Rayuela

This is incomplete (somehow I never got to finishing it), but I think what is there, is useful…

ACT I

p. 15: “What a devilish beautiful little witch.” Spoken by Ill as he remember the young Claire, this phrase contains two key words: “devilish” and “witch”, both of which hint at Claire’s dark side and cruelty. Additionally,  ”devilish” relates to the devil/satan, who buys the souls of humans – which is what Claire does.

p. 15: “Claire loved justice”. This phrase is uttered (ironically) by Ill, when the townspeople are trying to come up with details about  Claire Zachnassian for the Mayor’s speech.

p. 20:

CLAIRE ZACHANASSIAN. I used to call you my black panther.
ILL.  I still am.

The possessiveness expressed in this exchange is important. As Claire has a black panther as a pet (see also below) and used to call Ill by that name “my black panther” hints at something she owns, and something she controls (Ill unwittingly confirming this with his response). The “black panther” hence always has a double meaning in the play and, as we later see, everything that happens to the animal, also happens to Ill. Note also the “used to” (past) versus the “still am”, suggesting contrasting views between Claire and Ill. Claire is very much aware things have changed, Ill, on the hand, is doing his best to rekindle an old flame. However, the finality of Claire’s words suggests that she knows where all this will end – their relationship and endearment are long over.

From this moment on Claire also systematically converses with several important people of Guellen (policeman, priest, doctor, gymnast) and has carefully planned questions for each one of these. First, her conversation with the policeman:

CLAIRE ZACHANASSIAN (inspects him). Thank you. I shan’t want to arrest anybody. But Guellen may need you soon. Can you wink a blind eye to things from time to time?
POLICEMAN. Sure I can, Madam. Where would I be in Guellen if I couldn’t?
CLAIRE. Start learning to wink them both.

The “wink a blind eye” of course signifies ‘closing eyes to something’ – the truth, perhaps, but specifically in the policeman’s case it will be ignoring the changes that start occurring in the town. Claire’s “Start learning to wink them both” hints at how bad things will get – very bad (one eye is not enough, absolute blindness and thus complete denial of the truth are needed).

CLAIRE ZACHANASSIAN. Ah, the Priest. Do you comfort the dying?
PRIEST (startled). I do what I can.
CLAIRE ZACHANASSIAN. People who’ve been condemned to death as well?
PRIEST (perplexed): The death sentence has been abolished in this country, Madam.
CLAIRE ZACHANASSIAN. It may be reintroduced.

This passage foreshadows death, and it is not a natural death. The priest’s reaction is noteworthy and shows that the people of Guellen do start off innocent. Claire herself demonstrates absolute determination in this exchange, her comment that death penalty “may be introduced” suggests certainty, despite the word “may”.

Another person Claire speaks to is the doctor:

CLAIRE ZACHANASSIAN. Interesting. Do you make out Death Certifications?
DOCTOR (taken off guard). Death Certificates?
CLAIRE ZACHANASSIAN. If someone should die?
DOCTOR. Of course, Madam. It’s my duty. As decreed by the authorities.
CLAIRE ZACHANASSIAN. Next time, diagnose heart attack.

This is of course the actual diagnosis that the doctor offers at the end of the play (97).

This conversation is followed by one with the gymnast, to whom Claire says “Marvellous muscles. Ever used your strength for strangling?” (32) Although we do not know who actually kills Ill, we do know that when Ill walks down the “lane of silent men” (97) he “comes up against the Gymnast planted facing him” (ibid) at the end of this line, the reference on p. 32 strongly suggesting this.

Claire also brings items with her that all evoke death. There is the coffin (p. 24), Claire explaining to the perplexed Guelleners that she “may need it”. She also, as already noted, has a cage with “a panther in it” (p. 26, my emphasis) with her. It is significant that the panther is encaged – that is, trapped, with no way to escape. Later on, in Act II,  Claire also receives “wreaths” (p. 40, my emphasis), ornaments that are typically used on graves.

p. 25: The pair, interrogated by the policeman, chant “You’ll soon see, you’ll soon see!”, hinting that something will happen in the near future.

p. 26: The schoolmaster’s reaction to Claire’s arrival also foreshadows that dark events are to come, I explained in more detail in my post on allusions. Several of other allusions are also examples of foreshadowing, e.g. “The Merry Widow” (p. 50), whom Matilda Ill will become, and “Romeo and Juliet”, which foretells the fatal conclusion to The Visit.

p. 30: When conversing with Claire, Ill complains that his children have no “sense of ideals”, to which the old lady responds “They’ll develop one soon”. They do indeed, as Ill’s daughter, Ottilie, starts taking Advanced French and German classes, as well as literature classes and playing tennis, whereas Karl purchases a car.
In the same conversation Ill also says that “Everything is going to be different now”, with Claire ominously answering “Sure”.

ACT II:

The opening scene of Act II contains clear indicators of change, which all point to that the Guelleners will eventually kill Ill – despite the fact that they deny this.

Big Man Tries Beckett…. I saw this, and immediately thought “he must be playing Pozzo” (and he is).

The article also has a link to a review of the original performance (in the US) of Waiting for Godot: Mystery Wrapped in Enigma in Golden. Note the language in the review – it’s definitely from another moment in time. I couldn’t even find “tatterdemalión” in the dictionary (though I think one could trace it online – I have heard the word before).

A definition: term of art

You can find the complete lyrics (and the tune) to the folksong “Oleanna” that gives the play its name here. Oleanna is a wonderful place – a paradise, a child’s dreamland. The “chains of slavery” – those “artifical strictures” of society (the norms and rules within it that force us into specific roles) – do not exist there as everyone is free. However, you can also see from the lyrics that “Oleanna” is an impossible place – one that does not exist and cannot really exist. It is a sort of utopia that is never reached, hence, in the context of Mamet’s play, leaving us with the message that we are forever bound into the society we live in. You may develop your thoughts from there…

Heidi: “Peter suggested Panama Hattie in honor of his favorite musical and her place of birth. I also considered Lilla, Mary, or Grandma, so she’ll grow up to be a painter. And Crystal or Ronette, so she’ll grow up to start a girl group. But that’s a little…” (246)

Heidi: “So I settled on Judy. After ‘A Date with Judy.’ [...] they’ll be doing simple nips and toe tucks at Elizabeth Arden.” (ibid)

Scoop: “The Wicked Cooks. It’s a Günter Grass novel. [...]” (247)
Heidi: “Why don’t they do The Music Man or Johnny Appleseed?” (247)

Scoop: “They all look like Winston Churchill.” (248)

Significance of silver spoon: to “be born with a silver spoon in one’s mouth” is a proverb that means that one is born into a wealthy family, usually with high social standing. The suggestion is that such a person has everything, without having to do anything for it in return.

Women artists:

Prologue, Act I:
Sofonisba Anguissola
Clara Peeters
Lily Martin Spencer

Prologue, Act II:
Lilla Cabot Perry
Mary Cassatt
Berthe Morisot
Artemisia Gentileschi

In final scene of Act II:
Georgia O’Keefee

Male artist:

Prologue, Act I:
Titian
Monet

Rules for being proper – Emily Post’s writing was the ‘bible’ for many years. Take a look, so you may learn how to hold your teacup and divide your conversation into “pre, main and post-meal banter” (as noted in Mona Lisa Smile:

Emily Post: Etiquette

The Heidi Chronicles is closely associated with the feminist movement, something we will be discussing in class. However, to start you off, I am posting some resources on the movement, with a particular focus on what is usually termed “the second wave of feminism”:

The Women’s Rights Movement: 1848-1998
Youtube video on the Women’s Movement (created by students for their AP United States History Class)
Slideshow on 1920’s and 1960’s Women’s Movements: Click on final link on the bottom of the page. The slideshow was created by two students.

The Women’s movement is still continuing, a recent example being a changed Fair Pay Act:
Ledbetter vs. Goodyear: Ruling on Racial and Feminist Pay Discrimination Overturned

As the new president, one of Barack Hussein Obama’s first acts was to overturn a Supreme Court ruling that “curtail[ed] racial minorities’ and women’s ability to challenge pay discrimination”. Signing the so-called “Lilly Ledbetter Fair Pay Act” into law on January 29th, 2009 is considered another important step in achieving equality in the workplace.

We will also watch one of the extra features included on the DVD of Mona Lisa Smile, a film set in the 1950s. In order to get an idea what life was like prior to the second wave of feminism (and why this wave evolved), you might want to watch this particular movie. The characters and story of Mona Lisa Smile are fictional, but based closely on the every-day reality of males and females of that time.

Reference to songs and groups play an important role in The Heidi Chronicles and take us into a musical past that is rather intriguing. Check out these oldies but goldies… some of these are just hilarious. (-:

The following songs are referenced:

“The Shoop Shoop Song” (Cher)
“Satisfaction” (The Rolling Stones)
“Play with Fire” (The Rolling Stones)
“Take a Piece of My Heart” (Janis Joplin)
“White Rabbit” (Jefferson Airplane)
“Respect” (Aretha Franklin)
“You send Me” (Sam Cooke)
“Imagine” (John Lennon)
“Rocky Raccoon” (The Beatles)
“It’s Been a Hard Day’s Night” (The Beatles)
“Here Comes the Sun” (The Beatles)

In the second act, several bands and singers are mentioned when Heidi donates a box of old records to Peter. These include:

The Mamas and the Papas, e.g. “California Dreamin’
Gerry and the Pacemakers, e.g. “You Will Never Walk Alone”
Sam the Sham and the Pharaohs, e.g. “Wooly Bully”… and Sikh turbans (?!)
Theodore Bikel Sings Favorite Worksongs from the Fourth International, e.g. “Kisses Sweeter than Wine” (with Judy Collins)
Mitch Ryder and the Detroit Wheels, “Sock It to Me”
Gary Puckett and the Union Gap, e.g. “Woman, Woman”
(Ricky) Nelson, e.g. It’s Late 1959
The Rocky Fellers, e.g. Killer Joe

Let me know if I have missed any songs and/or bands!