Gillian Anderson as Blanche (foreground) in Benedict Andrews’ claustrophobic staging of Streetcar
© Donald Cooper/Photostage
In my article ‘Exam skills: reading drama’ (ENGLISH REVIEW, Vol. 35, No. 1, September 2024), I suggested that reading plays always involves an act of imagination to take it from words on a page to three-dimensional performance. A script contains clues and invitations for how it might be performed. Directors translate these clues from page to stage, emphasising some and de-emphasising others.
The script of a play and the resulting production are therefore interdependent. Catherine Love suggests:
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