![]() Sleep No More likewise takes Manderley for its starting point. As the flashback narrative of the film unfolds, we come to understand the Manderley of her dream as the architectural expression of lost innocence entangled in a thorny overgrowth of homicidal violence, erotic transgression, and guilt. At once dreamer and analyst, the speaker enters the past by moving beyond the boundary of consciousness to transgress the iron gates of the estate and follow the once-distinct, but now "poor thread" that winds back to the great house: "Like all dreamers," she says, "I was possessed of a sudden with supernatural powers and passed like a spirit through the barrier before me" (Hitchcock 1940). When she returns in her dream to the burnt-out shell of the estate, it is a feral Manderley that has been reforested by wild surrounds, its former civilized beauty and "perfect symmetry" flickering elusively through the thick of nature's "long tenacious fingers," which have "encroached upon the drive" that leads to the house. de Winter develops across the film's narrative first into knowledge, then selfish satisfaction, and finally complicity as she becomes an accessory-after-the-fact in her husband's disposal of his first wife, the eponymous Rebecca. The line is spoken in voiceover by the unnamed protagonist of the film, the second wife of Maxim de Winter. The opening line of Alfred Hitchcock's Rebecca, "Last night I dreamt I went to Manderley again," posits a ruined English estate as encoded dream content. ![]() The essay focuses on the production's appropriation of Hitchcock and of early modern Scottish witch trials, concluding that its most suggestive citation is of Vertigo's McKittrick Hotel, a site which, like the McKittrick frame-fiction of Sleep No More, decidedly frustrates hermeneutic closure. This essay examines Sleep No More's citationality to consider which of its many intertextual references are mere Macguffins and which, by contrast, open up substantive interpretive potential. Borrowers and Lenders: The Journal of Shakespeare and Appropriation.keywords: Alfred Hitchcock, Gough Street, San Francisco, California, MacGuffin, Psycho (1960), Rebecca (1940), San Francisco, California, Spellbound (1945), The Birds (1963), Vertigo (1958)Ĭtx_ver=Z39.88-2004&ctx_enc=info%3Aofi%2Fenc%3AUTF-8&rfr_id=info:sid/&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=Last+Night+I+Dreamt+I+Went+to+Sleep+No+More+Again%3A+Intertextuality+and+Indeterminacy+at+Punchdrunk%27s+McKittrick+Hotel&rft.jtitle=Borrowers+and+Lenders&rft.au=Alice+Dailey&rft.date=&rft.pub=Borrowers+and+Lenders%3A+The+Journal+of+Shakespeare+and+Appropriation&rft.volume=VII&rft.issue=2&rft.externalDocID=3126336201 Links.publisher: Borrowers and Lenders: The Journal of Shakespeare and Appropriation.journal: Borrowers and Lenders (01/Oct/2013).article: Last Night I Dreamt I Went to Sleep No More Again: Intertextuality and Indeterminacy at Punchdrunk's McKittrick Hotel.The letterpress prints and the full deck of cards are available for sale on their online gift store. We later adapted these cards to produce a series of large-scale limited edition prints-lllustrated, designed, and letterpress printed in-house. Developing a full set of playing cards allowed us to explore our affinity for systems and frameworks. We combined key elements into collages and unified them stylistically with illustrations by Marco De Luca, creating a look inspired by antique playing cards. We worked closely with Punchdrunk set designers to explore a variety of themes and styles to compliment the SNM visual language, and worked through an iterative, critical process to assure that the artwork supported the SNM brand and experience. We identified multiple functions for the playing cards: as an introduction to the world of Sleep No More, an integral mechanism for managing audience flow-splitting up groups to enhance anonymity and a sense of strangeness-and finally as memento which fans use to spread word of the production by sharing their playing cards on social media. Emursive, their New York production company, asked to us to design business cards for The McKittrick Hotel, and playing cards that are handed out to Sleep No More attendees when they check in. Created by British theatre company, Punchdrunk, the critically acclaimed Sleep No More is an immersive, site–specific production of MacBeth, as viewed through a noir lens.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |