An outlook on the Interpretation of Mr. Prufrock’s Distorted Dreams
‘Interpretation of Mr. Prufrock Distorted Dreams’ is a dramatic adaptation of one of T.S. Eliot’s poems. It depicts the story of a middle-aged, relatively well-to-do man whose concerns and routine subsistent life is in constant alternation between reality and dreams perplexes him to the point that this perplexity becomes crystallized through his intentions and behaviours in regards to himself and the others, and through the shadow of these cold and purposeless interactions that all his surroundings abandon him, pushing him towards a bitter and doomed decision.
‘Interpretation of Mr. Prufrock’s Distorted Dreams’, a work written and directed by Adel Narimani, with a slow rhythm and gloomy cold atmosphere befitting to the narrative and intent of ‘Mr. Pruftock’s’ monotonous life, appears on the small stage of Shahid Avini’s saloon in Isfahan University. The limited accessories clearly reflect a Bourgeoisie life. Alfred, the butler, is the only companionship that’s left for Pruf, seems to have been staying with him only based on obligation and responsibility and the two women on his two sides; white, symbolical presentation of illumination, optimism, being light-hearted and hopeful, manifested in “Dreams mean nothing”, and again in response to Pruf’s distorted dreams, “Dreams are nothing” and “Whenever you’ve learned to bring tea for others, they’ll listen to you…” and the other woman who is completely dressed in black, symbolically represents self-centered, greedy and ill-fated behaviours;”Will you answer whatever that I ask?… Whatever?”,”Did you ever love me?”,”Whoever is to die, will die, there’s nothing to it…” , “just like your relatives, we shouldn’t listen to your father. Neither him nor a strange girl…With…Red eyes.”
The majority of the play is focused on recounting of Pruf’s dreams. These fevered dreams emerge as a result of his father’s death, his attachment to the past, and an enlarged crystallization of his illusions and deluded fears. Whitey, who’s the manifestation of inspiration and hope, despite her joyful and spirit full attitude is unable to rescue Pruf from this perplexity between illusions and distressful feelings and black is still exploring this moribund personage; when she embossoms his shoe and usurps it and insists on her maligning that “why doesn’t he remember that he loved her” and in several occasions as a sign of displeasure turns her back on ‘Pruf’. Quite unlike whitey that listens to him with attention and deliberation, and in his every moments and speech looks for a sign and indication that through which she’d be able to restore him back to life.
Adel Narimani, implies that the reason for this depression and harshness is rooted in ‘Pruf’s’ own conducts; when he brings a cup of tea for himself and both whitey and black ask him why hasn’t he brought them some and he replies there’s no one left And we see the butler immediately brings yet another cup of tea. When he ignores his mother’s calls and when he’s asked by ‘white’ that “don’t you even love your mother?”, He replies, “what’s to like?”, Reflecting on his dreadful and gruesome stance towards his mother, “…For god’s sake, what’s appealing about a sexagenarian woman? You know why my father hasn’t come to her dreams even once after he’s passed? If you had the option would you visit dreams of young girls that you’ve never met or a crone that you’ve just got rid of?”
Pruf is plagued by his detachments, When he neglects the kindness and absconds it; “whitey, you’ve always been the kind one…”, Vexed by his futility and insensitivity; “why should we fix our hair and clothes and other hocus-pocuses in the best possible way?!” ,Tormented by clinging to a lost past;” As if a nice rig changes what lies beneath…changes what you’ve done…mends the hearts you’ve broken…requites the tears that you’ve caused…”, Agonized by his delusion driven angsts; fear of his father’s unemployment , fear and hesitancy to tell a bus driver ‘Thanks’ before getting off, fear of smiling at a child and the consecutive provoked judgments that ‘aren’t worth it, fear of telling a waitress that he’s fond of that ‘how gorgeous her hair hue is but I never had the guts to…’. Loving only himself; “Yeah, to be honest, the only person I’ve ever loved_and even that has its ups and downs_ is me.”, Interpretation of Mr. Pruftock’s distorted dreams ‘Pruf’ yields to his bitter destiny. For he makes an upfront correspondence neither with himself, other people or any of his surroundings. ‘Pruf’, isolated, loses his confines with himself through roaming in between the tantrum of dream and reality.
The writer and director of ‘Interpretation of Mr. Prufrock’s distorted dreams’ in tangled layers of a brief play, brings intentions and manners of conduct, wrenched perspective and disastrous conclusion to our explicit view and discernment, which is an obvious result of an excruciating process. ‘Pruf’ reaps what he sowed and we’ve been able to foresee the closure to this measured interlude towards the genesis.