| Let's look at the original script | |
| Last Edit: aleck 05:17 pm EST 12/29/24 | |
| Posted by: aleck 05:04 pm EST 12/29/24 | |
| In reply to: re: In terms of dramatic structure - Chromolume 12:03 pm EST 12/29/24 | |
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| As published in the Modern Library edition and, of course, can be done in different ways in different production, but these are Hammerstein's approved words: "The crowd surround him (meaning the stricken dream Curly) and carry him off in the dark as a spot comes up revealing the real Laurey being shaken out of her dream by the real Jud. JUD Wake up, Laurey. It's time to start fer the party As she awakens and starts mechanically to go with Jud, the real Curly enters expectantly. She hesitates. Jud holds out her arm and scowls. Remembering the disaster of her recent dream, she avoids its reality by taking Jud's arm and going with him, looking wistfully back at Curly with the same sad eyes that her ballet counterpart had on her exit. Curly stands alone, puzzled, dejected and defeated, as the curtain falls." I don't think there are any semantics here that would imply that the dream ballet had continued through to the end of the act. As Hammerstein says "remembering the disaster of her recent dream" (recent meaning OVER), the end of the act is in the real world -- which sets up the audience's anticipation of what might happen when the curtain goes up again. If you want to argue the semantics of this explicit description of the intention of the end of the act, bring it up with Hammerstein, not me. |
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