Richard F. Michelle-Pentelbury (Revised 2009)

IBSEN’S

PEER GYNT

A Modernized Version (1992)

By

r.f.p.

Richard F. Michelle-Pentelbury (revised 2009)

Foreword:

My Message is in my medium.

Can’t wait?

Comparisons clarify!

See you at the gate!

r.f.p.

P.s.

Few of us favor riddles,

So here then is the story:

The language, chosen,

Fiddles with Ibsen;

The ideas, gleaned,

Diddles with Ibsen;

Peer Gynt, you see,

Is you, and me.

84

Rehearsal Etiquette

Because many students entering Drama in high school may not yet have been involved in formal preparation of a production (play, musical, etc.) the following might be thought of as a code of behavior for rehearsals. Manners, the way in which we treat each other, can make a tremendous difference to the success of a production and to the pleasure that we can all have from working on it. It is probably always true that there is never enough rehearsal time, so it follows that it is everyone’s responsibility to make the time that is available, productive. It is also true that every production is a “group effort” that can only be totally successful with the full cooperation of the whole group. That means YOU!

Here, then, are some specifics:

1.  Attend all Rehearsals on Time. Two things here. Firstly, you must be there! Don’t add to someone else’s job by having them call you to remind you and don’t waste the time of other performers who wont be able to have a valuable rehearsal without you. If some legitimate reason comes up that will prevent you from attending—and we’re talking about a REAL, GENUINE reason, don’t be a coward! Don’t simply not say anything and hope that you can straighten it out afterwards. Sure, you’ll probably get yelled at, but that’s nothing compared to what will happen if you just let it go. And be punctual! Time is valuable and none of us has the right to waste other people’s time.

2.  Treat All Rehearsals as if they were a Performance. Don’t hold back your acting and put off getting fully into character until there is an audience or until the inspiration strikes you. It may well never happen! Your fellow performers must know what you are going to do when the chips are down. Don’t be afraid that you will get stale if you go all out too early. If you make a 100% effort every time it will never be stale and each time, if you stretch a little bit, it will improve.

3.  Come Prepared. For all early rehearsals, while you are still carrying a script, bring a pencil (better than a pen because you may need to make changes). Write down notes about your blocking and the other specific directions the Director may give you. Before the first rehearsal, you will probably have highlighted or at least underlined all your lines. Don’t do this as a mere mechanical exercise –speak the lines aloud as you do it. This combination of highlighting and speeches as the same time can be a real help in memorization. Note that in some circumstances, scripts, like musical scores, are rented therefore will have to be erased and returned after the production. Determine if this is the case before you put any permanent marks in your script. VALUE your script!

4.  Do Your Homework. Don’t plan on doing everything at the rehearsal. Things like memorizing lines, experimenting with different blocking, practicing the handling of difficult props, performing tricky acrobatic feats, or dance steps—all should be done on your time—not while a dozen other people wait and watch.

5.  Manners. Treat all the rehearsals as serious practices. Don’t bring food and drinks. Don’t smoke! (Very few permit this today!) Don’t bring your friends unless this has been prearranged with the Director. Remember that a rehearsal is a private working session. Don’t talk to other cast members during the rehearsal. Low mumble talking is terrifically distracting to your fellow performers and to the director and may well justify the director replacing you in the cast. Be ready for your entrance so there will be no delay and the momentum of the play will not be lost. Do not talk to the Director while he or she is concentrating on a scene with other performers. This is really insulting to them as well as being annoying to the Director. (One function of an Assistant Director is to give performers someone they can question during a rehearsal).

6.  Be a Team Player. There will be a Stage Manager or Property Master/Mistress at the rehearsal, but whether there is or not, there are always things that have to get ready at the beginning of the rehearsal and things that will have to be put away at the end. Your help and cooperation will make everyone’s job easier and will reinforce your feeling as a vital member of the production team.

7.  Don’t Play Director. Avoid giving directions to other cast members. It is not your job and will very often be resented by the Director as well as by the other cast members. This doesn’t mean that you can’t offer help to a friend who may be less experienced than you and who is having difficulties, but never do it publicly at the rehearsal. Put yourself in your friend’s position and you will see what I mean. Also, it’s a Bad Idea to argue with the director over a criticism that may have been made regarding the performance of some other actor. This doesn’t help, and will only embarrass your friend.

8.  Be Positive! Don’t bring your problems to the rehearsal. Don’t be a complainer! It will almost always be counterproductive as far as the production is concerned. The team members who are looking after props and costumes should not be criticizing your performance, nor should you belittle their efforts. Remember that costumes are selected to make your performance more effective and not necessarily to make you more glamorous. There is no substitute for genuine enthusiasm. It can help make every rehearsal productive and enjoyable for everyone.

9.  Learn Other’s Names! Demonstrate an interest in others and a care for which part they’re playing and VALUE their contribution, from the one-night usher to the backstage painter to the lead role. Become a part of the team of people who put on a show with the P-Principle of People before Product so a Product as perfect as it can be!

10. Care; Give; Energy!

Characters: Part One

Peer Gynt…………….

Reindeer Man…………

Ase……………………

Kari……………………

Equind…………………

Village Women………..

Master of Ceremonies…

Fiddler…………………

Cook…………………..

Aslak…………………..

Groom’s Mother………

Groom’s Father………..

Mads Moen……………

Solveig’s father……….

Solveig’s Mother……..

Solveig………………..

Helga………………….

Bride’s Father………...

Ingrid…………………

Uplands Girls…………

Green Women…………

Pig……………………..

Two Headed Troll……..

Old Troll………………

Harpies………………..

Boy……………………

Brat……………………

Wedding Guests/Trolls/Bailiff’s Men

Part Two

Peer Gynt………………….

Trumpeterstrale……………

Cotton……………………..

Ballon……………………...

Von Eberkopf …………..

First Horseman……………..

Second Horseman………….

Third Horseman……………

Old Monkies……………….

Monkies……………………

Thief……………………….

Receiver……………………

Anita……………………….

Begriffenfeldt………………

Shafamann………………….

First Guard………………….

Second Guard……………….

Third Guard…………………

HuHu Tenor…………………

Hussein Pen…………………

Fellah………………………..

Bedouin Women…………….

Asylum Inmates……………..

Threadballs,

Dewdrops,

Broken Straws,

Ghost of Ase.

Part Three

Peer Gynt……………………..

Captain………………………..

Able Seaman…………………..

Look-out………………………

Bosun………………………….

Ship’s mate…………………….

Cook……………………………

Strange Traveler………………..

Priest……………………………

Widow………………………….

Mourner………………………….

Aslak…………………………….

Mads Moen………………………

Auctioneer………………………..

Village Men………………………

Youth……………………………..

Sheriff…………………………….

Ase………………………………..

Buttonmoulder……………………….

Troll King…………………………….

Thin Man……………………………..

Shooting Star…………………………

Solveig………………………………..

Crew

Lighting Director………………………

Stage Manager…………………………

Director………………………………...

Set Manager……………………………

Hair/Make-up…………………………..

Costume………………………………..

Tickets…………………………………..

Program…………………………………

Props Manager………………………….

Publicity………………………………..

Peer Gynt: Synopsis

Part One

Act I: - A hillside. A river. An old Millhouse.

-  HOT summer day.

Pp. 10-13 Sc. 1

Through a story Peer tells his mother, Ase, we see Peer as a creative fibber and a charming braggart. Ase lets Peer know that Mads Moen is going to wed Ingrid tomorrow. Peer sets off to the wedding, carrying a reluctant Ase across the stream, wanting her to intercede on his behalf; she refuses so he deposits her on the millhouse roof, where he leaves her. Kari (her friend) happens along with husband Equird, and they get other villagers to help Ase off. (8 pages)

Pp. 13-14 Sc. 2- the wedding breakfast. Fence between Peer and guests. Peer day dreams beside the fence separating him from the wedding guests. Aslak the blacksmith confronts him then moves off. Wedding guests promenade and dance, Peer joins them.

Pp. 15-23 Sc. 3- the front of farm buildings. Main house full of guests. The FIDDLER sits on the table. Master of ceremonies stands by door. Cook rushes about. Dialogue between guests.

Gossip lets guest know Ingrid (bride) is unhappy. Girls tease boys. Mads Moen bewails lack of ability to get Ingrid out of locked storehouse; parents deride him. Peer Gynt cajoles ladies who drop him. He meets and flirts with Solveig who is accompanied by little sister Helga. They go with Solv’s parents. A youth and others get Peer drunker. He tells tale of capturing Devil inside a hut, and ridiculing Aslak’s (blacksmiths) ineptness. Peer goes too far. Crowd disowns him. Peer again flirts with Solveig who dumps hem. Mads Moen gets Peer to help him get Ingrid out. Guests, led by Aslak, wanting to teach Peer a lesson, comes looking for him. Peer has escaped with Ingrid. Ase arrives and alternately berates Peer and protects him from anyone else.

Pp. 23-24 Sc. 4

-  the next day

-  high up on the mountain path

-  Peer and Ingrid separate after he spurns her.

Pp. 24-25 Sc. 5

-  storm brewing

-  mountains

-  (Barn in background?)

-  Ase, Solveig, and Solv’s father and mother

The Solveig family accompanies Ase in search of Peer. Solveig lets us know that she’s interested in Peer.

Pp. 25-26 Sc. 6

-  later that day

-  “time of shadows”

-  Mountains

Three mountain harpies seduce Peer and go off with him.

Pp. 26-27 Sc. 7

-  Create giggles of night that shift to Peer’s hangover and awakening. He brags himself to reality and collapses

-  the harpies having left

The collapse brings about nightfall ~STARS~ birdsong and the green women.

Pp. 27-28 Sc. 8

The Green women and Peer brag to one another; she finally calls for her PIG, and they, mounting it, trot off.

Pp. 28-32 Sc. 9

-  the court of the mountain king

-  * fantastic creatures surround building

-  Peer is at first befriended by the king of the trolls, but the scene turns macabre as Peer rejects the king’s daughter for a bride (pregnant green women). He is eventually set upon by the trolls until all fades to black.

Pp. 33-34 Sc. 10

-  pitch black

-  Peer in single light

-  MICROPHONE voices with echo

-  Is Peers subconscious talking

Pp. 34 Sc. 11

-  Sunrise

-  Peer awakes to meet Helga (Solveig’s sister) with Solveig

-  They both run away

Pp. 35-36 Sc. 12

-  Peer is at a tree, SNOW FALLS

-  Soliloquy- a rare insight and truthfulness as he chops; he sees boy take his own finger

Pp. 36-37 Sc. 13

-  Ase’s home in DISORDER

-  She and Kari putting things back

-  Conversation reveals that Ingrid is back safe, Ase is impoverished and ailing, but still calling after Peer

Pp. 37-41 Sc. 14

Solveig comes on skis and joins herself to him having renounced all at home; she goes inside. Peer meets an older woman wearing a tattered green skirt. With her is a brat carrying a beer mug; he is limping. They leave after dire promises of haunting Peer’s new happiness. Peer leaves Solveig standing in the door, feeling himself “soiled”.

MUSICAL Intermission

Act II- Peer is Middle aged.

Pp. 42-48 Sc. 1

Peer is in conversation with Cotton, Ballon, Von Eberkopff, Trumpeterstrale, reveals how he got rich, still a boaster. The company assumes he’ll join them against the Turks, who’re opposing the Greeks. Peer puts them straight. They head off to take over his yacht aboard which is gold.

Pp. 48 Sc. 2

-  moonlight

-  yacht moves away across cyclorama

-  Yacht blows up!

-  Lion roars

Pp. 49 Sc. 3

-  overseers and slaves in search of the emperor’s clothes

Pp. 49 Sc. 4

-  The monkeys attack.

Pp. 50 Sc. 5

-  Thief/ receiver/ horse and emperor’s clothes

Pp. 51-52 Sc. 6

-  tent set up with dancing girls until Peer enters

Pp. 55-56 Sc. 9

-  Peer on horse leading Anitra (dancer) away from tents

-  She beguiles him and takes off with everything.

Pp. 56 Sc. 11

-  curtains open to Solveig in front of cabin singing

Pp. 56-57 Sc. 12

-  Sphinx and Minarets

-  Begriffenfeldt takes Peer to Cairo

Pp. 58-65 Sc. 13

-  Peer becomes emperor of Madmen

-  Meets HuHu (a tenor)

-  Meets Fellah ( who carries a runaway on his back)

-  Meets Hussain (who thinks himself a pen)

-  Hussain kills himself and Peer faints

MUSICAL Intermission

Act III

Pp. 65-71 Sc. 1

-  Peer (now at 60 years of age!) and Captain, lookout, bosun, stranger

-  ship disintegrates in front of audience

-  peer and cook resurface on either side of dingy

Pp. 71-73 Sc. 2

-  cook drowns

-  strange traveler meets again

Pp. 73-74 Sc. 3

-  Church yard

-  Priest gives eulogy for man with the missing finger

Pp. 74-75 Sc. 4

-  Farm, Auction, Crowd

-  Peer tells a story as he realizes they think he’s dead

Pp. 75-76 Sc. 5

-  Peer peels onion, Hears Solveig Sing

-  Peer meets Threadballs, Dewdrops, Broken Straws, and Ghost of Ase.

Pp. 76-78 Sc. 6

-  Peer Meets the Buttonmoulder

-  Gains the house

Pp. 78-80 Sc. 7

Back to Ase’s room. Log fire. She’s in bed, dying. Peer visits his mother and tenderly she dies. Kari is there to look after the corpse

Pp. 81 Sc. 8

-  Again with Buttonmolder

Pp. 81-82 Sc. 9

-  Peer meets the old man (troll king)

Pp. 83 Sc. 10

-  Peer meets disguised devil whom he tricks

Pp. 83 Sc.11

-  Meets again with Buttonmolder

Pp. 84 Sc. 12

-  Solveig

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