarenormalpeoplewhohavedoneextraordinarythings,thoughtextraordinarythoughts.Justin:…Theimportantthingistokeeptheminterested.Tobringthemoutoftheirshells.Givethemsomethinginterestingtodo.Justin:…Wheneverthisplacegetstoomuchforme,Ialwaysthinkofthisdefinition–amadmanissomeonewhoarrivesatafancydresspartydressedintheEmporer’snewclothes.Roy:It’sallinmyhead.Withoutthis,theworldwouldn’tbethesame.Roy:Abouttestinghowtrueyourtrueloveis.Lewis:Whycan’tIeversayno?Justleave.They’remad.It’smadness.Lewis:Doyouthinkweshouldbedoingsomethinglikethis?…Inthesedays,youknow,theVietnamwar–Lewis:…Loveisnotsoimportantnowadays.

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TickingMind–CosiStudyNotes

Roy:Whatplanetareyoufrom?Roy:…We’llbringculturetothisplace.Roy:Withoutthisoperahavingbeencomposed,therewouldbeaclanging,banging,abedlamallaroundus.Roy:…Alldirectorsaretyrants.Lewis:…Freeloveisahardconcepttodefine.Lewis:…I’vehearditallbefore.Nick’safriend.Hehasonlyoneproblem,helikesthesoundofhisvoice.Doug:I’mnotpryingoranything,amI?It’sjustthatinhereyoumissoutonalotofthechangesinsociety’smorals.Cherry:Typicaljunkie,needsstimulusallthetimeorelseherthoughtsturntoyou‐know‐what.Justin:Straightoutofuniversityand…well,thisisprobablythebesteducation:doingtheatre,workingwithsuchpeople!Julie:Inawayyou’resortoftestingyourselfbycominghere?Lewis:…Shehatestalkaboutlove.Shethinksitsicky.‘Loveisthelastgaspofthebourgeoisromanticism’shesays.ShehatesmedoinganoperaaboutloveandfidelitywhilethousandsofVietnamesearebeingkilledbyAmericatroops.Julie:Idon’tlikemen’sdoublestandards,Iguess.Menwantwomentodeceivethembecauseit’llprovetheirworstthoughtsaboutwomen…Julie:Myparentshadmecommitted.Theythinkitssortoflikeaholiday.Julie:…It’speculiaraboutdrugs.Doughatesthembecausehelikestobenaturallyhighallthetime.Zaclikesthembecauseeverythingpasseslikehe’sinadreamorlimbo.IthinkI’manaturallyaddictivepersonality.Roy:Lookonthebrightside,Jerry.Forkillinganactorhe’dgetlife,forkillingadirectorhegeteternalgratitude.Nick:Onlymadpeopleinthisdayandagewoulddoaworkaboutloveandinfidelity.They’redefinitelymad.Nick:Christ,you’llneverbeadirectoruntilyoucanconvincethemthatwhatyouwanttodoiswhattheywanttodo.


Henry:Myfffffatherfoughtinthewarforyou.Foryouandfffforme.Hewasaggggreatman.Youaretraitors.Henry:ThisCosicondonesthecccoruptionofinnocence.Womenaretoldtobetramps.Freelove.Womenarenottobetrusted.Lewis:Henry,itdoesn’tcondone–Henry:Bequiet.Mymotheronlylllovedmyfffather,nooneelse.HediedinKkkoreaaandlllovednnnoneelsebutme.Henry:Ifffeltlikeit.Ruth:Yes,themorerealitis,themorerealitis.Cherry:Ithoughtwewouldmakeitmorereal.Thewomenaren’ttwits,arethey?Julie:…That’swhatloveis,beingfoolish.Julie:I’vealwaysthoughtthatlovewasbeingfoolishandstupid.It’saboutbeingontheedgeandIlikebeingontheedge.Roy:…Hateisamuchmorepureemotion.Wechooseourenemieswithmuchgreatercarethanourlovers.Ruth:Comedyisbetterwhenitsreal.Zac:Ican’tstandrealthings.IfIcouldputupwithrealityIwouldn’tbeinhere.Lewis:Iwanttheotherstocontribute,itmakesthemfeelpartoftheshow.Roy:…Democracyisforeigntotheatre,Jerry.YouandIknowthat,it’sjustthatyouwanttopandertothemob.Roy:Ihadadream…Therewouldbemusic…aworldthatwasasfarremovedfromthisdepressingasylumaspossible.Aworldthatwaslikemychildhood…Julie:Ilikethedark.That’swhatIhateaboutthewards–they’reneverreallytotallydark.Julie:Isn’tthatthefirstdayofthemoratorium.Lewis:Thiscomesfirst.Lucy:Workingwiththesepeoplehaschangedyou.Weusedtotalkaboutthings.Importantthings.NowallyoucantalkaboutisreactionarydrivellikeCosiFanTutte.Lewis:It’saboutimportantthings–likeloveandfidelity.Lewis:Idon’thaveaconcept,I’madirector.

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TickingMind–CosiStudyNotes

AllattheendofCosiFanTutte:Happyisthemanwhocalmlytakeslifeashefindsitandthroughthevicissitudesoflifeletshimselfberulesbyreason…

Education

Cosi study_notes