An Experiment in Open Theatre Page: 31
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31
doctors, Vietnamese women, reporters and witnesses, etc. In
the Congressional hearing scene actors replace other actors
within the actual delivery of a single scene. Richard Sche-
chner says, "The richness of Viet Rock depends largely on
the interweave between these two basic modes of transforma-
tion" (10, p. 16).
These new techniques cause the reader or observer of
any Open Theatre script to lose sight of the characters and
become aware of the progressive flow of action. Thus only
a few of Terry's characters remain dominantly in mind: the
standard Birch patriot and the sergeant; the GI's in general
who seem to be unfeeling "pawns in someone else's power pol-
itics" (1, p. 760); the insensitive if not unconscious Poli-
ticians; the archaic, seductive Hanoi Hannah; and the uni-
versal' Mother who dcgmatically protests this war after the
death of her son.
Megan Terry then did not intend to portray well-rounded
individuals. She set out to present the essence of violence,
and her characters are important only insofar as they forward
that presentation. The actions do not exist to display char-
acters, but characters to demonstrate actions. The only
character who rises to any high thematic level is the Ser-
geant. he is a constant driving force in the GI's training;
maintaining that they accept ideals which lead to the de-
struction and murder of the individuals for the sake of an
ideology. In Act I, he addresses his boyss" in the final
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Peveto, Mildred A. An Experiment in Open Theatre, thesis, August 1972; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc500450/m1/37/?q=food+rule+for+unt+students: accessed July 17, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .