ABSTRACT
I hold up none of my examples for other producers necessarily to copy. We could have Hamlet perfectly well leaning against the King’s throne for his long soliloquy: it would look quite effective. That, too, would be significant: whatever we do on a formally devised set must be significant; just as, whatever we do on an unduly realistic set, is non-significant. The play’s central wholeness is implicit all along its circumference, and the stage-centre, and other permanent centres of interest elsewhere, should be used to spatialize that ideological centrality and core of wholeness discussed in our first chapter and lend point and balance to conflicting persons facing each other across the stage. Therefore for any one producer at any one time certain movements will usually be far better than others; some will be excellent, some disastrous.
