- So far the simple decision has been made, to have only the text that Julia says from the tragedy: so the performance text is all Julias' lines but both in Hungarian and in English.
- With the Hungarian part of the text there are already issues: which one to use? I know of 3 translations: Kosztolanyi, Meszoly and a contemporary one that must be copywritten. So I am down to two. Or shall I translate it? 3 options. Or shall it be a mixture of the 3 translations? You see. It is not easy.
- After all the lines are sort of fixed than I have to start really working with the text and begin to take it from page to stage. Questions at this point: Do I want all her lines? Do all lines make sense on their own? Do they have to make sense? Do I want to tell her story in the cannonised order?
- The two languages naturally make it more complex: how often does one switch between English and Hungarian? At this moment I have the hungarian lines follow the original shakespearean lines. Surely that has to change. These switches will have to varie I am sure or else the performance will be too predictable. I might have to wait until rehersals to make a decision on that. But how I arrange her and her lines will be the key in this dramaturgy.
I might just use the scissors-paper technique I used on the Kane text.
