Friday, February 14, 2014

Gente, Gente - Staging Notes

Figaro has rolled away from Susanna and is on the floor. He puts his head in his elbow to sing: Pace, pace, mio dolce tesoro, io conobbi la voce che adoro e che impressa ognor serbo nel cor.                                      

Susanna melts
“La mia voce?”        
                                      
Figaro sticks his hand up:
“La voce che adoro.”  
                                       
Susanna lifts him up and hugs him. Head in chest. “Pace, pace, mio dolce tesoro, pace, pace, mio tenero amor.”        
                                       
Count comes onstage from the audience wearing nothing but his long johns.
“Non la trovo e girai tutto il bosco.”
                                       
Susanna and Figaro see the Count and start laughing. “Questi è il Conte,alla voce il conosco.”
                                       
The Count calls out to the audience.
Ehi, Susanna - sei sorda - sei muta?
                                       
Susanna’s doubled over from laughing so hard.
Bella, bella! Non l'ha conosciuta.   

Figaro is confused.
“Chi?”
                                       
Madama! Madama? Madama! Figaro laughs really hard.
                                       
Make hand motions as though explaining silently what to do. Point to the ground in lots of different ways I guess..
La commedia, idol mio, terminiamo, consoliamo il bizzarro amator!      
                                       
Figaro kneels before Susanna. Makes huge broad gestures.
Sì, madama, voi siete il ben mio!  
                                       
The Count tries to hide behind the flowers.
La mia sposa! Ah, senz'arme son io.
                                       
More broad gestures.
Un ristoro al mio cor concedete.   
                                       
Susanna kneels on the ground next to Figaro.
Io son qui, fate quel che volete.  
                                       
The Count rises from the floor to his knees too.
Ah, ribaldi!                                        
Susanna lies on the floor, possibly with legs up.
Ah, corriamo, mio bene,  e le pene compensi il piacer. Figaro looks down at her suggestively. Then dives into the floor above her.
                                    
The Count pulls Figaro off Susanna, then pulls him center stage by the ear. Susanna could shriek here. Then runs off the stage. Gente, gente, all'armi, all'armi!
                                       
Figaro could possibly gasp before this line.
Il padrone!
                                      
The Count punches Figaro in the stomach.
Gente, gente, aiuto, aiuto!      
                                       
Figaro crosses himself and makes fake fear.
“Son perduto!”
                                       
All the men runs onstage from the audience.
Cosa avvenne?                       
                                       
Hold Figaro uncomfortably, possibly by the face.
Il scellerato m'ha tradito, m'ha infamato  
e con chi state a veder!
      
                                       
Everybody looks at each other.
Son stordito, son sbalordito, non mi par che ciò sia ver!         
                                       
Figaro is still laughing through his pain.
(Son storditi, son sbalorditi,
oh che scena, che piacer!)
 
                                       
Drags Figaro over to the side of the stage with the entrance.
Invan resistete, uscite, madama, il premio or avrete di vostra onestà!  

The Count goes up to the edge of the stage. Pulls out Cherubino, also in his long johns.
“Il paggio!”
                                       
Barberina runs after him, also in her long johns or something the like. Mia figlia!  Technically Antonio says this but it works just as well with Bartolo.                    
                                       
Marcellina casually saunters in from the audience, talking and laughing with Susanna.
Mia madre!   
                                       
Susanna’s hat still covers her up.
Madama!

The Count is holding Figaro. Now drags him to the other side of the stage.
Scoperta è la trama, la perfida è qua.
                                       
Susanna kneels and bows.
Perdono! Perdono!
                                       
The Count says it with venom.
No, no, non vo' darlo!.  

Figaro gets out of the Count’s grip, goes to his knees, and clutches at the Count’s legs. His voice needs to sound fakely contrite.
Perdono! Perdono!
The Count makes swishing motions through the air.
No, no, non sperarlo.
                                       

One by one, everybody kneels.
Perdono! Perdono!
                                       
“No, no, no!” On the last ‘no’, the Count tries to go after Susanna as though to hit or manhandle her. Figaro trips him.
                                                        
The Countess gradually through all this becomes visible, walking from the audience onto the stage with her baby.
Almeno io per loro perdono otterrò.
                                       
All the men except Figaro cross themselves. Basilio and Bartolo grip each others hands. The Countess stands over Susanna and hands her the baby.
Oh cielo, che veggio! Deliro! Vaneggio! Che creder non so?                                          
The Count gets on his knees and begins to cry. The apology must seem somewhat sincere.
“Contessa, perdono!”                 
                                       
The Countess moves up to the Count through his apology, then slaps him in the face. Then takes his hands and lifts him up to his feet.
Più docile io sono,e dico di sì.
                                       
The Count then tearfully moves to Susanna and Figaro, kneels before them as though to apologize. Figaro takes the baby from Susanna and hands it to the Count. Ah, tutti contenti saremo così.
                                       
The waiter brings champagne onstage. Basilio takes glasses and hands them out to everybody. There are two tableaus here. The Count and the Countess with their baby on one side of the stage. Bartolo, Marcellina, Figaro, Susanna, Cherubino, Barberina on the other side. Basilio in the middle of them all.  
Questo giorno di tormenti, di capricci, e di follia, in contenti e in allegria  solo amor può terminar. Sposi, amici, al ballo, al gioco, alle mine date foco! Ed al suon di lieta marcia corriam tutti a festeggiar!

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