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Page 62 text:
EUUIEYUS Niki' Ll 'l:ZI:13tf 00 OK4
By Vanessa Finan
Illustrated by lohn Rosenfield
A standing ovation performance warrants an ex-
planation of the factors which added up to its
The Theater Arts Departments first major produc-
tion of the year, "The Caretaker," by Harold Pinter,
stands out as a production which cannot dissolve to
mere memory. Even though the sets, props, and
backdrops may never be used again, the material
strongbox of the play's riches lingers on for probable
recycling in the enigma of Patrick Riley's Notebook.
Patrick Riley, associate professor of theater arts,
directed "The Caretaker," utilizing the method of a
production notebook. It was as fundamental a tool
to the cast as their early education in reading,
writing, and arithmetic.
At the time David Arias experienced playing "The
Caretaker's" Davies, he found Riley's Notebook to
be the most effective directional method he had
ever encountered. "The whole point of the note-
book is having an order to what you do," explained
The notebook's primary organs included getting to
know your fellow actor, character analysis, and
"The method of Riley's Notebook, first goes about
by studying one's fellow actor and knowing him as a
human being." Arias started by watching his two
fellow actors, jeff Reese and john Walker. He
observed the way they sat and talked and their
reactions to things. He proceeded to feed his
characterization with data concerning the most
effective devices he could use to arouse a favorable
or a derogatory reaction from his fellow thespians.
Knowing their personal likes and dislikes aided him
in the process.
The Character section demanded the creation of a
plausible and believable interpretation of the char-
acter. The actors had to compile a character history
from as far back as baptism and reaching to future
goals and aspirations.
Arias defines the purpose of a scene as being a
tool used for the passage of time or location
John Walker electrified the audience each time he
appeared on stage.
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