Act I, Scene 1.
The opening scene. The question that needs to be asked, of course, is what is it that Shaffer chooses for the opening scene of the play? Again, we may note the detailed stage instructions, which are often quite visual and clearly intend to create some sort of dramatic effect. Also, we may note the overall play structure: two acts, each divided into many scenes, which are (relatively) short – 21 scenes for act 1 and 14 for act 2. The purpose and effect of this particular structure should be considered once we’ve read the entire play, but already now it is clear that Shaffer uses a quite distinct structure, different from, say, Shakespeare’s Macbeth.
Now to the important point: content of the Scene 1: The focus of the scene is on Dysart, who is the only active participant in this scene and who addresses the audience directly. Alan appears, but he is an “image”, he does not speak. Several key characters are mentioned: Nugget, the horse, and also Hesther Salomon, the magistrate. Finally, the first scene is not so much on Alan’s crime but Dysart’s mental and emotional state – and this is quite crucial as it foreshadows later events of the play. We might expect this play to be about a skilled psychiatrist trying to heal a mentally deranged young man - but the story is not as simple as that.
Act 1, Scene 2:
Key lines: “What is he but a last straw? a last symbol? If it hadn’t been him, it would have been the next patient, or the next. At least, I suppose.” Again, the focus on Dysart’s demise. The doubt expressed in the quote is important too.
Dysart shows some sense of humour in this scene.
Questions: What do others think of Dysart? Why does Hesther think Dysart is capable of treating Alan, but the “highly competent psychiatrists” that Dysart shares a room with are not?
Note: The “long pause” after Hesther reveals what crime Alan Strang has committed. How does Dysart respond after this pause?
What first impression do we get of Alan in this scene? How is he described? (Or is this our second impression, since he appeared in scene 1?)
What is the purpose of turning to the audience? How is this play written (in terms of structural chronology?)?
Act 1, Scene 3
This is the first interaction between Dysart and Alan. What can we note? (Silence, not sitting down when being invited to do so, singing rather than speaking).
What is the effect achieved with Alan’s singing? How?
How does Dysart react?
Act 1, Scene 4
Alan speaks (rather than sings) for the first time.
Act 1, Scene 5
An important scene. Dysart addresses the audience, relates a dream he has had – a dream that reveals quite a lot about him. Surely Freud would have great fun analysing this dream!
Act 1, Scene 6
Key quotes: “He has the strangest stare I ever met” (26), “It’s exactly like being accused. Violently accused. But what of?... Treating him is going to be unsettling. Especially in my present state. His singing is direct enough. His speech is more so.” (ibid)
Alan, it is revealed, has nightmares, and screams one word again and again in them: “Ek”. Here we get a first mentioning (albeit veiled) of the God Equus.
How does the stage set-up work in this scene? How is everyone always being present on the stage (in different parts of it) used in the scene and with what kind of effect?
Different lines of characters match up here – despite the fact that they are not chronological conversations – e.g. Alan’s “Dad!” (p. 27), Hesther’s “Dad what?” (ibid, but directed at Dysart) and Alan’s response (to Dysart but here seemingly to Hesther) “Who hates telly.” (ibid).
Also notably: a lot of characters (and time lines) are present in this scene. How does Shaffer “keep order”?
Alan’s parents appear for the first time. How do they interact with their son and how are they presented in rather different ways?
Interestingly, because of the way Shaffer sets up the entire scene, we actually get a commentary on the parents (by Hesther and Dysart).
Who is Alan’s favourite king? Why is this noteworthy?
This scene starts giving us some insight into Alan’s life and what, perhaps, led him to commit such an awful crime. We meet his parents and get a first idea about their personalities, and we also learn that that is some “tension over religion” in the Strang household.
Overall, this is a very dense and complex scene, that provides many starting points for different aspects of the story.
Act 1, Scene 7
Dysart visits the Strang family at home, speaking at first only to Alan’s mother Dora, as Mr. Strang is at the store – despite the fact that it is Sunday. We learn that Alan has always loved animals, “especially horses” (30). Again, we are given a glimpse into the past.
p. 31: “Ha ha”.
Frank Strang appears later in the scene. At this point we clearly see how he reacts quite differently to Dysart’s presence than Dora does. The scene gives us clear insight into their different personalities and also how they relate to their scene and conceive his crime.
Frank’s comments on his wife being “excessively” religious: pp. 33-34. We learn that he himself is an atheist – two extremes juxtaposed.
Another important (and unexpected, at that point) quote: “All that stuff to me is just bad sex.” (34)
We realise that Frank does not talk to his son about sex, whereas Dora told him “the biological facts” but also “[t]hat sex is not just a biological matter, but spiritual as well.” (35). We don’t yet get a real idea of a what these quotes mean, but they provide a clue that Alan’s home situation is not quite normal.
How does the scene finish? How is that somewhat unexpected, considering the clashing personalities of Alan’s parents?
Act 1, Scene 8
A very brief scene, but with a specific purpose and effect in mind.
Act 1, Scene 9
Alan and Dysart play a question game, Dysart pretending to be in control. Alan reveals little in his answer, Dysart however much more so.
Dreams are quite significant in this play.
Note how Alan reacts when Dysart asks him what “Ek” means (p. 37). The scene also has a quite interesting ending to it.
Act 1, Scene 10
This scene takes us into the past; it answers a question that Dysart posed in the previous scene.
We get the Chorus sound for the first time. How is the Equus noise used to create tension in the scene?
Alan is given a tape recorder, for things to tell Dysart that he might be ashamed to tell to his face.
Act 1, Scene 11
Alan’s mother comes to see Dysart and tells him that Alan’s favourite horse picture replaced a religious one. She also reveals that the horse picture “comes out all eyes” (45).
Act 1, Scene 12
The stable owner, Dalton, comes to see Dysart and Jill, a stable girl, is mentioned.
Act 1, Scene 13
Dysart receives a tape from Alan, which explains his fascination with horses. He gets angry towards the end of the tape – what has happened to him?
Act 1, Scene 14
Frank has a private meeting with Dysart and tells the doctor that he would be grateful if he didn’t “enlighten her” (49). He shares a scene he worshipped one night eighteen months ago, with Alan chanting “begats”. The chants that are recited are quite interesting – particularly the names of the horses. Also note the word “chinklechankle”. Dysart finally understands the meaning of “Ek” at this point (p. 51). The second important revelation of the scene is Frank stating that Alan “was out with a girl”. This revelation is preceded by a euphemistic and therefore rather ambiguous “On the night that he did it – that awful thing in the stable - ” (What is Frank referring to? The crime? Or something else?).
Act 1, Scene 15
Alan says “If you receive my meaning” to Dysart in this scene, echoing his father in the previous scene. The shop scene is interesting, in the sense that we can see what Alan’s songs might be inspired by.
Jill appears for the first time and asks Alan if he wants a job at the stable.
Act 1, Scene 16
The scene starts without words, yet dramatically. It describes Alan’s first experience at the stable – and we realise that Nugget is the first horse he works with. He is also Jill’s favourite. Also noteworthy is the fact that Alan says very little, (“Yes, Sir” is the only phrase he utters) and that he “sits and watches”, “nods, fascinated”, “watches with fascination”, “embarrassed and excited, ... copies her movements”, “nods” and so forth.
The last lines of p. 57 describe an important – intimate – moment for Alan with the horses.
The scene ends with Alan in a rage – his silence suddenly converted into a negative outburst of anger, as if disturbed...
Act 1, Scene 17
In scene 17, Dysart apologises and Alan clearly takes a dominant position by controlling the conversation (“We’re playing what I say.”). He asks Dysart personal questions of a sexual nature – quickly uncovering a vulnerable side of Dysart (the relationship with his wife). Dysart himself notes “Wicked and – of course, perceptive” and “Advanced neurotics can be dazzling at that game. They aim unswervingly at your area of maximum vulnerability... Which I suppose is as good a way as of any of describing Margaret. ” [my emphasis].
Act 1, Scene 18
The conversation that ensues with Hesther is about Dysart’s relationship, but later turns to Alan. Dysart comments on Alan’s stare again and then, significantly, questions himself, stating “What am I trying to do to him?”. He is clearly an insecure psychiatrist, not as would quite be expected. He plays cool in front of Hesther (who too expresses no doubts and states that he is simply “going through a rough patch at the moment”), but once she leaves questions himself again: “Normal!...Normal!”
Act 1, Scene 19
Dysart hypnotises Alan. Dysart’s soliloquy is significant – both in terms of content as well as a literary device (note changes induced by it).
Plenty is revealed in the “hypnotic conversation”.
Why is it that Shaffer uses hypnosis in this play?
Act 1, Scene 20
The hypnosis continues, and Alan goes out to ride horses.
Act 1, Scene 21
The hypnosis continues. Why does Shaffer separate it into three scenes? How do these scenes work as an ending to the first act? Why and how is the play split into Act 1 and Act 2 in this way?
The ending of the scene features an intense monologue by Alan.