“I can’t stay upright and I need not try” p7
The contrast between Phedre’s frailty and Oenone’s strength should be marked to show an apparent role reversal between mistress and servant so that the dramatic tension builds through this portrayal. During this scene it should be very clear that Phedre has a close relationship with Oenone almost like mother and daughter. To show this to the audience I would have Phedre and Oenone contently exchanging loving glances and holding each other while delivering their lines.
One particular line that shows Oenone’s feelings for Phedre, “This longing for death is going to kill us both” (p8), Oenone should say at a slow tempo and in a low tone. She should shrink to her knees and grab hold of Phedre’s legs but her passiveness should quickly turn into passionate anger to further reinforce their relationship.
At this stage of the exchange Phedre is seated and is passive while Oenone is pacing around the room frustrated and angry. This quickly changes when Oenone mentions Hippolytus.
“Aaaagh….The name! You spoke that name!” p9
Her former illness forgotten she should jump out of her seat and start to shout at a very quick tempo in high tones while quickly moving around the room and forcefully pushing Oenone away from her when she tries to comfort her. Oenone knows that she has touched a raw nerve and is eager to gain more information but Phedre tries not to say any more. This secrecy increases the dramatic tension for the audience because they are eager to find out more about Phedre’s past while she is trying to conceal it.
“I have said too much. Let us leave it” p10
When Phedre tells Oenone her love for Hippolytus she is extremely shocked and disgusted. She can collapse in a chair and place a hand on her chest while wiping her brow with the other. The exchange ends with Phedre launching into a long speech during which she should be very animated using a lot of gesticulation and movement.
In the final short exchange, Oenone enters extremely worried about Phedre’s safety. Her facial expressions should reflect this and by accentuating a range of little fluttery and jerky movements that suggest distress the audience’s sense of unease should build. She should change completely when she sees Phedre and approach her with arms open.
“I feared it might be the end of you” p60
Phedre and Oenone then embrace until Phedre unpredictably pushes Oenone away and tells her in a disgusted tone that she has a rival. Oenone’s reaction is a mixture of surprise because of Hippolytus’s reputation and of shock because Phedre actually thought she had a chance with Hippolytus.
“Would you believe it? I have a rival” p60
Phedre is working herself into a state because she thinks that the man she loves is slipping away. This can be shown to the audience by Phedre talking in a high tone and gradually getting faster and faster to build the tension. She can also hyperventilate and shake. Phedre at this point is starting to get paranoid, accusing Oenone of knowing of Hippolytus’ forbidden love for Aricia. She is very angry at Oenone and shows this by getting very close and delivering her lines directly into her face while at the same time waving her hands at Oenone. Oenone should take all this abuse in her stride and try to comfort Phedre by affectionately stroking her hair and trying to hold her to calm her down as she is now hysterically screaming.
“ You knew! You knew! Oenone” p61
On page 62 Phedre has a long speech in which she uses emotive language to describe her rival and what she would like to do to her. While she is doing this I would have her acting out the actions she is describing. So when she says, “ to squeeze the life out of that woman”, I would have her sink dramatically to her knees and hold her hands together over her head to mimic strangulation. At the end of this exchange Phedre is blaming Oenone for everything that has happened to her.
“Get away from me.”
This greatly upsets Oenone as she was so close Phedre and I think that she should start to sob quietly and slowly walk out of the palace with her back hunched and her feet dragging on the floor. The last thing that Oenone would do is turn her head towards Phedre and throw a futile glance while Phedre points towards the door. This would reinforce the contrast between the relationship of the two characters from the earlier scenes.
These two exchanges are vital for the audience to understand the characters of Oenone and Phedre and as a director I would want them to be played with great enthusiasm by the actors. All their gestures and mannerisms should deliberately add to the dramatic tension I would wish to build for the audience’s enjoyment.
