In the stage directions he writes, “We see the four people, seated as an audience, facing the real audience, applauding. Recorded applause plays. One or two people hold programs for a play…The lighting onstage gives the impression of house lights” (60). The actors facing the audience makes it seem as though the players are watching the spectators like they are the ones performing. They face the “real” audience and applaud, however, the recorded applause can be heard as well. This adds to fantasy and reality merging because a fake audience is watching a real one, while a pretend audience claps for make believe actors. The lighting on stage assists in blurring the lines of reality, since the “House lights” make the stage assume the appearance of it being a theater. Still, it is the conversations between the characters that gives Intermission a close look at their
In the stage directions he writes, “We see the four people, seated as an audience, facing the real audience, applauding. Recorded applause plays. One or two people hold programs for a play…The lighting onstage gives the impression of house lights” (60). The actors facing the audience makes it seem as though the players are watching the spectators like they are the ones performing. They face the “real” audience and applaud, however, the recorded applause can be heard as well. This adds to fantasy and reality merging because a fake audience is watching a real one, while a pretend audience claps for make believe actors. The lighting on stage assists in blurring the lines of reality, since the “House lights” make the stage assume the appearance of it being a theater. Still, it is the conversations between the characters that gives Intermission a close look at their