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An Epic Burlesque of Tragic Proportion David Greenspan Act

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An Epic Burlesque of Tragic Proportion David Greenspan Act The Myopia: An Epic Burlesque of Tragic Proportion David Greenspan Act One: Flare-Up of imagining to thinking — and I’ve been think- ing about thinking, but for the moment that’s tan- Characters gential. I’ve been thinking how a picture is a picture THE RACONTEUR of something, but not the something it is a pic- in the form of stage directions NARRATAGE ture of. And the same for film — which is after YETTI all pictures — and for anything that is a picture Yetti’s daughter KOREEN even if it is not a picture but a recording of some- Koreen’s suitor, later her husband FEBUS thing, but not the something it is a recording of. son of Febus and Koreen BARCLAY And others have addressed this issue more as- a character from history WARREN G. HARDING tutely than I. If you wish, see me after, I refer Harding’s wife FLORENCE HARDING you. a country fellow OLD-TIMER But that this is not true of live signals, broad- senator from Massachusetts HENRY CABOT LODGE cast or monitored, might lead one to consider the Republican Party chairman WILL HAYS televising of something, which is not by neces- editor, GEORGE HARVEY North American Review sity a recording though it is by necessity a trans- senator from New York JAMES WADSWORTH mission. Here again others — I must refer you senator from Kansas CHARLES CURTIS to others — though I will say that television, no senator from Connecticut FRANK BRANDEGEE matter how it is maligned, shares with the the- senator from Missouri SELDEN SPENCER ater! the capacity of presenting things actually senator from Utah REED SMOOT happening. Of course this is true with radio, but senator from Idaho WILLIAM BORAH I’m not thinking about radio because with radio senator from New York WILLIAM CALDER there is no picture — other than the ones one senator from New Jersey JOSEPH FRELINGHUYSEN must imagine — which is to say I am thinking senator from Colorado LAWRENCE PHIPPS about radio. senator from Illinois MEDILL MCCORMICK But — well — others — others will address senator from Indiana JAMES WATSON these issues. I cannot — other than to say there reporter, HENRY HASKELL Kansas City Star might be a lot of confusion about the theater — reporter, IRVIN KIRKWOOD Kansas City Star with some expecting of the theater what is inher- ently untheatrical, and some in the theater pro- Setting viding this — some of these some being some- times successful — abandoning action for image Various. in ways that are thrillingly theatrical — forcing one in one’s confusion to wonder whether what Notes one has been thinking all along does not have YETTI (speaks with an East European accent.) The more to do with the stage than the theater, the Myopia is performed as a solo — in the “story- stage being a platform for drama, the theater not telling” tradition. One actor plays all the roles, that same thing entirely. using the stage directions as narration. But — well — so — anyway, thinking about pictures — a picture being a picture of some- thing but not the something it is a picture of, I’ve Prologue thought about the theater, which is not a picture THE RACONTEUR I’ve been thinking about pic- of something, though one might make pictures in tures. I’ve been thinking about pictures and how it. And not only have I thought about the theater one might make pictures on the stage, which is which is not a picture, I’ve thought about the the- not to say that I’ve been thinking about stage pic- ater because it is not a picture, thinking instead tures. On the contrary. it is what is happening in it. And that no matter I’ve been reflecting on the difference between what is happening in it — even if what is pic- the image and the imagined, and the relationship tured happening has already happened, or didn’t David Greenspan 1 The Myopia happen, or never happened, or never will happen, idenced at the edges of the blind, particu- you know on some level — and I think you know larly as the blind is rocked. As light per- that you know — something is actually happen- vades, Chicago awakens. Through the win- ing. And of course this is the difference. Nothing dow come the sounds of the street, sparse at happens in a picture — it’s already happened — first, denser with time. Sound and light co- whereas in the theater what is happening is actu- incidental. HARDING sits out of it. Time ally happening — it is happening as it happens passes. Light is extinguished. — it is an act. A picture is never an act! Light illuminates HARDING as before — ex- So thinking as I said how it might be useful to cept the window blind is up, thus making vis- distinguish if one could the difference between ible a rectangle of starry sky, paled to some the stage and the theater — a distinction I think extent by the city’s light. As night fades, marvelous to navigate — the stage from the the- the sun rises. Light burns in at HARDING, ater — I’ve made what I’m doing and what I’m his hands clutch the arms of the chair, his about to do. And if you were to ask me is what head, turning left, pushes deeper into the I do on the stage a play, I could not be certain, I cushion. As light pervades, Chicago awak- could not say. If you were to ask me is what I do ens. Through the window come the sounds on the stage theater, again, I could not be certain, of the street, sparse at first, denser with time. I could not say. Of only one thing can I say and Sound and light coincidental. HARDING of it be certain, and that is that what I do on the stays — unmoved. Time passes. Light is ex- stage is an act! And it is full of imitations. And if tinguished. not imitations, impersonations. And it is actually happening, happening as it happens, happening Light illuminates WARREN G. HARDING, as I speak. And this has been a Prologue and is immobile, seated in the straight-back chair, a moment more until it ends, and then the next pushed slightly back from the elegant writ- thing begins, and this next thing — this thing to ing table. The blind is up. Earliest dawn. begin — why, it is called The Myopia, and it is an HARDING is directed, though, down left, epic burlesque of tragic proportion. Ding, ding, toward the door — ajar — and the muf- ding, ding. And the curtain is rising on its first fled tread and buzz beyond. Thus, he faces act, entitled “Flare-Up,” and this is scene one: darkness, having turned from the outer light in favor of that dim interior illumination, which falling in harsh precision on the lon- Scene One gitude of his left eye foments a dropping of (Light illuminates WARREN G. HARDING, his blind — leaving him monoptic — stymied immobile, seated in an easy chair in his in a painful wink. Time passes, light per- room in the La Salle Hotel — Chicago, June vades, Chicago awakens. From shadow, 12, 1920. The chair is directed upstage right now, behind HARDING, a woman appears, at an angle of [say] 45 degrees, facing an her features indiscernible. It is HARDING’s open window, blind down. Now and again, wife, FLORENCE, commonly referred to as a faint breeze rocks the blind. Light cuts in “the Duchess.” She speaks.) at the edges of the blind — more so as the FLORENCE (Tired exasperation.) Wurr-n. (Hold.) blind is rocked. Try as one might to keep it Wurr-n. out, the world gets in. Beside the chair, left, (Curtain as light is extinguished. Noise of the a tall standing lamp. Beside the chair, right, change behind the curtain.) a doilied table with a phone. The lamp is dark, the phone is silent. Down left, an ele- gant writing table and a matching straight- Scene Two back chair. Further down left, a door — (Noise subsides. Curtain. Light illuminates ajar. Light from the corridor slices through a seascape — the ocean downstage, beach the crack, slashing the back of HARDING’s upstage. A gray brick tower stands right of head, making distinct cerebral division be- center, its single window — like a single eye tween the right and left. Sound, now, of foot — open to the ocean, and situated in such a traffic in the corridor, buzz of voices. Night way that only a sliver of the orifice is visible fades as the sun rises. This can be deter- to the audience. Left of the tower, a small mined by witnessing the change in light ev- square of cultivation — a vegetable garden. David Greenspan 2 The Myopia Various green-leaf vegetables sprout from you say so before, before I got worked up? Now the earth. The rest of the terrain is sand where is it? and sparse beach grass. YETTI is work- YETTI The green cabinet — top shelf. ing in her garden. Elderly, short, plump, bit KOREEN Jesus Christ! Why’d you stick it in there? bosomy, slightly hunchbacked, shock of dry, My hand barely fits. I’m so swollen. white hair. She wears a simple dress and YETTI Take it easy. tennis shoes. She calls out to KOREEN, di- KOREEN (To herself.) Why am I being tortured like recting her speech to the ocean side of the this? tower. KOREEN responds from within the YETTI You see it? It’s right behind the farina. tower — unseen.) KOREEN I see it.
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