Phil Cumbus

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Philip trained at RADA. Previous work at Shakespeare’s Globe: The Merchant of Venice and Holding Fire. Other theatre credits includes: The Man Who Had All the Luck (Edinburgh Lyceum), A month in the country, Vincent in Brixton (Salisbury Playhouse), Edward II (BAC), The Seagull (Northcott Exeter), The Duchess of Malfi (West Yorkshire Playhouse), In Praise of Love (Minerva Theatre Chichester), Great Expectations (Cheek by Jowel/RSC), The Fence (The Wrestling School), The Little Mermaid (Sphinx Theatre Company) and The Soldier (Edinburgh Fringe). Television includes: My Hero, Hope and Glory and A Touch of Frost.

Rehearsal Bulletin 1

Previous experience of Shakespeare

I was very lucky in that I grew up in the Cotswolds, in a little village in Oxfordshire, and so from an early age, my mum (who is a great English and drama teacher) would drive me to Stratford to see Shakespeare's plays at the RSC. Usually on the way she'd give me a précis of the story so that I'd have a clue of what was going on … and usually I'd watch them and still be pretty clueless! But I saw some great performances there and had a real taste of the excitement of seeing how performance could affect an audience.

I went to a stage school, so it was quite limited in terms of an academic or theoretical study, which is what most people tend to have at school. But we did do quite a lot of practical work on the plays. And then I went to RADA, which describes itself as a classical training, and there I worked on various speeches as well as playing Richard III in an in-house project at the end of my first year, which was great fun. So even though my experience of Shakespeare was quite varied, I suppose my background has always been one of performing it and accessing it from an acting point of view, rather than a textual study.

Saying that, I only really experienced performing Shakespeare to a public audience when I came to the Globe in 2007 and played Bassanio in The Merchant of Venice. The brilliant support and inspiration from this building and the people in it, coupled with performing it in that arena, was something I'll never forget and taught me in an instant, I think, more than I could have possibly learnt from or about Shakespeare from years of study.

Preparation before rehearsals

I always do a similar process before rehearsals with whatever I work on, Shakespeare or not. I like to arrive having some ideas of the character, knowing a lot about the background to the play and enough of the social history to feel secure.

But I don't like to do too much; I find I do more harm than good if I work too much before the rehearsal period! I like to enter into those first few days, and those first few times of running through a scene and interacting with other characters, by just allowing that to be the moment where I go, “Ah, OK … maybe that's how that feels, or maybe that scene could take Mercutio down that road”. It makes it feel more like you are part of an active bit of storytelling, as opposed to arriving with something that you have rehearsed in your bedroom. Until I've met everybody and interacted and found out what Benvolio is like and what Romeo is like and what the world of the play is going to be like, I don't like to make too many decisions.

Having been on the stage before, it’s nice to know what its possibilities are this time round, especially playing a part like Mercutio, which has such scope to connect with the audience. But it's such an immediate space, you can't really prepare for it too much before you are on. Even over the run of three or four months during The Merchant of Venice, it never ever became regular. Every single time going on that stage I was terrified, and stuff would change every single performance. So I imagine that the process of learning about how the space works and how the audience becomes so much a part of a show will be as terrifying and as interesting as it was the first time.

Initial impressions of Mercutio

In some ways, it’s quite intimidating to be playing Mercutio, as most people who come to see this show will have a frame of reference for the play. And I have my own preconceptions about Mercutio: fiery; ephemeral; mercurial; party going; frenetic; a slightly subversive character who spices things up and acts as a catalyst to violence and sex and laughter; the whirlwind at the heart of the play. Certainly that is how I imagine it, my idea of him.

But even so, it’s amazing how the reality of the play can differ from what anybody's preconceptions about it are, or what they imagine it to be like. So actually seeing the whole thing performed might not actually be what people had imagined, or what everyone associates with Romeo and Juliet.

First day of rehearsals

The first day is quite possibly the most terrifying bit of the whole job! If you can imagine a room full of the most nervous people from all different aspects of the production, that’s what it’s like. Everyone hides it very well, but you’re worried about who you are going to be working with and if you are going to get on well with the people that you need to get on well with; it’s quite an intense, but very friendly atmosphere.

So we met, and had a cup of coffee and a biscuit and I tried to figure out who everybody was. What they do so well at the Globe is that they introduce you to the building and to all the different departments, so that everyone seems connected to the productions; everyone is meeting to help create the home that we are going to be in for the next few weeks and months.

After that, we descended on a room and did a read through. You are always told that you don't need to give a performance, that it's just about hearing the play once. And I've watched some amazing actors who are so confident and at ease with what they are going to develop over the next weeks, that they just read the lines out, playing it straight and not committing on anything. And I always think that's what I should do, and every single time I end up vomiting out a performance – I just can't help it! You get so excited and so nervous; you just want everyone to know that you are capable of something so you try to show off how much energy you have and how loud you can be, which is completely unnecessary. But I do love the read through, as it means you hear the play and hear everybody's voices saying those beautiful words for the first time. It's a mixture of brilliant excitement and terror and sweat.

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Rehearsal Bulletin 2

First week: Table sessions

Obviously a good place to start with Shakespeare is figuring out what exactly what all the lines mean; I need to know exactly what I’m saying to other people, and similarly, I need to know exactly what is being said to me. So, we worked through every single scene we were in, awkwardly paraphrasing what we're saying into modern English. And with Mercutio that has been particularly fun as he is the most filthy-minded individual I have ever come across! Almost every single line of his will contain some kind of sexual innuendo or reference to a bodily part. He's thrusting these sexual words everywhere, because that's his vocabulary, which means that I have had to sit in a room in front of people and then in a very dry academic tone talk about sexual organs and the like while trying to seem professional; so it’s been very difficult and induced lots of giggles.

But this process naturally opens up questions about who these people are, what their relationships are relationship like, and why they talk the way they do. So you start to enter into a dialogue about character and relationship which is useful. He's working on an opposite tangent to someone like Romeo who is full of lyricism and poetry and Petrarchan beauty and Mercutio is kind of a sexual antidote to all of that.

Developing the Character of Mercutio

Mercutio is an amazing character but one that's quite difficult to find a starting point for. Obviously, there are all these extremes in your head when you approach the part of Mercutio (any part in fact), and actually, the process of the first week of rehearsal is trying not to leap onto anything that you haven't discovered in the text; I have to begin by stripping it all back to the basics, which is asking questions like: How old is he? What's his background like? Why is he the way he is? It’s a case of going back to those and working out the foundations from which you can then build up a character. Otherwise you'll end up with something that is not based on truth and not based on Shakespeare, which is what we as actors are here to do – to tell the story to the audience as best we can.

So far, he seems to be slightly self-loathing and uncomfortable in his own skin, and yet at the same time extraordinarily comfortable. It’s an amazing contradiction going on at the very heart of him which seems to me why he's so torn; there's that push and pull that's going on inside of his brain, and which runs through his amazing imagery and his fantastic imagination.

As a result, I really want the audience, as well as Benvolio and Romeo, to really hate Mercutio at certain times. He’s one of those people that every social group tends to have who can be the life and soul of whatever room they happen to be in, and yet can also be completely obnoxious so that you would hate to hang out with them if they were in a particular mood. He’s both: he comes and goes; he’s hot and cold; he’s not just the young joker who runs around – he’s got a negative side to himself as well.

Key relationships

The trio of Benvolio, Romeo and Mercutio is really strong. We’ve talked about their history and why they hang out with each other and what it is they each bring to the trio that makes it a good friendship. With Mercutio, I think that he’s older than the other two – they are possibly nine or ten years younger than him – and he’s been in this town longer than them and that in some ways it’s ‘his’ gang. But the beautiful thing about this play is that it takes place at a time when those things are breaking up, at a time when Romeo is growing up and has a desire to fall in love and break away from them a little. And Mercutio clearly has deep, deep feelings for Romeo which he is simultaneously trying to protect and battle against. He’s trying to compensate for the fact that he is losing him, which leads later on to the duel and is partly the reason why he fights Tybalt instead of Romeo.

I think there is so much back story to these three friends which we are never told, and you have to imagine the ways that they came together, what sort of circumstances led them to be friends. They seem to work best as the three, when one of them is not there; they are always looking for the other one. There’s a scene which Shakespeare writes beautifully where Benvolio and Mercutio are on their own and then Romeo arrives and the three touch base again; they riff and have a series of witty exchanges which reminds Mercutio of how things were, when he says, “Now art thou sociable, now art thou Romeo, now art thou what thou art” (2.4.89-90) – you get a little flash of his real feeling and his strong love for Romeo. But then, he has to counteract it himself by launching into some bawdy imagery to let us know, and to reassure himself that he’s not gay. And so that intimacy with Romeo changes when the Nurse enters.

Mercutio and Women

Mercutio’s scene with the Nurse is the only moment in the whole play when you get to see him with a woman, despite all his sexual language. There is a lot of wit in the exchange, and typically, the three boys ridicule, but I wanted to do something a bit stronger. There’s a moment when I make up this song about whores and money, and I had the idea that I really wanted to dominate the Nurse, that as soon as a woman enters this world, Mercutio launches himself into quite a misogynistic place, thrusting her up against one of the pillars because he can. He’s in great position of power – he is of noble birth, he’s rich, he can do whatever he wants – and so we get a little taste of what Mercutio is like with women, which is violent and disrespectful. I plant a huge kiss on her, which she doesn’t want, and then I leave.

If we set that up, that whole scene becomes terribly embarrassing for Romeo. Mercutio is aware of having done wrong, and it is this which helps to fuel the next scene where we see them all together, which is when Mercutio fights in Romeo’s place against Tyablt and dies. It’s trying to piece the scenes together and give them a cycle or a journey that makes sense.

Dancing – the masked ball

On the very first or second day, we had an initial dance rehearsal, which was a great icebreaker, jigging around and thigh slapping, and all that! Not only does every show at the Globe have a jig at the end (which is my favorite bit by far!), but also in Romeo and Juliet there’s the big party scene in the middle, so we’ve started choreographing some ideas for it. And what’s been nice is that as soon as you start to choreograph a dance, what immediately comes out is everyone thinking about the character, so you have an amazing dynamic where you not only work out the logistics of steps and staging, but also try to fill every move with story.

For example, I ended up without a partner on this particular day we were rehearsing the masked ball scene, so I thought that instead of staying in couples, Mercutio would dance round everybody else, checking some people out, being rude to others. And then I spotted Tybalt dancing very elegantly with Lady Capulet; obviously, Mercutio and Tybalt loathe each other, so I decided that Mercutio would just come in and steal Lady Capulet away! So I find combining the brilliant choreography to character work is great. Everything feeds into the world you are creating. Masked balls are part of what these people did. The party scene isn’t just a contrivance to move the story on; they are a reality in Verona for these young men, for the Nurse, for the parents – it’s all just part of their world and making believable is as fun as learning the steps.

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Rehearsal Bulletin 3

Getting the play on its feet

The second week was a transition point: taking what we have discovered in that first week from around the table session, and bringing it to the floor. It’s a natural transition, where you move from thinking about just the words, to thinking about entrances and exits and blocking, and things like that. But it’s also the biggest change and so can be difficult; it’s the first time you have to move as the character, the first time you actually interact with the other characters in the setting of the play, as opposed to round the table, and the first time that you are speaking the lines within a situation, in a world. So it is the most unstable time in the whole process, because whatever brilliant ideas I have in my head about what I can do with Mercutio, trying to manifest them is much more difficult and scary than you imagine. You’re trying to discover the character, but in front of everybody else, so that transition point is a tough moment, in any rehearsal period.

Voice Work

When we aren’t in a scene, there’s the chance to have one-on-one classes with the various experts in movement, voice and text at the Globe. This week, I had a session with the voice coach Jan [Haydn Rowles], who is a brilliant, brilliant woman. She’s an amazing dialect coach for accent work, and we’ve worked on a few productions in the past together. But she’s also amazingly well-informed about the way language affects behaviour and the psychology of how our brains work; she’s studying neuro-linguistic behaviour. I went in there thinking I was going to have a voice session – in terms of vowel sounds and projection and resonance and technique – and actually, we ended up talking about character, about what I think Mercutio needs and what I think Dominic [Dromgoole, the director] wants from him. So it’s not just a case of coming at those questions from the point of view of technique, but connecting that to how he behaves and moves, which then affect his voice.

We were also thinking about where people look when they talk to you. She was explaining the idea that if someone is trying to talk about emotion or if they’re lying, they often look at the ground and maybe shuffle a little bit, especially if it’s something they can’t deal with; whereas when giving facts, or honest feelings, or directions, people are more likely to look up at a middle level.

Interestingly, the architecture of the Globe works in a similar way with different associations at each level. From the stage, you look down to the yard below, which, in Renaissance hierarchy, would have been thought of as the belly. The middle gallery is dead ahead of you, which is the brain, and then there is the upper gallery above. Jan talked about how that upper level is the far more imaginative zone, the spirit, which obviously Mercutio operates in most of the time. So Jan and I began thinking about those three levels in relation to Mercutio’s scenes, and we’ve started work on the Queen Mab speech, and thinking about which parts of the theatre his lines are hitting at different points, at what point does he lose the thread of it, and tying that into the Globe space specifically.

The Queen Mab speech

The Queen Mab speech is such a profound moment, a little bubble that seemingly comes out of nowhere, and it is filled with such amazing language. But because it’s not driven by the narrative, it’s not clear how Mercutio feels about it; you enter into it with so many possibilities that the directions you can take Queen Mab in are pretty much endless. So you need to make a choice, which is what I am confronted with in this period of rehearsals … which is as exciting as it is daunting!

The way I think I’m going to play this speech is using the idea that it starts out as a game, a riff. Mercutio enjoys language like a jazz player; he’s a free-flowing beat-poet, and he’s unleashed this speech to entertain everybody, including himself. But then at some point in the speech, it becomes devoid of Romeo and Benvolio; he leaves them, and enters his own imagination so much that he gets lost in it. But then, Queen Mab eventually descends after the joy of this universe and the imagery he has created; he could continue to talk about Queen Mab for hours if he wanted to – he’s got that much imagination – but something else happens that stops him. And what I think happens is he realises he’s talking about himself. More and more, I’m coming to the conclusion that when Mercutio is talking about other people or other things, often he’s really talking about himself. For example, there’s a moment where he’s talking to Benvolio about quarrelling, saying:

Thou art like one of those fellows that, when he
enters the confines of a tavern, claps me his sword
upon the table and says ’God send me no need of
thee!’, and by the operation of the second cup draws
him on the drawer, when indeed there is no need.
3.1.5-9

But Benvolio is not like that at all; Mercutio is. So it’s like he directs energy at other things or other people because he doesn’t have the capability of being honest. And I think Queen Mab is about that. He’s this guy who’s good at being imaginative and witty and funny and being entertaining to other people but there’s nothing else to it, and during the course of the speech, he realises the pointlessness of it. Although he starts by describing Mab – “she is like this, she is like this” – there’s a moment where the language changes and he starts describing everything with male pronouns. This whole speech has become about him, and he starts to descend, because he realises he has nothing to give other than the fact that he has fun, sleeps around, but there’s no love – just, sex, sex, sex. He’s so lost because he’s got nothing else. He realises this, and having bared his soul in front of his friends, it cuts him half. He descends from being at the peak of his talent at the top of the speech, to the very depth of his depression by the end.

Typically what happens with the end of the Queen Mab speech is that it builds and builds and gets more energy and more frenetic, and Romeo has to come in and say “Peace, peace, Mercutio” to cut him off. But what I’m trying to do is play it that so that Mercutio stops himself, that he just loses faith and he sees the pointlessness of everything. After this amazing journey of Queen Mab, he stops dead, because he’s lost and he’s got nothing and he’s depressed and he’s losing his friends. So I’ve been trying to think about it in those kind of terms … but who know what it’ll end up like? It could be completely different!

Fight Rehearsals

Pretty much every single day so far we’ve been rehearsing the fighting. Fight rehearsals are like the choreography for dance, but obviously it has to build up to become a believable violent act. In order to do that, you have to learn them quite early on and bit by bit you build it up over the course of weeks, so that by the time we open the show, it will be ready.

In terms of the rehearsals, Malcolm [Ranson, fight director] knows the story and knows the characters, but doesn’t know us as actors, so he waits to see how we move as people and then creates a fight organically out of that to match us. So in the duel between Mercutio and Tybalt, we’ve worked out lots of touches that work with the characters. Tybalt is mocked by me all the way through the play for his fighting. Although he has a reputation as a fighter, he’s part of this new Italian school of fighting based in Saviolo’s teachings, which Mercutio hates, because he hates anything that is new. (He has this amazing contradiction, one of his many contradictions, that he’s got such a free way of thinking, such a free imagination and untainted unbound spirit, but yet at the same time he just wants everything to stay the same and hates that people are always looking to speak differently and talk differently and fight differently). So there’s a moment where I begin the fight, mocking his moves, and instead of fighting with the swords, I immediately land him with a huge punch with the hilt of the sword, completely changing the rules. This forces Tybalt to grab his dagger so that he’s now fighting with a rapier and a dagger.

The obvious thing to do on my part would be to grab my dagger too, but I thought that it would be better if I deliberately chose not to get my dagger. As Mercutio, I think I can take Tybalt with just my sword, whereas he needs another dagger. So we have one phrase of fighting like that, and it all goes disastrously wrong of course, because Mercutio is like that – he almost gets killed, and Benvolio is running round trying to give me the dagger. And eventually, after I almost get my head chopped off, I grab the dagger and the fight continues.

So it’s great; again, as with the choreography, it’s finding character and discovering things through the alternative means of voice and dance and fighting. And we’re having a great time. And getting paid to swing swords round and fight!

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Rehearsal Bulletin 4

Returning to Scenes

This week we were working back through the play for the second or even the third time, going back to the beginning and working on stuff that wasn’t quite clear, or finding and discovering new things, or fine-tuning what we’d discovered first time round. I was far happier this time. First time is always a bit of a minefield; you have all these ideas and either they don’t quite work, or if they do, you’re not quite sure how they fit in with the rest of the play. When you’ve been through once, it becomes slightly easier to piece it all together and you have more of a sense of the whole of the character and their journey.

Whenever you’re rehearsing any part, it takes a while before you find the hook, a way in for you to discover how to be the character. I think I’ve got more of a grasp on Mercutio now and am discovering things along the way. We open two weeks on Thursday, so time has just vanished! I’m really looking forward to running the entire play though, because we’ve been working in such isolation; my scenes are all with Tybalt, Benvolio and Romeo, so I haven’t seen any of Juliet’s scenes, or the Capulet world, so it will be lovely to start linking things together to get a flow.

There is quite a split between the man Mercutio would like to be and feels happiest being, and the one he has to be most of the time who is feels slightly alienated from everyone else. Through sessions with and Jan [Haydn-Rowles, voice] and Glyn [MacDonald, movement], I’ve been discovering, not just the psychological differences but also how to express that best.

More Voice Work

My recent voice session with Jan was great. We talked about Jan’s behaviour theory about dog and cat people. As Philip, I am naturally a very dog-like person. Dog-people let other people know how they feel all the time; for example, in a conversation they “umm” and “aah” along the way and use lots of nodding, to constantly let people know how they feel, that they’re safe.

But cat-people are far more reserved and private; you don’t necessarily know what they’re thinking all the time. We decided that Mercutio is definitely a cat-person. He doesn’t make the effort to let people know what he’s feeling. He is quite happy to be in his own world, to not care what other people are thinking, not care what they think he might be thinking. A situation or a conversation might come out, but only when he chooses. So that was quite interesting.

Movement Work

Glynn is a wonderful woman. The session itself was an Alexander session, which is all about posture. So you go and it’s about being made aware of how to use your body and lengthen the spine, because it affects voice and movement. It’s so important to be in tune with your body and your voice on the Globe stage.

It was actually through a discussion with Glynn that I discovered the idea of Mercutio’s split personality, and through the movement, I want to discover his contradictions. Glynn had this idea of ‘twisting’, that when he chooses to be alert to something, or he chooses to grab hold of an idea, he suddenly has an amazing quickness that is not evident in his character most of the time. We’ve found that his mode, or his rhythm changes. When he’s just dealing with everyday things, he is one man with a very slightly stilted movement, and his energy seems to be drawn much more from the ground. But when he chooses to, he can just switch and turn and twist his energy levels upward.

To explore this idea, Glynn took me through a few exercises so I can take that idea into the rehearsal room. We also talked about other actors who have worked here, who maybe captured something similar, like Mark Rylance, when he played Hamlet in 2000. I didn’t see it, but I heard how amazing it was. He managed to make incredibly famous speeches feel like he was just making them up as he went along, which is what I wanted to capture with Mercutio. It is so clever if you think someone is pulling images and stories from thin air, not just reciting a speech.

I’ve been having difficulty with my own energy. When I worked here before, my energy was very much outward; I bounced around the stage, running everywhere, to give everyone my focus. Whereas I don’t think I can do that for Mercutio – he is far more selfish. He lets other people come to him and he draws the audience in to him. So I’m trying to trust that that is possible, that you don’t have to force anything as long as you’re keyed in to the imagery and the psychology of who you are. Hopefully I’ll be able to bring the atmosphere in the audience in, but at the moment it feels quite far away.

Mercutio’s Death: Choreographing the Fatal Fight

We’re trying to find a fresh way of telling that very famous story and make it more exciting to perform. The convention of Mercutio’s death is:

- Mercutio and Tybalt exchange words;
- they fight;
- Romeo warns that the Prince has forbidden it and gets in between to break up the fight;
- Mercutio is famously hurt underneath Romeo’s arm, stabbed by Tybalt.

We wanted to try something a bit different and to make this moment as exciting as possible, because people know this play so well. So we have Romeo involved in the fight earlier on, trying to stop us. There’s a point right at the beginning where Romeo disarms me, so I immediately take his sword and throw him out of the way to get back into the fight. At one point, Tybalt even ends up fighting me and Romeo at the same time! There’s mayhem – it’s not just a duel between Mercutio and Tybalt, others get involved too: it affects everybody. So the audience won’t know when the famous death is going to come.

Then, there is the famous moment when Mercutio has been fatally wounded and he is on the point of death. Tybalt knows exactly what he has done, but Benvolio and Romeo don’t know what’s wrong. You need to play that in a particular way so that it’s clear for the audience but everyone else has somehow missed it. It’s an interesting one to try to piece together.

Mercutio’s Death: His Final Words

Last week, I talked about the Queen Mab speech, and how so much of it lived up in the echelons with the spirits. This dynamic reappears particularly in his final speeches, where Mercutio is desperate not to let anyone see that he’s injured. In these final speeches, he keeps getting up there for just a second – he is determined to leave this earth, and arrive at the upper levels – but then he gets dragged back down, by the fact that his injury is so severe. So that was a nice discovery, even if I abandon it later on. For now, I might play around with all the lines that I think are earth-bound and emotive, really giving those some weight and then, by contrast, really swinging all of the imaginative lines upwards. If you set yourself explorations like that, you can discard as much or as little as you want. But it’s nice to fully investigate something and then tweak it along the way.

I was struggling with the “plague both your houses” section after the fight, where I die because it’s quite a disjointed section of speech. Obviously he is at the point of death so his imagery and his language are jumping to and fro. But because we rehearsed the fight separately, we also had this difficulty when we were rehearsing that scene that we would cut to the end of the fight, and I had to pick up that emotional journey out of nothing – I felt like a bit of a fake. I was struggling with that so I took it in to discuss with Jan.

We just went through it and talked a bit about why the language is shaped as it is in his final speeches. I showed Jan where the injury was, which was the lower part of my torso on the left hand side, and Jan said “Oh, that would have gone through the diaphragm” … of course! So she actually did a little drawing of what this wound would have done to him, and we had a very morbid conversation about what’s happening internally: how it would have pierced the diaphragm (which is where all the breathing power comes from), and how it would have punctured the lung, so he eventually dies from suffocation as his lung is filling up with blood. We talked about the physical logistics and how that would be affecting voice and breath and sound.

I used that information alongside my idea that Mercutio enters the imaginary zone for a few seconds, gets a little taste of something clever and witty that he wants to leave the world with and then he gets dragged back down by the pain of the injuries.

I made another discovery with Jan. One of the final lines Mercutio says as he is leaving the stage is “A pox on both your houses” (3.1.108). My natural instinct, and the way I’ve seen it done a lot, is that it comes up like a victory; he screams at the houses, venomous. But actually, thinking about this imaginary world that Mercutio can enter, I thought it would be far more ominous if by that point in the speech he has almost given up on his injury, he has almost entered this other, Queen Mab realm. In his brain, he’s up with the souls in the upper architecture of the Globe. So “A pox on your houses” is far more effective if it’s given by someone who has left this earth; it’s matter-of-fact, almost as if he has seen it somewhere. He is so close to death that he has given up fighting about it; he has fought and fought and then there is a moment of release, when we see him exist in the place where he always wanted to be, which was away from the earth and up with the spirits in the imagination.

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