Okay, so it is done. The Really Rough Draft of the whole script is complete.
It is a total of 961 pages, 28 acts, and 109 characters.
So Day 3 of the Really Rough Draft, in the order, and I am using my own titles: AGAMEMNON, HELEN, ELEKTRA, ORESTES, ANDROMACHE, IN TAURUS, and THE FURY.
The over arcing journey of Day 3, as of now, is the decent into psychopathic madness of Orestes, and the destruction of honor as seen through the eyes of Menelaus.
I want it to be frightening, and right now as drafted, it touches the terror, but it still has a long way to go.
With Day 3, I also start to alter the theatrical conventions set in the pervious days:
Time becomes warped and confused. In ELEKTRA Orestes murders his mother three times reflecting The Libation Bearers and both Elektras.
HELEN is a two-person quick-change show with just Menelaus and Helen.
IN TAURUS becomes a tense and bloody horror story.
THE FURY, which is slated now to end the play, all 109 characters from the entire event appear on stage at different times to give Orestes a trial. It becomes haunting and confusing.
These seven plays of Day 3 are longer than the plays of the previous days, there is more time spent with each character, and the reasoning is developed more closely to originals. This goes against any rational impulse, which says that the tempo of the event should increase, but a sudden deceleration seemed highly appropriate.
The irony of these plays takes on a grander quality, it is haunting rather than funny. Which is exciting to me, but also counter-intuitive. Every previous idea I had about this event lead me to think that the plays would get shorter and sharper as the days progressed. But while delving into these seven plays, it felt right to shift the paradigm and take them more into the darkness.
I am very excited; I think it is a proper ending to audience’s journey.
For the whole thing, the next phase of development is editing and sculpting, which consists of the following:
- Connecting loose ends in earlier plays that were discovered in later plays.
- Unifying characters to create more developed individual journeys.
- Codifying recurring themes by unifying language used to describe large topics.
- Flushing out some foreshadows to assist in the acceptance of large important events.
- Developing reasoning- ensuring the arguments of the original tragedies are in tact, well presented, and easily understood.
- Language work- deepening vocabulary, altering all cliché, and embracing heightened poetry.
One big question I need to answer is what to do about The Chorus and The Messenger. In my Sophocles: Seven Sicknesses I made all the chori for the every play, Nurses that were ever-present, and the Messenger was a character called The Carrier who appeared in every play with a message from the outside world. This worked well for the seven plays of Sophocles. But right now, I cannot see how these two theatrical devices will manifest in All Our Tragic.
Be well. Thanks for reading.