lely on the purity of the action of the bird they are portraying. They have beenfreed from the obligation to flap their arms and draw attention away from the contact their feet makewith the stage.Another chief instance where the companys physical work is used to extend the productionsvocabulary is in the internal transitions. In the short stories that make up Schulzs two books,memory and dream - like states are explored as deeply as any of the human characters. Theinspection of the effects of the passage of time and the decay it brings is also littered throughout theprinted narrative. These states are effectively communicated by allowing their effects on a singlecharacter to be observed. The role of Joseph is the depiction of Bruno Schulz himself. Throughoutthe action of the play he moves fluidly back and forth between the life he lead in reality and the worldhe wrote about in his stories. Students under his tutelage become family members and then customersin the family shop. On stage Joseph exists in a world in which he is an observer. Although hissurroundings are familiar and those who keep his company are recognized as his close relations, heappears always just off-balance and incapable of anticipating a moments probable future. While hisexperiences his journey as moving forward at a consistent pace, the events and people that surroundhim spiral and skip unpredictably. When the characters swirl about the stage, constantly changing thedynamic as they reposition themselves in relation to each other , they alter the setting in which theappear as well. As the characters resolve into the next moment, Joseph is left to catch up with themalthough his interaction with the rest of the group has never ceased. The Official London Theater Guide describes the show as a world of dreams that hasmerged with an absurdist sense of reality. Although this notice can alert a potential audience to thesense of what they might expect to find in...
