Hello, my name is Fiona Zachel and I am currently a student trying to get my degree in technical theatre (costumes, makeup, lights etc.) as well as cultural anthropology. I am constantly looking for new places to travel, nice people to have tea with, and reading as many books as I can. I hope to move to New Zealand someday (where crime is low and the North wind is warm). My idea of paradise would be a garden and bookstore in one (even though I know such a thing would extraordinarily messy in reality).       "Forget not that the earth delights to feel your bare feet and the wind longs to play with your hair." - Kahlil Gibran   "You've only got one life. It's not a dress rehearsal." - Jim Dale Brief Theatre Bio: I have been hooked on theatre ever since high school and my experience in the technical and design aspect of theatre has only continued to expand.      Since my enrollment at the University of Alaska Fairbanks I have been involved in costume and makeup construction/application, and other technical assistance for many Theatre UAF shows ("Four Farces and a Funeral" December 2005, "Waiting for Godot"   April 2006, "Oleanna" October 2006, "Picnic" April 2007, "No Exit" September 2007), as well as several UAF Student Drama Association productions (Butoh and SDA Comedy Improv Fall 2006, "Power Lunch" and "Danny and the Deep Blue Sea" Spring 2006).       I have also worked as both as a volunteer and a payed employee for Fairbanks Shakespeare Theatre ("The Winters Tale" July 2004 "Henry the 5th" July 2006, and "Antony and Cleopatra" July 2007). Despite my youth, I was asked this past year to be on the Board of Advisors of Fairbanks Shakespeare Theatre.    I have also worked on short term professional performances as a lighting assistant and curtain runner for the Fairbanks Concert Association ("Frogz" January 2007, "The Moscow Circus" January 2008).    Recently I entered the role of stage manager for Theatre UAF's November 2007 "Two Gentleman of Verona," and was assistant director for the 2008 "Vagina Monologues," produced by the UAF student organization Righteous Ladies Rebelling.        I am currently lined up to stage manage Shakespeare's The Taming of the Shrew directed by Carrie Baker and produced by Fairbanks Shakespeare Company.  I ever looking for ways to expand my budding skills in costume design and construction, as well as makeup and mask making techniques.  I am currently a student trying to get my degree in technical theatre (costumes, makeup, lights etc.) as well as cultural anthropology. I am constantly looking for new places to travel, nice people to have tea with, and reading as many books as I can. I hope to move to New Zealand someday (where crime is low and the North wind is warm). My idea of paradise would be a garden and bookstore in one (even though I know such a thing would extraordinarily messy in reality). Theatre Bio: I have been hooked on theatre ever since high school and my experience in the technical and design aspect of theatre has only continued to expand. Since my enrollment at the University of Alaska Fairbanks I have been involved in costume and makeup construction/application, and other technical assistance for many Theatre UAF shows ("Four Farces and a Funeral" December 2005, "Waiting for Godot" April 2006, "Oleanna" October 2006, "Picnic" April 2007, "No Exit" September 2007), as well as several UAF Student Drama Association productions (Butoh and SDA Comedy Improv Fall 2006, "Power Lunch" and "Danny and the Deep Blue Sea" Spring 2006). I have also worked as both as a volunteer and a payed employee for Fairbanks Shakespeare Theatre ("The Winters Tale" July 2004 "Henry the 5th" July 2006, and "Antony and Cleopatra" July 2007). Despite my youth, I was asked this past year to be on the Board of Advisors of Fairbanks Shakespeare Theatre. I have also worked on short term professional performances as a lighting assistant and curtain runner for the Fairbanks Concert Association ("Frogz" January 2007, "The Moscow Circus" January 2008). Recently I entered the role of stage manager for Theatre UAF's November 2007 "Two Gentleman of Verona," and was assistant director for the 2008 "Vagina Monologues," produced by the UAF student organization Righteous Ladies Rebelling.
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 Midterm: Miss Julie by August Strindberg

For those who have The Compact Bedford Introduction to Drama 5^th Edition text book, this scene begins on page 463-465, starting on Jean’s line “You’re very strange, do you know that?” 

Concept:

My main concern was reeling in the audience, and allowing them to identify with the characters of Miss Julie and Jean.  Not only did I want the characters to be familiar, but the setting as well. This lead me to imagine that the play could be set in modern West Coast American (2005-2008), ideally California, where Miss Julie belongs to a American family of old money while Jean is an immigrant from Mexico (who moved illegally to America with his mother when he was a very young child). This would create identifiable class stratification between Miss Julie and Jean, but also b closer to home with American audiences, two worlds attempting to come together, but fumbling and failing (a possible analogy to how America is attempting to handle immigration in this modern age).

What arrested my attention was the class difference between Miss Julie and Jean, yet both of these characters are searching for their own brand of happiness and fulfillment. Jean’s dream of securing his future, his dreams of rising above his current station instantly made me think of him as an immigrant. The longing Jean expresses when he talks about his dreams of controlling his own destiny and not being a servant all his life, channels the ideal of the American dream which has attracted so many immigrants in the past.

The character of Miss Julie could easily slip into the mindset of a 21^st century women. Her divorced parents, failed marriage and her anger toward men, could channel into her own self doubt, her need for verification of her own power and self worth. She has grown up the spoiled little rich girl, conflicted with her father’s machismo manner, as opposed to her mother’s wild ways of an independent woman.  

     Rethinking My Concept:

           After and enlightening discussion with the rest of the class, I have decided to move my setting to modern day Mexico. I have visited Mexico often and have come to the conclusion that the drastic class differences in Mexico as well as the huge public festivals and carnivals would fit for my concept of “Miss Julie.” I began rethinking the Mid Summers Festival in the script as one of the festivals involving lots of dances and partying (such as "Day of the Dead" or "Cinco de Mayo").

            It was proposed to me that this setting, and more importantly the character backgrounds of Jean and Miss Julie would be more believable in modern day Mexico as opposed to West Coast USA. The class/social differences and circumstances of Jean and Miss Julie would be more believable in Mexico, the language of the upper and lower classes still present, but Jean's articulate and romantic speech not as a big of a stretch as it may have been if he was a Mexican immigrant in West Coast America.

    I feel my wish to connect to a more modern audience to Strinberg's play would maybe be not as close to home for an American audience, but still familiar, especially with the recent attention to Latin American and Mexican culture over the past few years. 

Text of "The Fall" Scene from Miss Julie (my tidbits of blocking and comments will be in purple)

Start of Scene, Miss Julie and Jean are waltzing

... JEAN. You know, you're strange.
MISS JULIE. Perhaps. But then so are you.--Besides, everything's                           
strange. Life, people, everything's a scum that drifts, drifts on
across the water, until it sinks, sinks. There's a dream I have from
time to time; I'm reminded of it now.--I'm sitting on top of a pillar
that I've climbed, and can see no way of getting down; when I look
down, I get dizzy, but down I must, though I haven't the courage to
jump; I can't stay where I am and I long to fall; but I don't; and yet
I'll get no peace until I come down, no rest until I come down, down            
to the ground, and were I to reach the ground I'd want to bury myself
in the earth. . . Have you ever felt anything like that?
JEAN. No! I usually dream I'm lying under a tall tree in a dark wood.
I want to climb up, up to the top, and look around over the bright
landscape where the sun is shining, plunder the bird's nest up there
where the gold eggs lie. I climb and climb, but the trunk is so thick,
and so slippery, and it's so far to the first branch. But I know that
if I could only reach that first branch I'd get to the top like on a
ladder. I haven't reached it yet, but I will do one day, even if it's
just a dream.
MISS JULIE. Here I am swapping dreams with you. Come on! Just into the
park! [She offers him her arm, and they go
JEAN. If we sleep on nine Midsummer flowers tonight, Miss Julie, our
dreams will come true.* (waltz fades)
JULIE and JEAN turn in the doorway. JEAN puts a hand to one of his 

eyes.
MISS JULIE. Something in your eye? Let me see. (Another song begins, but it is a slow sensuous salsa, far less formal and constricting than the previous waltz)
JEAN. It's nothing--only a speck of dust--it'll be all right.
MISS JULIE. My sleeve must have caught you; sit down and I'll help
you. [She takes him by the arm and sits him down; takes his head and
pushes it backwards; with the tip of her handkerchief she tries to
remove the speck of dust] Sit still now; absolutely still!--[Slaps his
hand] There! Will you obey me!--I do believe you're trembling, a big                                                                                                                            
strong fellow like you! [Feels his upper arm] With arms like that!
JEAN [warning her]. Miss Julie!
KRISTIN has woken up, walks heavy with sleep to the right, to go to
bed.
MISS JULIE. Yes, Monsieur Jean?
JEAN. Attention! Je ne suis qu'un homme!*
MISS JULIE. Will you sit still!--There! Now it's gone. Kiss my hand,
and say thank you!
JEAN [gets up]. Miss Julie, listen to me.--Kristin's gone to bed now.--
Will you listen to me!
MISS JULIE. Kiss my hand first.
JEAN. Listen to me!
MISS JULIE. Kiss my hand first!
JEAN. All right. But blame yourself.
MISS JULIE. For what?
JEAN. For what? Are you a child? At twenty-five? Don't you know it's
dangerous to play with fire? (they both begin to dance a salsa, very flirtatious, almost dangerous, Miss Julie the one to initiate the dance between them)
MISS JULIE. Not for me; I'm insured.
JEAN [boldly]. No, you're not. And even if you are, there's more
inflammable material around.
MISS JULIE. Meaning you?
JEAN. Yes! Not because I'm me, but because I'm a young man--
MISS JULIE. With a prepossessing appearance--what incredible conceit!
A Don Juan, perhaps? Or a Joseph! Yes, upon my soul, I do believe
you're a Joseph!*
JEAN. Do you?
MISS JULIE. I almost fear it!
JEAN boldly forward and tries to take her round the waist to kiss
her. (Instead of this blocking, Jean dramatically dips Miss Julie close to the floor, bringing his face extremely close to hers, creating a very intimate pose).
MISS JULIE [does not slap him, but pushes him away, X SR]. Cheek!                                  
JEAN. Are you joking or serious?
MISS JULIE. Serious!
JEAN. Then you were serious just now, too. You play far too seriously--
that's dangerous. Now I'm tired of this game, and with your permission
I'll get back to my work. The Count'll be needing his boots, and it's
long past midnight. (Jean picks up boots).
MISS JULIE. Put those boots down!
JEAN. No. They're one of my duties, which don't include being your
plaything. And I never shall be. I hold myself too good for that.
MISS JULIE. Aren't we the proud one! (Miss Julie
JEAN. In some respects, yes; in others, no.
MISS JULIE. Have you ever been in love? (X SL to Jean.)
JEAN. That's not a word we use, though I've fancied lots of girls, and
was once quite sick when I couldn't get the one I wanted. Sick, you
know, like those princes in the Arabian Nights, who couldn't eat or
drink for love.
MISS JULIE. Who was she? [JEAN remains silent] Who was she?
JEAN. You can't make me tell you. (turning away from Miss Julie, he attempts to avoid looking at her)
MISS JULIE. Suppose I ask you as an equal, as a--friend? Who was she?
JEAN. You! Jean turns to face Miss Julie

MISS JULIE [sits on sofa]. How priceless!                                                                                                          
JEAN. Yes, if you like. It was ridiculous.--You see, this is the story     
I didn't want to tell you just now, but now I'm going to. Do you know
what the world looks like from down below?--No, you don't. Like hawks
and falcons, whose backs we seldom see because they mostly soar on
high. I lived in a hovel with seven brothers and sisters, and a pig
out in the grey fields, where there wasn't a single tree. But from the
window I could see the wall of his Lordship's park, overhung with
apple trees. It was the garden of paradise, surrounded by angry angels
who watched over it with flaming swords. All the same, along with the
other boys I found a way to the tree of life*--now you despise me--
MISS JULIE. Oh! All boys steal apples.
JEAN. You say that now, but you still despise me. Never mind. One day
I went into this paradise, along with my mother, to weed the onion
beds. Alongside this patch of garden there was a Turkish pavilion,*
shaded by jasmines, and overgrown with honeysuckle. I'd never seen
such a beautiful building, and had no idea what it was for. People
used to go in and come out, and one day the door was left ajar. I
stole in. The walls were all covered with portraits of kings and
emperors, and over the windows there were red curtains with tassles on
them--now you know what I'm talking about. I [he breaks off a spray of
lilac and holds it under MISS JULIE's nose], I'd never been inside the
Hall, never seen anything except the church--but this was more
beautiful; and wherever my thoughts strayed, they always came back--
there. Gradually I was overcome by a longing just once to experience
the full delight of--enfin,* I crept inside, saw, and marvelled. But
then I heard someone coming! There was only one way out for the
gentry, but for me there was another, and I had no choice but to take
it.
MISS JULIE, who has taken the lilac blossom, lets it fall on the
table.
JEAN. Then I began to run, bursting through the raspberry bushes, and
across a strawberry patch, until I arrived at the rose-garden. There I
saw a pink dress and a pair of white stockings--it was you. I lay down
under a pile of weeds, under--can you imagine it?-under thistles which
pricked me, and wet earth that stank, and I thought: if it's true that
a thief can enter heaven and dwell with the angels, then it's strange
that a labourer's child here on God's earth cannot enter the Hall park
and play with the Count's daughter.
MISS JULIE [sentimentally]. Do you suppose all poor children feel the
way you did on that occasion?
JEAN [at first hesitant, then with conviction]. If all poor--yes--of
course. Of course!
MISS JULIE. It must be a tremendous misfortune to be poor.
JEAN [with deep pain, and powerful emotion]. Oh, Miss Julie! Oh!--A  Jean makes the decision to sit down on the couch, but Miss Julie is on the far SR of the
dog may lie on the Countess's sofa, a horse may have its nose stroked  sofa while Jean is on the far SL side
by a young lady's hand, but a common drudge!--[He changes tack ] Oh,
all right, now and then a man has what it takes to hoist himself up in
the world, but how often is that?--Do you know what I did then,
though?--I ran down into the millstream with all my clothes on, got
dragged out, and was given a thrashing. But the following Sunday, when
father and all the others went to call on my grandmother, I saw to it
that I was left at home. Then I washed myself in soap and warm water,
put on my best clothes, and went to church--to see you. And when I'd
seen you I returned home, determined to die. But I wanted to die
beautifully and pleasantly, without pain. I remembered it was
dangerous to sleep under an elder bush. We had a big one, just then in
flower. I stripped it of everything it held, and made up a bed for
myself in the oat-bin. Have you ever noticed how smooth oats are; soft Jean cautiously strokes Miss Julies cheek/or arm, but with his line "Anyway" he draws
to the touch like human skin?-- -- --Anyway, I shut the lid, closed my      himself back
eyes, and fell asleep. When they woke me up I really was very ill. But
as you see, I didn't die. I don't know what I was after, really. There
was no hope of winning you, of course, but you stood for how hopeless
it was ever to escape from the class in which I was born.
MISS JULIE. You're a charming storyteller, you know. Did you go to Jean and Miss Julie have closed the space between them on the sofa
school?
JEAN. A bit. But I've read lots of novels and been to the theatre.
Besides, I've heard posh people talk. That's what's taught me most.
MISS JULIE. Do you listen to what we say?
JEAN. Of course! And I've heard plenty too, sitting on the coachman's
box or rowing the boat. Once I heard you and a girlfriend. . .
MISS JULIE. Indeed?--What did you hear? Miss Julie moves even closer to Jean
JEAN. Really, it wouldn't bear repeating. All the same, I was a bit
surprised. I couldn't understand where you'd learned all those words.
Maybe at bottom there isn't such a big difference as they say there is
between people and--well, people.
MISS JULIE. Shame on you! We don't behave like you when we're
engaged.
JEAN [stares at her]. Is that so?--It's no good playing the innocent
with me, you know. . .
MISS JULIE. That man was a swine. And I loved him!
JEAN. That's what you always say--afterwards.
MISS JULIE. Always?
JEAN. Always, yes, I'd say so. I've heard the expression several times
before, on similar occasions.
MISS JULIE. What occasions?
JEAN. Like the one in question. The last time-- -- --
MISS JULIE [gets up]. Be quiet! I don't wish to hear any more. Miss Julie X DSR
JEAN. She didn't wish to, either--it's strange. Well, in that case, Jean rises from the sofa
have I your permission to go to bed?
MISS JULIE [softly]. To bed! On Midsummer Night?
JEAN. Yes! Dancing with that lot up there doesn't exactly amuse me.
MISS JULIE. Get the key to the boat and row me out on the lake; I want      Miss Julie X SL to Jean
to see the sunrise.
JEAN. Is that wise?
MISS JULIE. You sound as though you're worried about your reputation.
JEAN. Why shouldn't I be? I don't want to become a laughingstock nor
be dismissed without a reference, not now that I'm beginning to get on
in the world. And I've a certain duty to Kristin, I believe.
MISS JULIE. Oh, so it's Kristin now-- -- -- Miss Julie turns away (SR) from Jean
JEAN. Yes, but you too.--Take my advice, and go back up to bed.
MISS JULIE. Me? Take your advice?
JEAN. Just this once; for your own sake! I beg you! It's late, you're
tired and therefore drunk and hot-headed. Go to bed! Besides--if my    The crude music of the the other servants can be heard
ears don't deceive me--they're coming here to look for me. And if they
find us here together, you're lost!
Voices singing in unison are heard approaching. This song should be in Spanish, but the way the song is sung there should be no doubt that this is a very dirty,  innuendo laden song.
There came two women from out the wood
Tridiridi-ralla tridiridi-ra.
One with her feet both bare and cold
Tridiridi-ralla-la.

And money it seems was all their game
Tridiridi-ralla tridiridi-ra.
Though neither had a sou to her name.
Tridiridi-ralla-la.

The bridal wreath I'll give to you,
Tridiridi-ralla tridiridi-ra.
But to another I'll be true.
Tridiridi-ralla-la.*
MISS JULIE. I know these people, and I love them, just as they love
me. Let them come, you'll see! (begins to X SR to the door, Jean attempts to block her, to prevent her from reaching the door)
JEAN. No, Miss Julie, they don't love you. They eat your food, but
afterwards they spit. Believe me! Listen to them, just listen to what
they're singing!--(Miss Julie dodges around Jean and opens the door) No, don't!
MISS JULIE [listens]. What are they singing?
JEAN. It's an obscene song! About you and me!
MISS JULIE. How horrible! Oh, how two-faced!--
JEAN. That's the rabble for you, they're all cowards! You can't fight
them. Better run away.
MISS JULIE. Run away? But where? We can't get out! Or go in to
Kristin!
JEAN. Into my room, then? Necessity knows no law; and you can trust
me, I'm your true, loyal, and respectful friend.                                                   The physical barriers between Jean and Miss Julie are crumbling, they both standing
MISS JULIE. But suppose--suppose they were to look for you there?        CS, between the couch and the door face to face.
JEAN. I'll bolt the door, and if anyone tries to break in, I'll shoot!-
Come! [Kneeling] Come on!                                                                                 Instead of kneeling, Jean takes a few steps to his room (SL), but stops and offers Miss Julie
MISS JULIE [significantly]. You promise-- -- --                                          his hand. With her line "You promise" Miss Julie accepts Jean's hand.
JEAN. I swear!

 Analysis and Directors Notes:

    Working through this scene both in my head and in rehearsal instantly got me to thinking about how the interaction between Jean and Miss Julie seemed like many of the Latin dances I have seen performed or done myself. The interaction between the woman and the man, each teasing (often the woman seducing the man, then defying and playfully denying him in the dance, but a seduction occurring between both parties culminating in unified. The way I interpreted the script I saw Miss Julie being the openly flirtatious dancer, invading Jean's personal space, teasing him, but burning both hot and cold as her emotions zing from frisky to frigid. 

On the opposite side of the spectrum there is Jean, trying to control his own impulses, but instead of trying to kiss Miss Julie, Jean dips her very low and close to his body as they are dancing salsa. Not only a daring move, this maneuver can be very intimate, especially when the couple takes a slow salsa as opposed to a fast one.

    I was lucky enough to have both of my actors be open to the idea of dancing during sections of the scene, opening with a more formal, slow waltz, then moving onto a sensual seductive Salsa as Miss Julie's boldness and Jean's inner conflict between his tightly controlled emotions/behavior vs. his not so hidden desires and dreams beyond his servant status come to the surface early in the scene, in this case through dancing.

    Yet, as much as physical contact can increase the tension of a scene, I also realized the importance of when hold back when it came to physical porximiity between Jean and Miss Julie. To have Jean and Miss Julie physical interaction to decrease but keep the tension between them emotionally will have more of an impact than them bing overly bold with each other for the rest of the scene. As soon as the ritualized interaction of dance ends and the potential to interact with Miss Julie on a more private, vulnerable level emerges (Jean's story of his childhood infatuation with Miss Julie) Jean and Miss Julie's physical interaction becomes far more cautious, Jean barely gathering the courage to caress Miss Julie on the cheek/or arm with his line " Have you ever noticed how smooth oats are; soft to the touch like human kin?." This physical interaction for Jean is very much like a humming bird, darting in briefly to have one daring touch or caress, before drawing away. Jean surely wants to become closer to Miss Julie, but his fear of losing his own self-control, and stepping beyond the supposedly safe borders of dancing to party music with Miss Julie, create a physical expression of his inner conflict of desire and social stratification. 

        The end of this scene is now not so much about sexual attraction but the need of reassurance, honesty and comfort, at least on Miss Julie's part. For Jean this is the moment when he decides he wants to let down his barriers, let himself go/fall for Miss Julie. He ceases to care what the consequences may be in the future and lets his desires and dreams fulfill themselves in moment, no longer stifled by the structure of society which he and Miss Julie inhabit.