This circle is largely put into use in Scene 21 where Alan mounts Nugget. At this point in the play the stage directions read: “Very slowly the horses standing on the circle begin to turn the square by gently pushing the wooden rail. Alan and his mount start to revolve. The effect, immediately, is of a statue being slowly turned round on a plinth.” The word statue is very influential in this passage. It shows not only that Alan and Nugget are closely embraced, but the element of worship is also in play again as statues originated, as religious icons people would worship. “During the ride however the speed increases, and the light decreases until it is only a fierce spotlight on the horse and rider, with the overspill glinting on the other masks leaning in towards them”. From this alone we see how detailed the stage directions are. The rotating circle creates a climax at the end of this first act, just like the circular orchestra of a Greek theatre; this is the place of worship. In the duration of this scene Alan’s worship becomes more and more intense and involves the shouting of names of Equus’s foes and his foes. Alan is repressed working in his shop as we see in Scene x and so shouts about “The Hosts of Philco”. Alan abhors the idea of Equus being dressed up for a show, so he screams “The Hosts of Jodhpur” as being a foe.
On the square there are three benches made of wood, which sit parallel with the rails of the “ring”. These benches are for the chorus and other actors to sit on whilst the play is under way. Similar to a courtroom, the chorus are almost a jury or witnesses watching Dysart go on trial. The entire set is also a conflict ideas and Dysart is almost against Strang in the boxing ring. It represents reason versus passion; medicine versus worship; and modern versus ancient. The benches also show that every actor is involved in Strang’s and Dysart’s spiritual journey or struggle. They can also represent the many eyes of Equus, making Alan realise that he is never out of his god’s sight. This is shown in Scene 34 where Alan and Jill embrace in the stables. They can also represent Dysart’s struggle in his own head to “return to the primitive” and worship so freely as Alan. This is shown in Scene 25 when Dysart pours his sorrows out to Hesther.
The whole set can mirror that of an Ancient Greek theatre. In the Greek times there was a circular “orchestra” in the middle of the theatre, just before the stage. In this area the altar would stand, which is what the Greeks would worship to, and the actors would act. Equus is essentially about worship, and so it is appropriate that the set was put on a circle. The actors in a Greek theatrical performance would also always be in view just like the benches seen in Equus. Incidentally the Greek word for theatre; “theatron” literally translates to “seeing-place” which his what Alan is so afraid of, being seen by Equus.
The most important thing about the horses in Equus is that they are only representative. They are a creature of Alan’s imagination. In Shaffer’s notes he takes particular care to say that the horses in Equus should in no way be real. He says that anything that can suggest the familiarity of a real animal, or worse still, a pantomime horse, should be thoroughly avoided. “The horses are only representing animals and are in no way literal. The horses wear chestnut velvet coloured track suits with light strutted hooves, four inches high, set on metal horse shoes on their feet. Same colour gloves are worn on their hands and masks are worn on their heads. These masks were constructed of alternating bands of silver wire and leather. However, these masks in no way obscure the actors’ faces”. This is again because they are merely representing the horses in Alan’s flashbacks. These masks are also quite industrial in that they are quite a harsh sight to look at.
“The actors in horse costumes move in strict time together. Each horse puts on their mask before the audience in keeping strict time with each other horse. This represents a ceremonial event when the masks are put on. They always stand up right as well, with the exception of when Nugget is ridden by Alan. To create the effect of a horse the actors must mime through their legs, knees, neck and face. The actors move in time with each other and should always feel like a horse even if they do not necessarily fit the token image of the animal”. Masks allow escapism, as a mere man can become a hero with a mask on. The appearance of the horses is quite a contrast to the rest of the people in the play. Alan, Jill, Hesther and Dysart are all very real in the play, hence they wear normal clothes. However, the horses are very unreal, as I have discussed before. When we see the horses they are always in Alan’s flashbacks and this might suggest that Alan’s intricate mind has warped the image of the horses into a mere representation, perhaps because the actual figure of a horse could be too much for him to take. The fact they are not real also shows that Equus the god is a fantasy of Alan and it all comes from Alan’s head.
“Throughout the play the chorus sitting on the benches often make the ‘Equus noise’. The noise is composed of stamping of people’s feet, humming or thumping”. Shaffer makes it very clear he does not want any whining or neighing. He says that the noise illustrates the presence of the god Equus. It is important that all the actors make the noise as they surround the actors in the square from all sides, making the Equus noise far more effective and ceremonial. This noise is similar to the Dithyramb the chorus of Ancient Greek theatres used. Greek worshippers also made this noise as a form of worship to the god Dionysus. The Greek word for tragedy is “Tragodia”, which literally means “goat-song”. Dysart also dreams that he is an ancient Greek priest performing ritual sacrifices of children. This kind of sacrifice was also done for Dionysus. Scholars believed at one time that tragedy was connected to the sacrifice of live animals. This is just like Alan’s “sacrifice” of the horses.
In Dysart’s last speech he speaks directly to the audience. This is very important as it breaks the rules of the theatre and therefore has a much larger impact on the audience. In a theatre, unless someone is a narrator, it is unlikely for him or her to directly address the audience in a serious drama. The audience by now have got completely stuck into the play and for feel for both Alan and Dysart. By talking to them straight he can now really make them feel for him. This is necessary as his final speech is definitely a heart wrenching one. He realises that instead of getting rid of Equus from Alan, he has now passed it on to him self: “And now for me it never stops: that voice of Equus out of the cave”. He first off tells Alan that he will soon be cured saying, “You’ll never see him [Equus] again, I promise”. Then he admits that he is lying and that Equus will leave tearing Alan apart if he does leave at all, “When Equus leaves - if he leaves at all – it will be with your intestines in his teeth”. Dysart’s last words are “There is now, in my mouth, this sharp chain. And it never comes out”. The effect of these words on the audience is very large as everyone now knows that Alan’s pain has handed itself over to Dysart. Equus will not leave, but just transfer from person to person. All through the play Dysart slowly realises that the warped figure of Alan is actually what he craves, he wants Alan’s sense of worship, and eventually he gets exactly that, but with Equus attached. There is next a long pause of Dysart just sitting, staring and then a blackout. But unfortunately for Dysart, Equus will never leave and turn of the lights. The play may have finished, but the pain of Equus will last with him forever. However, all through the play Dysart yearns for Alan’s worship so therefore maybe he is happy, in a perverse way.
