Volu m e I - Purdue University Calumet

stems solely from the threat of what Frederick might do to him if he discovered that the courtier had aided
Orlando.
In addition, McAnuff’s use of blocking in this production helps to indicate the ruthlessly fascist
nature of Duke Frederick’s court. All members of the court operate with military precision, standing at
attention but stock-still until the Duke himself makes some change in position that would make it necessary
for them to shift also. During the wrestling match, the men are spread out so that they form a perimeter
around their leader, bringing about visions of a protective fort. One man stands directly in front of
Frederick as a bodyguard, facing him and waiting for any instructions he might deliver. Another man holds
an umbrella over Frederick’s head, completing the enclosure around the heavily protected leader. This
placement of the actors ensures that, even when he does not have any lines, Frederick is always the center
of attention, making it clear to the audience that he is considered the most important man here. In addition
to the men serving as Frederick’s guards, there is even a child present in the court at certain times, standing
at attention in uniform just like the rest. This signifies that even children— innocents— are put through the
same harsh routine as the adults and thus molded into more mechanisms for the machine, more beings
lacking any individual identity. They would become creatures as ruthless as the adults. Perhaps this is one of
the ultimate forms of corruption in that society—the elimination of any possibility that that child could have
his own future.
Finally, even the set itself helps to impart the idea that Duke Frederick’s court is a particularly cruel
organization. When Oliver is interrogated in Act three, several of Magritte's eyes full of sky descend from
the ceiling to watch over the proceedings. Presumably, these represent the ever-present gaze of the tyrant
in an authoritarian society. This is fitting because Frederick believes that Oliver knows something of his
brother's disappearance, and he believes that his own tyrannical influence will be able to wrest the
information from him—that his tyrannical gaze will learn all he wishes to know. Throughout all scenes
depicting Duke Frederick's court, the music is dark and foreboding in tone. The backdrop and the floor
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