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• W266505409 abstract "On 20 June 2004 Sam Woodhouse's production of Jean Genet's play The Maids opened in the intimate, fifty-seat 6th @ Penn Theatre in San Diego, California. As the lights dim, the characters Solange and Claire-played by Dana Hooley and Laurie Lehmann-Gray-appear and ceremoniously pull down several pieces of cloth, revealing three television monitors placed on stage, their screens giving a soft and luminescent grayish glow. As the stage lights rise we see a small stage containing a couch, an ottoman, a vanity table, and two chairs. The set is also cluttered with numerous nightgowns and dresses of cream-colored chiffon, lace, and satin, hanging from wires suspended above the stage, giving a claustrophobic ambience to the space where the action takes place as the characters begin the role-playing ritual that has made the play famous. What makes this particular production noteworthy is Sam Woodhouse's use of the television monitors. These monitors reflect the action being performed before the audience from perspectives beyond those available to the audience members, and thus are not simply part of the production backdrop. They play a key role in the physical actions performed before us, heightening thematic issues of the play as well as an urgent cultural issue in the United States: that of and notoriety, and the search for personal validation as seen in media coverage. It is this interplay between the characters, the cameras, and monitors, and the ideas surrounding identity as performance that deserves investigation. I worked on the production as one of two dramaturge, and in my early meetings with Sam Woodhouse we discussed his desire to use cameras and monitors in the production. He wished to integrate the video and camera work into the blocking on stage as a coherent unit. His reasoning for this incorporation came from both the cultural significance of the media-identity and the text itself, particularly the notion of the maids performing their rituals and narratives before an audience. In this text there are several audiences in play: the first is the audience sitting in the auditorium of the theatre; secondly, there is the imagined audience Solange refers to at the play's end; and finally there is the audience of Solange and Claire themselves who each comment on the other's performance and, by extension, on their own. However, the performances do not simply reside in the rituals in which characters adopt other roles (Solange-as-Claire and Claire-as-Madame) but also in how they perform their normal identities (both Solange and Claire as maids in and outside of Madame's presence). Woodhouse's introduction of the television monitors and the cameras situated on stage, along with a single hand-held camera operated by the actors, draws attention to the different audiences at play, particularly when Solange holds up video tapes from previous recordings-recordings that imply Solange and Claire watch their own performances. The cameras and monitors play not only to the performativity of the characters-maid-as-mistress, maids-as-maids, mistress-as-mistress-but also on the importance of the and its relation to notions of authenticity and inauthenticity where the subject's sense of validation is contingent on how he or she is perceived. There are many instances in the text of one maid referring to the other as a mirror, commenting on the notion of reflection. This mirror image is extended to their performances of their rituals, as they construct new identities borrowed from their surroundings, trying to free themselves from their own identities, if not from their socially-situated spaces. These constructed identities must be seen in order to be validated and Woodhouse wanted to extend the to a mediated gaze on television while retaining the unmediated gaze of the eye. I believe that the director's choices highlighted a notion intrinsic within the text: performed socially constructed identities. …" @default.
• W266505409 created "2016-06-24" @default.
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• W266505409 date "2005-07-01" @default.
• W266505409 modified "2023-09-24" @default.
• W266505409 title "Refracted Televisual Reflections: Genet's the Maids, Television, and Validating Performed Identities" @default.
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