"Note for Performance

For the theater, a single set consisting of the hotel dining room and grounds outside, separated by a window that can be raised and lowered.

An abstract decor would be best.

The whole depth of the stage should be used. A plain tarpaulin could represent the forest.

No attempt should be made to represent the tennis courts. Only the sound of balls.

No need for any people but the main characters. The others can be suggested by the light falling on various objects: chaise-longues in a circle, or separate, facing each other, empty. In the dining room, white cloths on the tables supposed to be "occupied."

The music at the end is fugue no. 15 (in some recordings 18 or 19) of J. S. Bach's "The Art of the Fugue."

The play should be performed in a medium-sized theater, preferably a modern one.

No public dress rehearsal should be held.

Alissa is of average height, petite if anything. Not childlike: she is a child. Very easy in her movements. Blue jeans and bare feet. Thick untidy hair, blonde or brown.

Stein and Max Thor are about the same height, and both wear ordinary suits. Neither is careless in his dress.

Stein has a long rapid stride.

Max Thor walks slowly, and talks much more slowly than Stein.

Stein is transfixed with knowledge. Knowledge comes to Max Thor only through Stein and Alissa.

No one actually 'cries out," even when the words are used: the words indicate an inner reaction only."

Duras, Marguerite. 'Note for Performance', Destroy, She Said. Trans. Bray, Barbara, (New York, Grove Press 1970) pp. 87 - 88.