ting the tone of the original text lay themission to translate the literature into a theatrical language that would have as much impact visuallyas it did on the page. In keeping with the original style of the text, the presentation was to remain anarrative whilst allowing the nature of the subjects conveyance to be as intricately depicted.To address the creation of an appropriate language capable of communicating the text asfully as possible the company looked beyond the written and spoken word. During the process of theplays development the company and those who were to assist them allowed their exploration toinclude the possibilities of relating the world of Bruno Schulz to a theatre going audience with a physical vocabulary to support what already existed in writing. Ultimately, the group sought a way todepict the mental and emotional processes with which the stories were told.The productions design by Rae Smith, along with Paul Constables lighting and sound byChristopher Shuff are in no way small contributions to the fullness of the world evoked on the stage. Yet the success of the form does not rely on these elements in the way that a more conventionalproduction often does. It is common place in todays theatre to let the technical aspects of aproduction do the work of communicating much its form. Transitions and the passage of time areregularly depicted with a change in the actions setting. Memory and dream can be represented withthe support of lighting, fog, smoke and scrim. Recorded sound is apt to accompany the climaticaction. At other times it can be used amplify the emotions portrayed by the performers. In contrast,the majority of responsibility for illustrating and delivering the complete theatrical picture falls in thehands of the performers themselves. Their physical presence coupled with their manipulation of thetangible environment which they inhabit are the tools that forge much of the plays structure. Acce...
