Describe how you would portray Alan in scene 17 through physicality to communicate
meaning to the audience?
In this scene I would try to portray Alan’s increased familiarity with Dysart but also represent
his devotion to horses. In this scene Alan is very clearly frustrated with Dysart trying to find
out so much about his life that he tries to switch roles and find out more about Dysart. In
Equus, the perpetrator of the crime, of blinding horses, is known from the start; however
Shaffer wishes to slowly unravel the behaviour and explore why Alan did this. Through this,
the strange behaviour of Alan Strang catches the attention of Dysart who then begins to
question his own passions in his personal life.
As an actor playing Alan I would try to use my physicality to portray my grown confidence
through my stance. I would enter from my place downstage. All the actors would be
downstage so they are always watching and reflecting on the human mind. Therefore I
would quickly stand up from my seat and stand up with a straight posture and my chin
poised slightly up. I would use a fast gait, with my arms swinging either side. Just before I
knock on Dysart’s door I would skip to emphasise my excitement. I would knock on the door
in a cheery manner and walk towards Dysart. This close proximity contrasts my first
interaction with Dysart where I would be slouched and trying to avoid being close to Dysart.
This would emphasise how reluctant I am to be in therapy however this improved close
interaction emphasises how Dysart’s skillful practices have influenced my life. Therefore this
change in interaction enhances the effect of psychological realism. The audience are
introduced to the psychological problems which Alan is suffering from. On the line ‘all right’ I
would look around the room in a sinister way to convey my sporadic personality before
slamming my fist on Dysart’s table. I would repeat this several times in an uncoordinated
manner to express my unpredictable behaviour. On the line ‘we’re playing what i saw’ i
would slowly cross my arms and collapse to sit on the sofa. I would stay still as if trying to
intimidate Dysart and raise my left eyebrow to show my increased self confidence. Therefore
through my physicality I communicate to the audience how I, as a distressed teenage boy,
have developed and become more comfortable with Dysart.
As a performer, I would also wish to convey Alan as an indignant character who is held in
this psychiatric hospital against his will. Therefore I would use my body language to convey
my frustration. When Dysart says ‘I told you’ I would be slouched on the sofa opposite his
desk where he has just stood up. Therefore I am now at a lower level to him which
emphasises the power struggle between Alan and Dysart. On the line ‘i know’ i would jump
up from sitting and stand on the sofa so I am towering over Dysart. This expressionistic
acting heightens my desire to be in control of my own life, rather than having a therapist
dictate what I do. I would begin jumping on the sofa with my fists clenched to emphasise my
immaturity. On the line ‘what made you go with her’ i would approach Dysart in a hostile
manner (as Shaffer suggested). I would stand as close to him as possible to whisper ‘you
see, i found out’ in an attempt to scare Dysart. After this line I would sit on his vacant seat in
an upright posture and begin fiddling with paper work and tools on the desk as if I am trying
to impersonate Dysart. Therefore when i ask ‘do you have girls behind her back’ it would be
as if I was the therapist. This unpredictable behaviour emphasises the distress that Alan
feels. This is similar to the scene when Alan’s dad was ordering Alan to not ride Trojan. In
this particular scene Alan was having a temper tantrum and acting as a spoilt child. He was
trying to control the situation by brushing off his dad’s tight clutch and holding his fists in a
meaning to the audience?
In this scene I would try to portray Alan’s increased familiarity with Dysart but also represent
his devotion to horses. In this scene Alan is very clearly frustrated with Dysart trying to find
out so much about his life that he tries to switch roles and find out more about Dysart. In
Equus, the perpetrator of the crime, of blinding horses, is known from the start; however
Shaffer wishes to slowly unravel the behaviour and explore why Alan did this. Through this,
the strange behaviour of Alan Strang catches the attention of Dysart who then begins to
question his own passions in his personal life.
As an actor playing Alan I would try to use my physicality to portray my grown confidence
through my stance. I would enter from my place downstage. All the actors would be
downstage so they are always watching and reflecting on the human mind. Therefore I
would quickly stand up from my seat and stand up with a straight posture and my chin
poised slightly up. I would use a fast gait, with my arms swinging either side. Just before I
knock on Dysart’s door I would skip to emphasise my excitement. I would knock on the door
in a cheery manner and walk towards Dysart. This close proximity contrasts my first
interaction with Dysart where I would be slouched and trying to avoid being close to Dysart.
This would emphasise how reluctant I am to be in therapy however this improved close
interaction emphasises how Dysart’s skillful practices have influenced my life. Therefore this
change in interaction enhances the effect of psychological realism. The audience are
introduced to the psychological problems which Alan is suffering from. On the line ‘all right’ I
would look around the room in a sinister way to convey my sporadic personality before
slamming my fist on Dysart’s table. I would repeat this several times in an uncoordinated
manner to express my unpredictable behaviour. On the line ‘we’re playing what i saw’ i
would slowly cross my arms and collapse to sit on the sofa. I would stay still as if trying to
intimidate Dysart and raise my left eyebrow to show my increased self confidence. Therefore
through my physicality I communicate to the audience how I, as a distressed teenage boy,
have developed and become more comfortable with Dysart.
As a performer, I would also wish to convey Alan as an indignant character who is held in
this psychiatric hospital against his will. Therefore I would use my body language to convey
my frustration. When Dysart says ‘I told you’ I would be slouched on the sofa opposite his
desk where he has just stood up. Therefore I am now at a lower level to him which
emphasises the power struggle between Alan and Dysart. On the line ‘i know’ i would jump
up from sitting and stand on the sofa so I am towering over Dysart. This expressionistic
acting heightens my desire to be in control of my own life, rather than having a therapist
dictate what I do. I would begin jumping on the sofa with my fists clenched to emphasise my
immaturity. On the line ‘what made you go with her’ i would approach Dysart in a hostile
manner (as Shaffer suggested). I would stand as close to him as possible to whisper ‘you
see, i found out’ in an attempt to scare Dysart. After this line I would sit on his vacant seat in
an upright posture and begin fiddling with paper work and tools on the desk as if I am trying
to impersonate Dysart. Therefore when i ask ‘do you have girls behind her back’ it would be
as if I was the therapist. This unpredictable behaviour emphasises the distress that Alan
feels. This is similar to the scene when Alan’s dad was ordering Alan to not ride Trojan. In
this particular scene Alan was having a temper tantrum and acting as a spoilt child. He was
trying to control the situation by brushing off his dad’s tight clutch and holding his fists in a
