Directed & Choreographed by Aaron Brown

Thank you so much to Stan Denman, JoJo Percy, Lauren Weber, Alex Kostadinov, Taylor Vasek, Noah Patten, Scott Jones, Weston Beckham, Graham Bryant, Halley Platz, Mitch Winkler, Amanda Lassetter, Ryan Joyner, Chris Hergert, Ramzi Kelley,

Sylvia Fuhrken, Josh Wilson, Jordan Rousseau, Holly Brown, Tim Unroe, my wonderful cast, my fellow grad students, and #Lemondae! for helping me get through this week.

Book and Lyrics by Steven Sater Music by Duncan Sheik

Based on the play by Frank Wedekind

Directed & Choreographed by

Aaron Brown

Act 1 Cast List

Melchior Gabor ............................................................................................................................ Ryan Burkle

Wendla Bergman .................................................................................................................... Meagan Reese

Moritz Stiefel ........................................................................................................................ Christian Boulter

Martha ...................................................................................................................................... Reagan Seiler

Georg .................................................................................................................................... Christopher Dorf

Ilse ..................................................................................................................................... Susannah Metzger

Ernst .............................................................................................................................................Jacob Stucki

Thea......................................................................................................................................... Juliana Zepeda

Hanschen..................................................................................................................................... Nicolas Pena

Anna ............................................................................................................................................ Ramzi Kelley

Adult Man ...................................................................................................................................... Patrick Hill

Adult Woman .............................................................................................................................. Laura Pound

Creative Team

Music Director .......................................................................................................................... Lauren Weber

Lighting Designer......................................................................................................................... Taylor Vasek

Stage Manager ............................................................................................................................ Noah Patten

Assistant Stage Manager ............................................................................................................... Scott Jones

Rehearsal Accompanist ......................................................................................................... Alex Kostadinov

Fight Choreographer ................................................................................................................... Laura Pound

Board Technicians ........................................ Weston Beckham, Graham Bryant, Halley Platz, & Mitch Winkler

57

54

Song

Length

CutRev

isedLen

gthNot

esMam

aWhoB

oreMe

02:28

No02:2

8Mam

aRepris

e01:3

1No

01:31

AllThat'

sKnown

01:50

yes01:3

0cut.

Mm.26

-37The

Bitchof

Living

03:02

Yes02:3

6Cut

mm.61

(beat2

&)to7

3My

Junk

02:28

No02:2

8Tou

chMe

04:59

Yes03:4

5Cut

mm.47

-72Wo

rdofYo

urBody

03:08

Yes01:5

0Cut

mm.27

-end

DarkIK

nowWe

ll03:1

0No

03:10

Maybee

ndrepe

ats,spe

eduptr

ackwhe

nIlsest

artsAnd

ThenTh

ereWe

reNone

04:07

Yes02:4

7Cut

mm.21

-42and

mm.70

-75Mir

rorBlue

Night

02:29

Yes01:2

1Cut

mm.12

(beat3

)-36IBe

lieve

02:32

No02:2

4

Total

31:44

25:50

NotesonSo

ngCuts

55

Character/SongBreakdown

CharacterVocalRange

MamaWhoBoreMe

MamaWhoBoreMeReprise

Allthat'sKnown BitchofLiving MyJunk

Wendla E3-E5 X X XMartha E3-E5 X XThea E3-E5 X XAnna E3-C5 X XIlse E3-E5 X XAdultWoman D3-A4 Melchoir G2-B4 X X XMoritz C3-A4 X xHanschen Ab2-D5 X XErnst Ab2-A4 X XGeorg Ab2-D5 X X

TouchMe

WordofYourBody

DarkIKnowWell

WordofYourBodyReprise

ThenTherewereNone

MirrorBlueNight IBelieve

W X X X

(Dialogue)M X X XT X XA X XI X X X

AW X X

MEL X X XX

(Dialogue)MO X X XH X X X X X XE X X X X XG X X X X XAM X X X

56

CostumeBreakdown

Production Needs

58

Female MaleTeenagers • Dresstocovertheknee(no

cleavage)• Smallfloral,solid,or

texturedpatterns(Wendlainplumb)

• Muted,darkcolorsinthecoolfamily

• Kneehighsocks(blackorgrey)

• BlackMaryJane’sorflats• Armscovered

• Blackpantsorjeans

• whitebuttonupshirt

• vest(grey,maroon,orblue),suspenders,orcardigan

• Tie• Blacksocksand

shoesAdult • Floorlengthbrowndress

• Blackstockings• Blackcharactershoes• Shawl• Apron

• Browntweedsuit• WhiteShirt• Vest• Hat• Tie• BlackSocks• BlackShoes

Ireservetherighttovetoanypiecesyoubringin.Thegoalofthisisnotforyoutohavetogobuythings,butfindandborrow.

59

SetPieces

• 2Benches• 11WoodenBackChairs• 1pieceoflinedfabric(8ft.by16ft.)• 40assortedpiecesoftext(English,Latin,Greek,&German),suspendedaroundtheboarderoftheplayingspace

• 30hangingexposedlightbulbs

60

ExamplesofourassortedTexts

61

PropertiesList

• 2Benches• 11WoodenBackChairs• 12RedBooks• 1LeatherBoundJournal• 5diaries• 12Woodenpencils• YardStick• 2foot-Dowelrod• 12essaypapers• PictureofIobyCorreggio• Blanket• Platterofcookies

62

SpringAwakening—ContentWarningAsmostofyouareaware,thegraduatestudentsaredirectingSPRINGAWAKENINGfortheirmusicalscenesattheendofthesemester.Mostofyouprobablyknowthemusicalanditschallengingcontent.Forthoseofyouwhodon’tknowtheplay,SPRINGAWAKENINGisaboutthecomingofageofagroupofadolescentsinaverysexuallyrepressedsociety.Amongotherthings,thiswell-writtenandcritically-acclaimedmusicalexploresconflictscenteredontheconsequencesofextremePuritanicalattitudestowardsex,sexualtaboosinsociety,andwhathappenswhenyoungpeoplegrowingintoadulthoodarekeptinignoranceabouttheirownsexualityandthepower(forgoodorill)thathumansexualityholdsinbothourspiritualandphysicallives.Thediscussionisstraightforward,heartbreaking,andattimes“graphic,”butnotgratuitous.WeintheBaylorTheatrecommunitywanttoberespectfulandresponsiblewiththispowerfulmediumoflivetheatre.So,weareprovidingthiscontentwarning.Further,thiswillNOTbeamandatoryworkshop.Ifthereissomesituationoroccurrence,pastorpresent,inyourlifethatmakesyoufeelthatitwillbeunsafeforyouto“relive”scenesanddialogueaddressingsexualabuseorviolence,youdonothavetocometoworkshoponFridayApril29th.Attendanceatthisworkshopwillbeconsideredextracreditandwillsimplybeusedtoeraseanyearlierabsencefromworkshopduringthesemester.

ThereasonthatweoftendodifficultworkslikeSPRINGAWAKENINGintheworkshopsettingissothatwecanengageindialogueaboutthecontentandwhatitmeanstoourChristianMissionandouridentityasafaith-baseduniversity.Theabilitytodothisiserodedaway,however,whenweareeitherthoughtless,carelessoraresilencedbyindividualswhoareunwillingtoengageinthisdialogueandareunsympathetictothespecificchallengeswefaceasartistsoffaith.Forthesereasons,Iaskthatifyouwishtobringanyfriendsorfamilytoseethisworkthatyoubejudiciousaboutwhoyouarebringing,thatyoupreparethemforthecontentoftheplay,andthatyouletyourdirectorknowthenamesofthepeopleyouarebringing.Extendgrace.Peace,Stan

63

Ground Plan

64

65

Annotated Script

66

CharactersMelchiorGaborWendlaBergmanMoritzStiefelHanschenRilowErnstRobelGeorgZirschnitzOttoLammermeier*MarthaTheaAnnaIlseAdultManAdultWoman

*Forthisscene,IcuttheroleofOtto,duetolimitationsofat

casting.

67

68

69

70

71

72

73

74

75

76

Ensemble X to US chairs/ W x to C Chair

W x US of chair & stand on it

FB en DR & X to W

1

W

W gets off chair

1

2

FB

4

3

77

#3

#4

#1

#2

78

W loop DS L

FB sit in chair

W x DR

W x to FB

W x DR

FB stands up

FB x DR

W cuts off FB

1

W

1

FB

3

4

2

5

6

7

79

#1

#2

#3

#4

#5

#7

#6

#8

#1

#2

#3

#4

#5

#7

#6

#8

80

W brings chair DR to FB

FB Sits & W puts head in her lap, FB covers W’s head with apron

FB lifts apron

FB takes apron off W

FB

W

1

1

81

#1

#2

#3

#4

#1

#2

#3

#4

82

FB Freezes in pose

FB ex USL with chair

Male trans into school

1

FB

W

2

83

#1

#2

#3

#1

#2

#3

84

G Stands

G sits & H stands

H Sits & E stands

E sits & Mz stands

H

E

G

MZ

M

HS

2

85

#1

#2

#3

#4

#1

#2

#3

#4

86

HS x Right

M stands

HS hits H’s shoes with switch

H

E

G

MZ

M

2

HS

1

2

87

#1

#2

#3

#1

#2

#3

88

HS hits M with switch

HS hits M with switch

M & Mz Sit

HS x USC

H

E

G

MZ

M

2

HS

1 & 2

4

89

#1

#2

#3

#4

#1

#2

#3

#4

90

M x US to HS

M x DR

M x L

M x DC

H

E

G

MZ

M

2

HS

1

2

3

4

91

#1

#2

#3

#4

#1

#2

#3

#4

92

M x US, R of chair

M sits in chair

HS x back and forth behind row of boys

H

E

G

MZ

M

2

M

HS

1

2

3

93

#1

#2

#3

#1

#2

#3

94

HS x to Mz

FK en with Letter, HS x to her

H

E

G

MZ

M

2

HS

1

FK

2

95

#1

#2

#1

#2

96

H

E

G

MZ

M

2

97

98

H

E

G

MZ

M

Boys x Us to clip paper/HS & FK x US

2

99

#1

100

E x DR to ex w/ chair

H x to E

H & E ex DR w/ Chairs

G ex DR with chair

Mz sits in chair

M shifts chair to face Mz

G picks up chair

M

Mz

HS & FK

2

1

2

3

5

101

#1

#2

#3

#4

#5

#6

#7

#1

#2

#3

#4

#5

#6

#7

102

HS & FK

M straddles chair backwards

Mz stands

Mz begins to ex but returns

Mz x DR

Mz stops

M & Mz ex DR w/ chairs

HS & FK x DSC

Boys en UR to set up the bridge

M

Mz

3

4

6

7

103

#1

#2

#5

#3

#4

#6

#7

#1

#2

#5

#3

#4

#6

#7

#8

104

HS & FK ex DL

HS & FK

2

1

105

#1

#1

106

Girls x Bridge, UR to DL

3

Girls

1

107

#1

#1

108

T

W

I

M

A

Boys ex to chairs

T x left

Other girls x to T

Girls squeal, sit on ground, & write in diaries

T

W

I

M

A

3

2

3

4

1

109

#4

#2

#3

#1

110

Ensemble sets up piano/ H sets chair

HR knocks and stands on bench USL

T

W

I

M

A

Mz

M

H

G

E

HR

3

FG

1

2

111

#1

#2

#1

#2

112

HR sits on bench

FG & G freeze

HR stand on USL bench

HR sits on bench

T

W

I

M

A

Mz

M

H

G

E

HR

3

FG

1, 3, 6

113

#2

#1

#3

#4

#2

#1

#3

#4

114

Ensemble Trans. into 1.4

3

G

H

FG

115

#1

#1

116

M

Mz

M journaling at desk

Mz en DL

Mz x UR

Mz Sits

4

2

2

117

#1

#2

#3

#4

#1

#2

#3

#4

118

M

Mz

M sits

Mz Scoots closer into desk

FG en UR

FG x to Mz

4

FG

4

119

#1

#2

#3

#4

#1

#2

#3

#4

120

M

Mz

FG ex UR

M x DR

M x to Mz

M x to front of desk

4

FG

1

2

3

4

121

#1

#2

#3

#4

#1

#2

#3

#4

122

M

Mz

Ensemble unclip essays from strings US

E stand on bench

4

123

#1

#1

#2

124

M

Mz

Mz ex DL

M x DL

FG en UR

M tuck in Mz chair

4

1

2

3

125

#1

#2

#3

#1

#2

#3

#4

126

FG tuck in M’s chair

FG ex with cookies UR

4

FG

M

2

127

#1

#2

#1

128

Ensemble trans. to forest

E

M

I

Mz

T

A

H

G

Collective sigh

4

129

#1

#1

#2

130

E

M

I

Mz

T

A

H

G

W en US, sees M, hides behind tree, then speaks

M stands up startled

M x US of E

W x DS of E

5

M

W

1

3

4

131

#1

#2

#3

#4

#1

#2

#3

#4

132

E

M

I

Mz

T

A

H

G

M lean on chair (tree)

W x DR to ex

W Stops and turns to M

M x to W

W takes a step back from M

5

W

M

2

4

133

#1

#2

#3

#4

#5

#1

#2

#3

#4

#5

134

E

M

I

Mz

T

A

H

G

M x DS of E & sits

M offers hand to W

W takes M’s hand and sits

M lays down

W lays down

M & W hold hands

M & W let go of hands

M & W sit up

M & W lean into one another

5

W

M

1

3

135

#1

#3

#2

#4

#5

#6

#7

#8

#9

#1

#3

#2

#4

#5

#6

#7

#8

#9

136

E

M

I

Mz

T

A

H

G

W stands

M stands

M gets journal, takes W’s hand, and ex DR

Ensemble trans

5

W

M

3

137

#1

#2

#3

#1

#2

#3

#4

138

6

139

140

HK

FK

HK enter DL/ FK en UR

FK & Hk x C

They stop

Continue walking, Laugh, and exit

6

2

2

3

3

141

#1

#2

#3

#4

#1

#2

#3

#4

142

Girls en C & x DL

M

W

A

T

M

W

A

T

T x R

W x to M

M x UR

7

1

2

3

4

143

#4

#1

#2

#3

144

M

W

A

T

A x to M

M turn to face A

M x DL

M lifts sleeve and dress to show bruises

Girls x to M

7

1

3

5

5

5

145

#1

#2

#3

#4

#5

#1

#2

#3

#4

#5

146

M

W

A

T

M x DL

I stans US

I

M turns to girls

W x to M

A ex US

Girls ex US, Martha stops C

7

1

4

5

6

147

#1

#2

#3

#4

#5

#6

#1

#2

#3

#4

#5

#6

148

M

M’s mother x to M and primps her

M x DR

G en DR

G grabs M

G kisses M’s neck

G drags M US

7

FB

G

1

2

3

6

149

#1

#2

#3

#4

#5

#6

#1

#2

#3

#4

#5

#6

150

I’s Father en UL

M & G

I

I stands on Bench UL

I x DS

E en DL & X to I

I & M x DS

H & Adult Man en from DL & DR

I & M push away 2 men

I & M push away 2 men

Trans. to forest

7

HN

1

E

5

H

AM

4

6

6

151

#1

#2

#3

#4

#5

#6

#7

#8

#9

152

E

M

I

Mz

T

A

H

G

7

153

154

E

M

I

Mz

T

A

H

G

M

Mz en UL/FK, HK en DL

Mz ex dL/FK, HK ex UL

W en DR

8

Mz

FK

HK

1

1

2

2

W

155

#1

#2

#3

156

E

M

I

Mz

T

A

H

G

M

W

W x L

M x to W

W turn to face M

W x USC

W Grab switch from E

8

1

2

4

157

#1

#2

#3

#4

#5

158

E

M

I

Mz

T

A

H

G

W

M

M x UR

W x to M

M x US of E & W follows DS of E

M stops

8

1

2

3

3

159

#1

#2

#3

#4

160

E

M

I

Mz

T

A

H

G

M

W

W pulls M DC

M lightly hits W w/ switch

W raises her dress

W grabs M

M pulls W to him & strikes her repeatedly with the switch

8

1

161

#1

#2

#3

#4

#5

162

E

M

I

Mz

T

A

H

G

M

W

M pulls W to him

M pushes W down

M drops switch & ex UL

E stands on his chair & ensemble ex US

E ex US, & HS x to desk

8

3

5

163

Ernst

Ernst

#1

#2

#3

#4

#5

164

HS

Mz en DR

HS stands

Mz x C

HS x to Mz

HS slaps Mz

HS slaps Mz

HS x DL

9

Mz

1

2

4

7

165

#1

#2

#3

#4

#5

#6

#7

166

Mz

HS

HS x to Mz

HS ex DL

FG en UL & pull chair US of desk & Sit

9

1

2

FG

3

167

#1

#2

#3

168

FG

Mz

Mz x US to get letter from clip

Mz x DS

Mz sits

10

1

2

169

#2

#3

#1

170

Mz

FG

Mz x to FG

10

1

171

#1

172

FG

Hans en UR, Mz runs UR

H backs Mz C

Mz x DL

E en DL

E backs Mz C, Mz x R

G backs Mz C

Mz x DS

Mz x to E

Mz x to G

Mz x to H

Mz x DS and says “Enough”

Mz

G

E

H

G

E

H

10

1

3

1

4

5

6

7

8

9

10

11

173

Hans

Hans

#1

#2

#3

#4

#5

#6

#7

#8

#9

#10

#11

174

Transition to Hayloft

M stands on benches

M sits on benches, facing R

W en DL

11

M

W

4

175

#1

#2

#3

#4

176

W x DL

M

W

W stops and turns to face M

W x to M, L of bench

M turns to face W

11

1

3

177

#1

#2

#3

#4

178

M

W

M x to W, falls to his knees

They embrace

M attempts to kiss W

11

1

179

#1

#2

#3

180

M

W

M begins to kiss W

W rises and x UR

M x to W and kneels before W

M & W kiss on the bench

11

2

3

181

#1

#2

#3

#4

182

M

W

W sits up & pushes M away

Fabric is pulled over W & M

Ensemble x DS and to the corners of fabric

11

2

183

#1

#2

#3

184

M attempts to place hand under W’s dress

W sits up

W lays back down, & M continues

11

M

W

185

#1

#2

#3

186

M

W

M undoes his pants and climbs on W

Ensemble x to new positions

Ensemble closes book in unison

H

E

G

Mz

AM

I

M

T

A

AW

H

E

G

Mz

AM

I

M

T

A

AW

11

187

#1

#2

#3

ScriptGoesHere

188

Design Section

189

Scenic Design

Inspiration

190

Scenic Design

Inspiration

191

Emphasize:

Universal QualityEducational LessonNaturalistic qualityFlexible space

Scenic Design

Inspiration

192

Scenic Design

193

Costum

e Design

Inspiration

Teenagers

Adult WomanAdult Man

Emphasize:• Universal/Timeless

Quality• Earthy/Naturalistic• Simplicity• Conservative

194

Costum

e Design

Inspiration

Emphasize:• Innocence/Youth• Simplicity• Social Order

195

http://www.fulldose.net/great-little-girls-long-hairstyles-2016/#sthash.bRePZINV.qjtu

http://www.fulldose.net/great-little-girls-long-hairstyles-2016/#sthash.bRePZINV.qjtu

http://multicitymovies.com/

http://multicitymovies.com/

https://instagram.com/p/2jVmMcpnpE/

https://instagram.com/p/2jVmMcpnpE/

http://www.getbeautyandhealth.com/

http://www.getbeautyandhealth.com/

http://www.stylestime.net/cute-little-girls-braided-hairstyles/

http://www.stylestime.net/cute-little-girls-braided-hairstyles/

http://www.brit.co/toddler-hairstyles/?utm_campaign=pinbutton_hover

http://www.brit.co/toddler-hairstyles/?utm_campaign=pinbutton_hover

Costum

e Design

Inspiration

Emphasize:• Innocence/Youth• Simplicity• Social Order

196

https://instagram.com/p/7JArbgslv3/

https://instagram.com/p/7JArbgslv3/

https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwiN8vefvqDMAhVKuIMKHTN-AFcQjRwIBw&url=https://allure4all.wordpress.com/2015/04/10/male-hairstyle-2015-simetrias-assimetrias/&psig=AFQjCNGE2O6o88w_YRXjw9AWnE3H5Ndm0g&ust=1461354013951824

https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwiN8vefvqDMAhVKuIMKHTN-AFcQjRwIBw&url=https://allure4all.wordpress.com/2015/04/10/male-hairstyle-2015-simetrias-assimetrias/&psig=AFQjCNGE2O6o88w_YRXjw9AWnE3H5Ndm0g&ust=1461354013951824

http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwinp7aOvqDMAhWmvIMKHbS0Dh4QjRwIBw&url=http://www.menhairstylespins.net/50s-hairstyles-males/1950s-hairstyles-mens-hair/&psig=AFQjCNGE2O6o88w_YRXjw9AWnE3H5Ndm0g&ust=1461354013951824

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http://junebugweddings.com/wedding-blog/alternative-ohio-wedding-shoot-proves-edgy-can-totally-pretty/

http://junebugweddings.com/wedding-blog/alternative-ohio-wedding-shoot-proves-edgy-can-totally-pretty/

https://www.google.com/search?q=1950's+hair&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0CAcQ_AUoAWoVChMIidq8qcvgxwIVTBaSCh13qwbl&biw=1155&bih=676#tbm=isch&q=1950's+mens+hair&imgrc=OpmJWOuIHnlHMM:

https://www.google.com/search?q=1950's+hair&client=safari&rls=en&source=lnms&tbm=isch&sa=X&ved=0CAcQ_AUoAWoVChMIidq8qcvgxwIVTBaSCh13qwbl&biw=1155&bih=676#tbm=isch&q=1950's+mens+hair&imgrc=OpmJWOuIHnlHMM:

https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwj49euvvqDMAhVImIMKHdCIDygQjRwIBw&url=https://www.pinterest.com/explore/1950s-mens-hairstyles/&psig=AFQjCNGE2O6o88w_YRXjw9AWnE3H5Ndm0g&ust=1461354013951824

https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=0ahUKEwj49euvvqDMAhVImIMKHdCIDygQjRwIBw&url=https://www.pinterest.com/explore/1950s-mens-hairstyles/&psig=AFQjCNGE2O6o88w_YRXjw9AWnE3H5Ndm0g&ust=1461354013951824

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HodgeAnalysisforSpringAwakeningI.GivenCircumstances

A.EnvironmentalFacts1.Time:Theactionoftheplayinthelatenineteenthcenturyapproximatelycoversasemesterofschool,beginningaroundfallmidterms,finishingduringthespringsemester.ThecommunityexperiencesChristingleattheendofAct1,andspringattheendofacttwo.Thetimeisnotcontinuous,butfeatureslapsesintimebetweenscenes.2.Place:TheactiontakesplaceinasmallprovincialGermantownanditssurroundingareas.Intheplay,thecharactersvisittheschool,church,graveyards,forests,bridge,hayloft,reformatoryschool,andthecharacters’personalhomes.Althoughtheselocationsarenotdescribedingreatdetail,thedialoguerevealssomeofthespecificationsofeachscene,suchasstreams,desks,etc.3.Finances:Financesarenotadrivingfactorintheplay.Theyareanactivepartoftheadultworld,butthestudentsdonothavemoneyoftheirown.Theyaredependentontheirparentsfortheirprovisions.Intimesoftrouble,MoritzandMelchioraskforfinancialhelpinanefforttofleetheirworldandbeginlifeanewsomewhereelse.4.Politics:Therearenorealpoliticsreferencedinthisplay.Thesocialandreligiousstandardsofthecommunityaremoreprominentthanpoliticalactivity.5.Social:Orderisparamount.Everyoneandeverythinghasanappropriatetimeandplace.Thecommunityismoreimportantthantheindividual.Ifsomeoneisathreattotheorderofthesociety,theymustbedealtwithaccordingly.Theappearanceofordermustbeupheld,andmotivatesmanyofthecharacters’actions.ThehierarchyisGod,parents,teachers,andthenchildren.Themostprominentoftheserelationshipsistheroleofparentsovertheirchildren.Childrenareexpectedtoperformwellinschool,participateinreligiousactivities,andalwaysobeytheirparents.Theparentsareexpectedtoraisethechildrenintoadultswhosharethesamebeliefsandpracticesinordertobuild“anobedientandproductivesociety.”Theteachersaregivensecondarychargeoverthestudentswiththeiracademicgrowthandmaturation.Thisapatriarchalcommunity.Menandwomenarenoteducatedtogether.Thatwouldbeanunnecessarytemptation,anactforprogressivesocieties.Onlythemenaredepictedbeingatschoolandgrowingintheiracademiceducation,whilethewomendiscussromanticrelationshipsandhouseholdresponsibilities.

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6.Religion:Religionisthegoverningauthorityinthistown.ThechurchistherepresentationofGod,theheadofthissociety’shierarchyofpower.Wendlaspendshermorningdoingactivitieswithheryouthgrouptohelpthedaylaborersandtheirfamilies.Alargereasonforthegirls’intrigueinMelchiorisrelatedtohisprofessionasanatheist.Melchior’sdisdainforthiscommunity’sinabilitytothinkforthemselvesandbelieveanything“unlessitisscriptedintheirBible”motivateshisactions.AlthoughthecommunityclaimsGodastheirauthority,Godismoreviewedasastandardofrulesthanloveandcompassion.UponMortiz’sfailureatschool,HerrSteifel’sconcernisnotloveorcompassionforhissonbutratherwhetherornotheandhiswifecanshowthemselvesattheMissionarySocietyandChurch.

B.PreviousAction

Wendlaisgoingthroughpubertyand“blooming.”Shehasanoldersisterwhojusthadhersecondchild.Shedoesnotknowwherebabiescomefrombecauseshenolongerbelievesinthemythofthestork.Ilse,Melchior,Moritz,andWendlaplayedpiratesatIlse’shouseaschildren.MelchiorisclosefriendswithMortiz,butMelchiorhasnever“reallytalked”withWendlaaftertheymaturedpastchildhoodsinceboysandgirlsdon’tgotoschooltogether.WendlaandMelchiorusedtobothparticipateinthegooddeedsoftheyouthgroup.Mortizisthelastofthisgroupoffriendstohavesexualdreams.Ottodreamtofhismothersexually,whileGeorgdreamtofhispianoteacher,FrauGrossenbustenhaulter.Moritzviewsthesedreamsasnightmares,andtheyhavebeenkeepinghimupatnight,affectinghisfocusinschool,andcausinghimtostruggleinhisschoolwork.Melchiorisagreatstudentandknowsallaboutsex.Thisknowledgeledhimintoatheism.HeiscurrentlyreadingFaust.HerrGaborhasfollowedhiswife’sleadinraisingMelchiorsincetheyhavedifferingviewsonthebestwaytohandlehim.Marthahasbeenphysicallybeatenwithabeltandsexuallyabusedbyherfatherwiththeknowledgeofhermother.Sheattemptedonedaytorunfromhimbutwaslockedoutofthehouseandforcedtosleepoutinthecold.Ilsewassexuallyabusedbyherfather,butwasthrownoutofherhomeafterconfidingthetruthtofriends.ShenowlivesinPriapiaintheartistcolonywithwhomeverwillhaveher.ShehasrecentlystayedwithJohanFehrendorfandGustavBaum.

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Astheplaybegins,Wendlaisgettingdressedandexamininghernewlydevelopingbodyinthemirror.

C.PolarAttitudes

1.MelchiorGaboristheprotagonistoftheplay.Theactionoftheplaycentersonhiseffortstogainfulfillment,satisfaction,andpleasureinaworldthatsuppressesexperience,individualization,andthoughtoutsideofthesocialnorm.Herejectsthereligiousauthorityofthecommunityandthelimiteddefinitionofeducationpasseddownfromgenerationtogeneration.Melchiorbelievesinthesupremacyoftruthwithoutanyregardtoitspowerfuleffects.Heisfulloffactualknowledgebutvoidofhumility.Hebeginstheplayarrogantandselfish,onlyconsideringhisdesiresandperspective.Hefeelsstifledandtrappedbytheeducationalsystemofthecommunity,blamingsociety,adults,andthechurchforunnecessaryshame,judgment,anduncertainty.Bytheendoftheplay,Melchiorhasmaturedintoaman,humbledbythepowerofknowledge,hisresponsibilitywithit,andthewisdomofhowtoshareinformation.2.WendlaBergmanisaprimaryantagonistoftheplayandnearlytheexactoppositeofMelchior.Shecomesintotheplayinnocentandtrusting.Shebelievesthetruthsshehasbeentaught.Sheisempatheticandoptimistic,choosingtoseegoodintheworldandthat“whatserveseachofusbestiswhatservesallofusbest.”Bytheendoftheplay,sheisknowledgeableandexperiencedinthewaysoftheworld.Shehasexperiencedpain,learnedofabuse,hadsexualintercourse,andbecomeawareofhermother’suntruthfulandincompleteexplanationofsex.3.MortizStiefelisanotherprimaryantagonistoftheplay,andforcesMelchiortoquestionhistacticsandmethodsofeducation.Atthebeginningoftheplay,Moritzisstrugglingtoimprovehisunderstandingacademicallyandsexually.Hecannotfocusonhisschoolworkbecause“everythingseemssostrange.”Heisplaguedbyunfamiliardesires,dreams,andfeelingsthatmakehimfeelunlikehimself.However,hisdriveforimprovementisdestroyedwhenhefailsschool.Mortizfeelslikeafailureafterhisfather’sharshreactiontothenews,beginningtoquestionhisplacewithinthecommunity.Moritzexclaims“They’renotmyhome.Notanymore.”Bytheendoftheplay,Mortizishopeless.Hehaslostallhopeandfeelshislifeandpurposeslippingaway.Hecontemplatessuicidewhenheinvitesfurtherdiscussionofadesireto“crashandburn.”Hehasnodesiretocarryon,feelingisolatedandalone.

D.SignificanceofGivenCircumstancesThereligiousauthorityandstricthierarchyofrelationshipshelptocreateaworldofextremestructureandorder.Thesocialrigiditydoesnotallowforthequestioningoftheorderorcustoms.Tensionarisesasthebottomofthe

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hierarchy(thechildren)begintoquestionandpushbackagainstthesocialorderofthecommunity.

II.DialogueThisplayiswritteninprose,buthasapoeticqualityofrichimageryinthemusic.Thesimpledialogueandliteraryallusionsaidinthestrict,orderedworldofthestory.

A.Words:• Mama,Bore,Child,stork,woman,conceive,bloom,wedding,boys,age,children,

mother,female,woman,girls,parents,father,son,men,home,youth,married,build,safe

• Consider,conjecture,plausible,idea,error,interpretation,demands,History,Science,wisdom,find,wonder,learning,pupils,wrong,book,illustrations,imbecile,Latin,Greek,Trigonometry,contemplating,Truth,education,illuminate,conjugating,Faust,defending,thinking,hypotheses,words,unreal,Headmaster,passed,moron,promote,finals,school,rules,discipline,parentocracy,teachers,students,rank,order,faculty,unified,military,obedient,hammered,hypothetically,write,semester,rigorous,careers,journal,questions,instruction,looking,knew,unconscious,decisive,behave,handwriting,write,library,degrees,system,expelled,fools,procedure,listen,understand,known,exams

• Weeping,crying,sad,sorrow,ashamed,bad,coward,naïve,heartache,improper,whisper,cruel,refuse,strange,afraid,daunting,fear,weak,saddened,duty,sadness

• Yearning,seduced,longing,fondle,Bitch,hand,breasts,everything,satin,handsome,soulful,nothing,lover,junk,murder,brink,chastity,kiss,rush,shame,loins,phantom,trembling,penis,vagina,surrender,lips,genitalia,consume,hypnotic,progressive,fingertips,tease,wanting,fantasies,free,grow,obscenity,dark,fucked,nightgown,beauty,breathe,feels,slut,hot,inside,envy,mate,stoking,affection,absurd,care,tongue,ears,eyes,blind,naked,feel,wait,body,wild,naturally

• Angels,heaven,Bethlehem,Christ,Hope,kneel,doubt,Bible,calling,God,atheist,destiny,sanctuary,radical,believe,life,ghost,prayed,innocently,eternity,sermon,church,hymns,forgiven,charity,serves,peace,joy,clergy,pious,strayed,honor,dishonored,dubious,guilty,devils,corruption,elders,Paradise,degenerates,warning,shame,mystery,danger,pastor,church,condemnation,soul,chorale,Christingle,confess,sinful,good,forgiven,harmony,wisdom,clergymen

• Disturbed,threat,tough,blood,bruise,beats,welts,wound,scream,hide,steal,angry,hurt,mourning,destroying,graveyard,tombs,hidden,cloaked,gun,frighten,pained,unkind,blind,casualty,epidemic,war,spite,kill

• Warm,wind,storm,snow,blue,cold,rain,soaked,blues,spring,summer,autumn,whistling,horizon,dusk,stars

B.Phrases• Grown-upgirls,bearachild,babygirl,growstrong,littlegirl,newyou,grown-up,

littleguys,goodgirls,poorboys,bourgeoissociety,properdress

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• Helpme,nomore,beatsme,hittingmyself,wakeup,leftbehind,self-destruct,adolescentsuicide

• Cannotimagine,tellyoueverything,knoweverything,textualconjecture,criticalcommentary,criticalthought,faultytext,allthat’sknown,trustinwhat’swritten,thoughtissuspect,trustmyown,teachyou,whoknows,sixtylinesofHomer,quadraticequations,writeitdown,decideforyourselves,middleterms,finalexams,teachyouright,SecondaryEducation,lowmark,modernear,openbooks,makehimmind,liberal-minded,barelyunderstand,speakyourmind,statusquo,Idon’tknow,tellmeeverything

• Stillbelieve,mustlove,Godisdead,sinfulhumannature,heavenbreakoveryou,illegitimatechild,mysticwisdom,sinscry,yourlight,youthgroup,SundaySchool,MissionarySociety,dark-heart,moralcorruption,trustme,newlife,allforgiven

• Darkphantasm,bluestockings,mortifyingvisions,silvermagic,screw‘emall,legsofawoman,kneestogether,goblind,miserableshadow,strictlydreams,LabiaMajora,touchme,windssigh,loveme,lowerdown,holdhands,kissgoodnight,chillup,secretbargains,creepingsensuality

• Bluewind,wanderingclouds,purplesummer,gloryofspring

C.Images Thereisstrongsexualimagerythroughoutthisplay.Georgfantasizesabouthispianoteacherexposingherlargebreasttohim.Hanschenmasturbatesonstageasthegirlsdaydreamaboutromance.ActoneendswithMelchiorandWendlalosingtheirvirginitytooneanother.Melchioristheaggressormovingfromkissingher,tofondlingWendla’sbreast,takingoffherunderwear,andstrokinghervaginawithhishandbeforehelowershispantsandpenetratesher.Acttwoopenswiththisasthepastordeliversasermon.HansseducesErnstintoaromanticrelationshipinthewoods.

Therearealsostrongactsofviolence.Melchiorishitwithastickbyhisteachertorestoreordertotheclassroom.Mortiz’sfatherrepeatedlyslapshimafterfindingouthehasfailedoutofschool.MelchiorbeatsWendlawithaswitchatherrequest,beforelosingcontrolandthrowinghertotheground.Moritzcommitssuicidebyshootinghimself.Hisfuneralshowshisbrokenfathergrievingoverthegraveofhisson.Attheendoftheshow,Melchiorcontemplatessuicideinthegraveyardlookingovertheheadstonesofhistwofriends.D.Dialect/PeculiarCharacteristics TheGermansettingisheavilyestablishedbythenamesandtitlesofthecharacterslikeMelchior,FraulineBergman,DoctorVonBrausepulver,andFaruleinGrossebustenhalter.TherearealsoseveralliteraryallusionsthatconnecttothestoryandcharacterssuchasFaust,AchillesandPatroclus,andDesdemona.TheschoolscenealsofeaturestherecitationofhistoryinLatin.Withtheexceptionoftheacademicwork,thedialogueisfairlysimple.Thescenesarenotverylong,andpeopledonotspeakinlongmonologues.Thesongsservethefunctionofthecharacter’sinnerthoughtsandfeelings.E.Sound:

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Withtheobviousexceptionofthemusic,thesoundoftheplayislikethatofalibrary,astillsilenceinwhichyoucanhearpageturnsandpencilsonpaperManyofthescenesareinschoolortheforest,wherethestudentcharactershavegonetothinkoraretravelingtoorfromschool.Thesilencehelpsreflectthepensivemoodofthecharactersandthestrongsocialorderoftheplay.Thesocialorderrequireseveryonetofollowtherulesandbehaveasdisciplinedyoungadults.Thechildrenshouldbeseenandnotheard.Theyaretobetrainedtobegoodadultsbyobeyingtherulesofdecorum.Therearetimesofmoreactivesoundswhenthestudentsaretogether.Thetypicalsoundsassociatedwithadolescence--laughter,scoffing,running--areheardwhentheyaretogetherwithoutadultsupervision.F.StructureofLinesandSpeeches: Theplayfollowsthetraditionalclimaticstructurethroughthelineandspeeches.Therearenotmanylongmonologues.MostofthelongspeechesarethingsthatwouldalsohaveawrittenformsuchasMelchior’sjournalentries,thepastor’ssermon,andMortiz’sgoodbyebeforehissuicide.Mostofthelinesareonetotwosentences,reflectingthesimpleandorderedcommunityinwhichtheyalllive.Thereisnoplaceforembellishmentandpoetry,justthecoldhardfactstaughtatschoolandchurch.

III.Character

A.Melchior1.FunctionandPolarAttitudes:MelchiorGaboristheprotagonistoftheplay.Theactionoftheplaycentersonhiseffortstogainfulfillment,satisfaction,andpleasureinaworldthatsuppressesexperience,individualization,andthoughtoutsideofthesocialnorm.Herejectsthereligiousauthorityofthecommunityandthelimiteddefinitionofeducationpasseddownfromgenerationtogeneration.Melchiorbelievesinthesupremacyoftruthwithoutanyregardtoitspowerfuleffects.Heisfulloffactualknowledgebutvoidofhumility.Hebeginstheplayarrogantandselfish,onlyconsideringhisdesiresandperspective.Hefeelsstifledandtrappedbytheeducationalsystemofthecommunity,blamingsociety,adults,andthechurchforunnecessaryshame,judgment,anduncertainty.Bytheendoftheplay,Melchiorhasmaturedintoaman,humbledbythepowerofknowledge,hisresponsibilitywithit,andthewisdomofhowtoshareinformation.2.DesiresandPersonalClimaxes:Melchiordesirestosatisfyhisownpleasuresaboveallelse.Inhisadolescentmind,hesimplywantstodowhateverhewantstodo,whenhewantstodothat.Hehasnoregardfortheacceptednormsofsociety.Hedoesn’tagreewiththem,soherebelsagainstthem.Thisprocesscanbeseenthroughouttheplayuntilhegrowsbeyondhisselfishadolescenceintothematurewisdomofmanhood.

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ThisjourneyisclarifiedthroughoutMelchior’sclimaxesinthestory.Inthebeginningofthemusical,MelchiorstandsuptohisteacherHerrSonnestichforhisharshtreatmentofMoritz.HetrapsSonnestichwithinhisownlogicwhenheasks,“Areyousuggestingthereisnofurtherroomforcriticalthoughtorinterpretation?”Sonnestich,inanefforttoregaincontrolandtheperceptionofauthoritystrikesMelchiortogainhissubmission.ThispromptsMelchiortosing“AllThat’sKnown,”asongproclaiminghissearchforadifferentwaythanthis“education”isforcinghimtogo.Later,MelchiorbeginshistransitionintomanhoodwhenhehassexwithWendla.Heuseshisknowledge,personalviews,andpassionatefeelingstoguideisandWendla’sfirstsexualexperience.However,throughthisnew,intimateacthebeginstorealizethereismoretolifethanhisselfishdesires.HebeginstocarefordeeplyforWendla,inawayhehadneverknownhecould.Thismomentisunderscoredbythesong,“IBelieve”bridgingtheknownworldoffactwiththeunknownrealmofsharedsexualexperience,whichMelchiorandWendlastopintounprepared.Finally,inthegraveyard,afterfindingoutaboutWendla’sdeathandbeingremindedofMoritz’sdeath,Melchiorisconfrontedwiththechoiceorlifeanddeath.Hemaychoosetoenditallinadesperateacttoavoidhisimpendingmanhood,orcarryonwiththeknowledgeofhisfriends.Thismentalbattleisexperiencedduring,“ThoseYou’veKnown.”Melchiorsayshisfriends“willwalkinmyheart—andI’llneverletthemgo.”Heendsthissongwiththesamephraseheends“AllThat’sKnown,”bysaying,“Youwatchme,justwatchme,I’mcalling.I’mcalling—andonedayallwillknow.”“ThoseYou’veKnown”completesthearchof“AllThat’sKnown.”Knowledgehasmovedfromtheheadtotheheart.AmatureMelchior,willcarrythepainfulmemoryofhisfriendsintomanhood,turningthepainintowisdomthatwillguidehisfuture.3.WillpowerandMoralStance:Melchiorisextremelystrongwilled.Helooksattheworlddifferentlyfromthestudentsaroundhim.Heiswillingtostanduptoanddefyauthorityfigureswithinthecommunity.Heuseshisintelligencetomakesmartdecisions,suchashisescapefromthereformatoryschool.Morally,Melchiordoesnotabidebythesamemoralbeliefsastherestofthetown.Heisdescribedbythegirlsassomeonewho“doesn’tbelieveinanything.NotinGod.NotHeaven.Notasinglethinginthisworld.”Hedisagreeswiththe“parentocracy”andtheChurchasinstitutionsandtheirteachings.Herejectstheirtreatmentofstudents,failure,andshame.Hedoesn’tadoptthemoralcodeofthecommunityofhisown.HissecretmeetingswithWendla,essayoferoticism,andsexualencounterinthewoodsareexamplesofhisloosemoralcodeincomparisontothestrictsystemofthetown.4.DecorumandMoodIntensity:

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Melchiorisananxiousteenagergoingthroughpubertyandexperiencinghisownsexualawakening.Heisgood-lookingandmentallyintense.Heishighlyintelligent,butmarchestohisowndrum.Peoplearedrawntohimbecauseheisafree-thinkingrebel.Hedrawsawaytoisolatehimselftothinkthroughhisownphilosophyoftheworldandhowitoperates.Thisisolationcauseshimtobebroodingandpensiveuntilhedecideshisowncourseofaction.Althoughheisrebelliousincomparisontotherestofsociety,hestillhasveryclearandorderedcourseofaction.

B.Wendla

1.FunctionandPolarAttitudes:WendlaBergmanisaprimaryantagonistoftheplayandnearlytheexactoppositeofMelchior.Shecomesintotheplayinnocentandtrusting.Shebelievesthetruthsshehasbeentaught.Sheisempatheticandoptimistic,choosingtoseegoodintheworldandthat“whatserveseachofusbestiswhatservesallofusbest.”Bytheendoftheplay,sheisknowledgeableandexperiencedinthewaysoftheworld.Shehasexperiencedpain,learnedofabuse,hadsexualintercourse,andbecomeawareofhermother’suntruthfulandincompleteexplanationofsex.2.DesiresandPersonalClimaxes:Wendladesirestoknowtheunknown.Shewantstoknowwherebabiescomefrom,experiencepain,andfallinlove.Shebeginstheshowpleading,again,withhermothertoexplaintoherhowbabiesaremade.Astheplaybegins,Wendlaisaninnocentgirlmaturingphysically,intellectually,andemotionally.Herbodyisdevelopingandsheishavingnewthoughtsandfeelingsthatareconfusing.Shefeels“sad”andthinksallofthesethingsmakehera“bad”person.Thissentimentisechoedinhersong“MamaWhoBoreMe.”AfterafewprivateconversationswithMelchior,Wendlaaskshimtobeatherwithasticksoshewouldbeableto“feelsomething.”Thisactawakenssomethingprimal,sexual,andscarywithinherthatshedoesnotcompletelyunderstand.ThiseventbuildsanintenseconnectionbetweenherandMelchior,echoedinthe“WordofyourBodyReprise.”Finally,attheendofactone,WendlamakesthechoicetohavesexwithMelchior,althoughshedoesn’tevenfullyunderstandwhatsheisdoing.Hermothernevertruthfullyexplainedsextoher,soshetrustsMelchiorandherbodyinthemoment.Wendlaisnowfullyawakenedintoherwomanhood,transformedinto“thisbravenewyouthatyouare.”However,herunexpectedpregnancycomplicatesherlife.FrauBergmanwillnotacceptherdaughter’sascensionintowomanhood,andplansforWendlatohaveanabortion,withoutevenexplainingtheproceduretoher.ThisacttruncatesWendla’smaturationintoadulthood.3.WillpowerandMoralStance:

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Wendlaisnotastrong-willedperson.Sheisyoung,curious,andslightlynaive.Sheisloyaltoherfriends,andtrustingofthosewhoshedeemsasauthoritativefiguresormoreknowledgeablethanher.Thistrustingpersonalityleadstoheracceptancetohermother’sexplanationandMelchior’sinvitationforsex.ShedoeshaveamomentofextremewillpowerwhensheforcesMelchiortobeatherwiththeswitch.However,itprovestoomuchforher,assheendsonthegroundinjuredandsobbing.WendlaistheantithesisofMelchiorinthemoralsense.Sheisstillactiveinthechurchyouthgroup,attemptsto“surprisehermotherwithwoodruff”outofkindness.HeronlyactofdepravityishersexualintercoursewithMelchior,andeveninthatshewasn’tcompletelycognizantofwhatshewasdoing.4.DecorumandMoodIntensity:Wendlaisakind-hearted,empathetic,teenager.Sheisslightlyawkwardbecauseherbodyisdevelopingandsheisnotusetohernewfigure.Sheisbothfrightenedandmesmerizedbyherdevelopingbody.Sheisstillyoungandinnocentwhenthemusicalbegins.Sheenjoyslaughing,giggling,andtalkingwithhergirlfriends.SheisshyandunsurewhentalkingwithMelchiorbecauseshehasnoexperiencetalkingtoboysbyherself.Althoughshestartstheshowlight,care-free,andcurious,bytheendofherjourneysheismature,somber,andpensiveoflifeandallshehasexperienced.

C.Moritz

1.FunctionandPolarAttitudes:MortizStiefelisanotherprimaryantagonistoftheplay,andforcesMelchiortoquestionhistacticsandmethodsofeducation.Atthebeginningoftheplay,Moritzisstrugglingtoimprovehisunderstandingacademicallyandsexually.Hecannotfocusonhisschoolworkbecause“everythingseemssostrange.”Heisplaguedbyunfamiliardesires,dreams,andfeelingsthatmakehimfeelunlikehimself.However,hisdriveforimprovementisdestroyedwhenhefailsschool.Mortizfeelslikeafailureafterhisfather’sharshreactiontothenews,beginningtoquestionhisplacewithinthecommunity.Moritzexclaims“They’renotmyhome.Notanymore.”Bytheendoftheplay,Mortizishopeless.Hehaslostallhopeandfeelshislifeandpurposeslippingaway.Hecontemplatessuicidewhenheinvitesfurtherdiscussionofadesireto“crashandburn.”Hehasnodesiretocarryon,feelingisolatedandalone.2.DesiresandPersonalClimaxes:Mortizdesiresasenseofnormalcy.Hefeelsasif“everythingseemssostrange.”Hecan’tsleep,hecan’tfunctioninschool,andheisexhaustedfromhissleeplessnights.Heissufferingfromfear,anxiety,andconfusionfromthesexualthoughtsanddreamsthathedoesnotevenunderstand.Hewantstounderstandthechangesgoingoninsideofhiminadditiontothesexualquestionsthathaunthim,buttheguiltandfearthatcoincideswiththose

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questionsmakehimwanttoreturnbacktohisinnocenceandnormalcythatseemstohavevanishedovernight.Hehasnowaytocopewithhisdevelopment.Thisisseenthroughhisclimaxesthroughoutthestory.Firstishisfailureatschool.Mortizbeginstheshowworkingtomaintainhisplaceinhisclass.Hismidtermsuccesshelpshismorale,butalsostrengthenstheblowofhisfailurelateron.Hissecondclimaxishisfather’sdisappointmentandFrauGabor’srejectionofhisrequestformoneytofleetoAmerica.Asheprocessesthatinformationin“ThenThereWereNone,”hebeginstocontemplatehisnextcourseofaction,suicide.Finally,Mortiz’sinteractionwithIlseduring“IDon’tDoSadness,”leadstohissuicide.WhenIsleasksMortizwhatheislookingfor,hisresponseis,“IfonlyIknew.”Moritzfeelslost,isolated,andhopeless.Hehaslosthisplace,hisidentitywithinthecommunity.Hisbodyischangingandhedoesnotunderstandwhyorhowandwasofferednodirection.Hecannotreturntotheinnocenceofadolescencewhichheunderstood,norishepreparedtonavigatethematurationprocessintomanhood.Insteadofattemptingtogethelp,hedecideshisonlyoptionistokillhimself.3.WillpowerandMoralStance:Moritzisnotastrong-willedcharacter.Heisconfused,neurotic,andanxious.Heisnotevenincontrolofhisownbody.Heisconstantlybattlinghisownthoughts,feeling,andbodilyneeds.Heisunabletocopewithhisbody’scontroloverhim.Morally,Mortizisinlinewiththerestofthecommunity,untilhereachesthehighestlevelsofdesperation.Hebreaksintotheheadmaster’sofficetoseeifhepassedhismidtermexams.Ultimately,hekillshimself,whichisviewedasamajorsinbythechurch.4.DecorumandMoodIntensity:Moritzisanervousperson.Hislifeisamess;heisn’tsleepingandisstrugglinginschool.Heisgoingthroughthesamemotionsastheotherstudents,butcan’tseemtodoitwiththesameorderandeaseastheotherstudents.Everyaspectoflifeisastruggleforhimrightnow.Sinceheisstrugglingbuttryingtopullhislifetogether,everythingisheightenedandintense.WhenMelchiorgiveshimtheessay,hebecomesevenmorescaredbecauseheisnotreadytoprocessthatinformationnoraccepthistransitionintomanhood.

D.Adults,Ilse,Martha,Hanschen,Ernst

Theadults,Ilse,Martha,Hanschen,andErnstaresecondarycharactersintheplaythatdonothavepolarchangesintheplay.Adults-Theadults(parents,teachers,clergy,anddoctors)worktostopthestudentsfromtransitioningintoadulthood.Theybelievetheyaredoingwhatisbestforthestudents.Theyareteachingtheminthesamewaytheyweretaught.Theyfearthatthestudentsaregrowinguptoofastandattemptingtoexperiencesexbeforetheyareready.Insteadofteachingthemabouttheirbodiessexualawakeninganddesires,theychosetonotspeakaboutitatall.

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EvenwhenWendlaispregnant,thedoctordiscussesitwithhermotherbutnevertellsWendla.FrauBergmantakesWendlatogetanabortion,butdoesn’ttellWendlawhatisgoingon.FrauBergmanandFrauGaborareoppositesofoneanother.Bergmanrefusestotellherdaughteranyinformation,butforGabortherearenorestrictionsorlimitationsforMelchior.Ilse&Martha-BothIsleandMarthasufferfromsexualabuse.Ilsehasmanagedtogetoutofhersituation,whileMarthaisstilllivingathomewithherabusivefather.Theyarearepresentationoftheneglectthathappenswithinhouseholds.AlthoughIlsehasescaped,sheislivingonthestreetsatthemercyofdifferentmen.Thetwoyoungwomenhavehadtheirinnocencestolenfromthemandforcedintoadulthood.Hanschen&Ernst-HanschenismoreknowledgeableandmanipulativethanthenaïveandcuriousErnst.HansuseshisknowledgetomanipulateErnstintofulfillinghisownselfishsexualdesires.Hedoesn’tcarewhofulfillshisneeds,onlythattheyaremet.Withoutinformationandguidanceaboutsexandsexuality,ErnstisatthemercyofHans’sexplanationandexploitationofhimself.Theirsexualawakeningisanunbalancedrelationship.

E.Thea,Anna,Georg,Otto,OtherStudents

Thea,Anna,Georg,Otto,andotherstudentsarethirdlevelcharacters.Theyhelpfacilitateinformationabouttheworldoftheplayandtensionsbetweenthestudentsandtheadults.Thesecharactersdonothaveclearbackstoriesordrivetheaction,butsupportthethemesoftheplayandadvancementofplotpoints.

V.IdeaSpringAwakeningis“AlessonintheMaturationProcess:thetransitionintoadulthood.”Thisshowusessexandsexualityastheprimaryvehicleinwhichtheprocessisachieved.Alltheteenagersareattemptingtonavigatetheirchangingbodies,thoughts,andfeelingswithoutguidance.The“parentocracy”andtheChurchareattemptingtopreventthechildrenfromtransitioningtoadulthooduntiltheydeemthemready,andimpossibleandfutiletask.Theywanttoteachthemacademicknowledge(history,science,literature,math),butnotguidethemthroughthistransitionbyexplainingsex,masturbation,sexuality,ortheirdevelopingbodies.Thislackofguidancecreatesavoidinwhichthestudentstrytofillbyeducatingthemselves.Theylongtohavetheirquestionsanswered,theirguiltandshameerased,andanintimateconnectionwithsomeone.Thisideaoftheplayisthatmaturationorsexualawakeningisaninevitableprocessthatmustbehandledwithcareandguidancefromtheoldergenerationtothenextgeneration.Inthisproduction,thiswillbeexploredbycombingthetwoworldsofacademiaandsexuality.Academiaisrepresentedinthephysicalmanifestationoftheworld.Thesetwillbereminiscentofitemsfoundinlibraries,suchaspaper,books,pencils,woodenchairs,andexposedstudylamps.Theemergingsexualityisdepictedinthestudents’writingsandtheuseoftheirbodiesinconnectionwithoneanotherthroughtheshow.

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