The character of Dewey Dell Bundren in As I Lay Dying from LitCharts | The creators of SparkNotes
to define in relation to the structure of society and thus invisible, “no longer . Dewey Dell as a mass of black hair and defeated arms, passed out on top of her. Dewey Dell is Addie’s fourth child and only daughter. Check this out, courtesy of Darl: "Squatting, Dewey Dell’s wet dress shapes for the dead eyes of three blind men those mammalian ludicrosities which are the horizons and the valleys of earth" (). This goes a long way in. Get everything you need to know about Dewey Dell Bundren in As I Lay Dying. Analysis cow and hides in the darkness of the barn. Cataloguing all of her relationships with her brothers, Dewey Dell first imagines killing Darl with the knife.
I was really free to choose what I wanted to do, so in front of me there was the possibility to develop my own music or to choose other music. That was a big freedom, like a white page in front of me.
I think usually in theater when there is an already finished piece of music that brings a risk. When I listen to already existing music in theater and I know it, after a few seconds I already have all the information that is going to come after [hearing the whole piece] and it brings me to another background that comes from my own taste in music.
For me, it is important to immediately create a sound coming from the movement and the choreography. A simultaneous birth between movement and sound. Photo by Serena Paparatti Another interesting thing is the fact that I was there to give sound to objects or steps or movements.
The movements were made in a circular way, like in the way a lot of folkloric dances are made. For me, the circle is an interesting shape when it's moving. It brings the accumulation of things. They are consuming themselves after every [cycle]. The creative process with this movement was never certain about where it was going.
The steps with the movements, the sounds, the percussions, the rhythms, are always changing. When you compose for Dewey Dell, are you usually in the room when the choreography is being worked on? And then you give sound to that work?
I must say, it changes every time. I don't know when I am going to do something. I don't know what the process will be. For example, for the first work, Teodora asked me to make the sound of a rooster because the performance space had figures of animals. It was very different because there was the element of characters in the animals. It was no longer like an empty page. You had to make something to fit their movement. Especially in this first work, I pretty much had to give sound to a character.
It was really linked to comics, also. The way the characters changed and the birth of the character in comics. Yes, we started from that rhythm and it was like our skeleton.
The next step was to bring the flesh to it. Can you talk about what you mean about the rhythm of a comic book? For me, the interesting thing about comics is that they are really based on how they move forward in the pages. You have the character and you follow the character in one story, but you see the character and it's always nice to see the specific elements of one character, which are very often exaggerated.
And, how do you say in English, the caricatura? An exaggeration of one shape to bring the specific aspects of this character to life.
The music was pretty much the same because, for example, the movement of a rooster was really taking out the aspect of the rhythm. Taking out the aspect of rhythm? Yes, and so the music was there to bring it out more than the aspect of the rooster. It was more like the music was coming not from the space, but more from the shape and color of a rooster and, especially, his movements. In addition to this I used sounds of very old cartoons. For example, Betty Boop or Felix the Cat. And for the other works, the relationship between music and movement always changes.
In our second work, we were in front of the picture of a king, the image of regality.
Dewey Dell, biography / interview | GANZ NOVI FESTIVAL
The presence of a figure or a character was inside our space this time instead of a black space that was in our piece. This space was really important for the music because I had to think about the physicality of sound in the space.
It was important to work on a reverb because that gives a sense of melancholy and also mystery. I don't know why it feels like that. Maybe because reverb can make us realize how big one thing can be. There is always the presence of silence in a reverb of a sound. If you do a sound in a space with a big reverb, such as a cathedral, you hear the peak of the sound.
And, this king character has been a consistent focus of the group's work? Has it appeared in more than one piece? No, it was the work of Kin Keen King, our second work. We usually work starting from simple images and then we tend to bring all of the elements to some crisis point and treat the elements like another member of the group, and make them surprise us.
And so the process with the movements and music is always, until the very end, unsure. When I see an animal, I see one thing it is and one thing it is not.
At some points, I feel like the music doesn't want to be the music of [the piece], it really wants to be inside of one other thing that has little to do with sound. Teodora, I've been talking to your collaborators about the process of starting work on a piece.
I was just wondering if you could walk me through your process of choreographing. Always in the process of choreography, there is first of all a drawing. In fact, in all of our work, it is really important that art is a composer and the body of the character on the stage. For example, if I have a big cap on my head, I know that I couldn't do certain movements.
Or, if I know Agata has very big shoes, I know she couldn't do everything. It's really important because I can understand the limits of the character. Or, in another way, the power or the point of the figure. For Kin Keen King it was the figure of king. For Cinquanta Urlanti Quaranta Ruggenti Sessanta Stridenti, the work we are presenting here [at Wesleyan University], the inspiration was the idea of a boat on the sea.
The figures are really abstract. The three girls on stage aren't really someone. But maybe they could be a lot of things together.
Dewey Dell, biography / interview
In another new work called Grave, that is an Italian word that means "something that is weighty," there are two figures on the stage, me and Agata.
We are, for the first time, human. It is really important to know the mechanics of the body, of the actor, of the dancer. Do you often begin choreographing with costume in mind? Your work often has a lot of striking costumes that seem to change the biomechanics of the dancer. But, the main thing is that these complicated figures are not our limits. This is the first step, we can say. Darl takes Jewel away to town for the purpose of keeping Jewel from saying goodbye to Addie when she dies.
Darl knows that Addie will die while they are gone, which is why he takes Jewel with him. Darl acts somewhat selfishly by preventing Jewel from saying goodbye to Addie.
Darl also taunts Jewel throughout the novel, saying things like "It's not your horse that's dead, Jewel Jewel has a very intimate but violent relationship with his horse, which Darl is aware of.
Buzzards are circling the house, which leads Darl to taunt Jewel over Addie's death, joking that it's not Jewel's horse that is dead. I knew that as plain on that day as I knew about Dewey Dell on that day" The difference in fathers between Darl and Jewel distinguish themselves from each other, as well as distinguishing Jewel from the Bundren family. In this passage Darl is standing up for Jewel. This is an interesting scene between the two brothers because Darl and Jewel do not protect each other or care for each other in a way that is typical of a relationship between brothers.
Later in the novel, Jewel tries to subdue Darl when he is going to be admitted to the asylum. In both of these cases, the brothers were looking out for each other.
Jewel knows that the asylum is the best place for Darl, calming the situation down when Dewey Dell attacks Darl. These scenes stand out from the rest of the novel because of the change in the relationship between Darl and Jewel. In these two instances, they seem to have forgotten all the animosity they felt toward each other.
William Faulkner on the Web. University of Mississippi, n.