Writer 1879: Solitary Journey in France

Chapter 314 What I Need Is a Revolution! (Bonus Chapter 2)

The chill of winter still lingered over Paris, but the director's office at the Comédie-Française was surprisingly warm.

Lionel sat opposite Emil Perrin and pushed a densely written list across the large desk.

Emil Perrin picked up the list, and as his gaze moved across the pages, his expectant expression gradually gave way to astonishment.

His brow furrowed deeper and deeper, and his breathing became rapid...

Finally, he put down the list, looked up, and stared at Lionel for a long time, as if he were truly getting to know the young man for the first time.

Emil Perrin's voice was almost hoarse: "Lional, do you know how much this will cost?"

Lionel shrugged: "Emile, to truly surpass 'A Doll's House' on stage, a clever script and the actors' performances alone are not enough."

We need a complete revolution in stage technology. Otherwise, even the best script will be significantly diminished by an outdated stage.

If that's the case, I'd rather not write this script.

Emil Perrin raised his hand to his forehead and let out a painful groan: "Does it really have to be this way? Is there no other way?"
We can work on the script, and demand more from the performances..."

Lionel interrupted him, his tone resolute: "No, it has to be this way. I've already seen 'A Doll's House' at the Paris Opera."

Its success wasn't just due to the script; did you see the almost realistic stage set? It provided an immersive experience that surpassed all previous dramas.

When the audience enters the theater, what they see is not a canvas, but a real 'home' where Nora and Helmer lived.

If our new play is still using those painted set decorations, we've already lost by a huge margin from the start!

Emil Perrin struggled to sit up, picked up the list, pointed to the first item, and began a difficult item-by-item discussion.

"First of all, it must be a 'real-life setting,' and it must have 'two floors that can be actually accessed'!"

Emil Perrin became excited: "Leonard, do you understand the structure of our stage? It's a proscenium stage, only 8 meters deep!"
The popular approach is to use perspective in the background to create a sense of space, and then place some props in the foreground. Audiences are already used to it!

You requested a two-story building with stairs, allowing the actors to frequently go up and down the stairs, close doors, run, and even have conflicts occurring simultaneously on both floors...

This isn't just a matter of set design costs; we also need to reinforce the stage floor, redesign the rigging system, and even adjust the orchestra pit location!

The cost is too high!

Lionel shook his head and patiently explained, "You're right, audiences are used to set paintings, but 'A Doll's House' has given them a taste of 'realism'!"
My new script is closely related to the atmosphere created by the scenes, and a flat set design can never achieve the effect I want.

What it needs is an environment where the actors can truly 'live' in it. If 8 meters of depth isn't enough, then we need to find a way to expand it.

If the Paris Opera can do it, why can't the Comédie-Française? We are also a temple of French theater!

Émile Perrin almost roared: "Even the palaces have to consider the francs in their coffers! The opera house receives huge subsidies from the state, twice as much as we do!"
Although our comedy theater has a great reputation, we have to be very careful with every penny of our budget! Do you know how much it would cost to renovate the stage structure?
This isn't just about the cost of timber and craftsmen; it could also affect the rehearsal schedules of a series of subsequent productions!

Lionel remained resolute: "The investment is for a greater return. The one-time renovation investment can meet the performance requirements of all future 'new plays'."

Think about what *The Choir* brought to comedy theaters? It wasn't just about box office success, was it? We need another *Choir*, or even one that surpasses it!

Émile Perrin fell silent; he could not deny the enormous success and profits brought by "The Choir".

He stared intently at the list, his fingertip moving to the next item: "The lighting can 'subtly change' in response to the plot and the characters' emotions..."

To create an atmosphere of impending storm, with lightning flashing and thunder roaring outside the window, constantly reminding the audience that something terrible is about to happen… Lionel, this is too complicated! We're mainly relying on gaslights and filters right now; we can't handle the kind of subtle variations you're asking for!”

Lionel's tone became even more certain: "The technology is readily available. The opera house tested the arc lights a couple of years ago, and although they were dazzling, the brightness was sufficient."

More importantly, I just installed incandescent bulbs at home. Although they are not bright enough, they can be turned on and off at will, serving as supplementary light sources for the stage.

This isn't a pipe dream, Emil; it just requires investment and experimentation.

Emil Perrin nearly slammed his fist on the table: "Investment and experimentation? You make it sound so easy! Do you know how expensive these new lamps are?"
Just the installation, debugging, and maintenance alone require specialized engineers! And it also needs to adapt to changes in the plot, so how many people are needed to operate it in the background?

How great is the risk of something going wrong? A performance lasts two or three hours; if the lighting system malfunctions midway through, it would be a disaster! A complete and utter disaster!
We'll become the laughingstock of all of Paris!

Lionel calmly responded: "Any revolution carries risks, but the risk of stagnation is greater—that is, being left behind by the times."

Do you want to be forever trampled underfoot by the Paris Opera? We can test it out on a small scale first, find the most reliable engineers, and conduct thorough rehearsals.

Risks can be managed, but opportunities cannot be missed. Once other theaters have installed real sets and electric lights, the comedy theater will soon be obsolete.

……

The ensuing debate lasted for nearly an hour.

For each item on the list, Emil Perrin attempted to raise questions and objections from the perspectives of cost, technical feasibility, and traditional practices.

Lionel, on the other hand, consistently argued that these investments and changes were necessary in pursuit of ultimate realism, immersion, and dramatic tension.

And it is the only way to defeat "A Doll's House" and redefine stage art.

The air in the office seemed to freeze, with only the occasional crackling of firewood in the fireplace and the sounds of the two men arguing.

Struggle and longing were intertwined on Emil Perrin's face.

He was overwhelmed by the high renovation budget and risks, yet unable to resist the grand vision outlined by Lionel.

It will not only surpass "A Doll's House," but will also lead the future of stage art...

He knew Lionel's talent all too well, and he desperately needed a new work that could revitalize the comedy academy.

Lionel, observing the changing expressions on the other person's face, knew that there was no need to continue the discussion any longer.

Since he couldn't completely persuade Perrin, he softened his stance and stood up.

Lionel straightened his coat and picked up his hat: "Emil, this is indeed a huge investment, and it also involves considerable risk."

You don't have to make a decision right away. This list is for you; I'm willing to wait until you come up with a budget proposal before we start writing this new script.

Emil Perrin looked up at Lionel with a complicated expression, his face filled with the pain of being caught in a dilemma.

Before Lionel left, he almost instinctively asked, "Wait... Lionel, what's the name of your new script?"

Lionel stopped at the doorway and turned around: "Thunderstorm!"

After saying that, he didn't linger, opened the office door, and walked out.

(Tonight's 5th update)
(End of this chapter)