“He had two families,” she said. “That’s how we found out. He’d had this affair with this woman years ago and she got pregnant, and then she got pregnant again, and again, and all of a sudden he had two families, two batches of kids. He divided his time between the two, I guess. When we found out, he didn’t try and explain or anything. He just up and left. I haven’t seen him since. I wouldn’t want to. Mum destroyed the photo so I had to make a copy. So this is him with the third kid of the new batch.”

Stanley stared up at the fleshy father in the bath, grossly out of proportion, with his fingers wrapped thick and pink around the small figure of a baby, laughing in the pale soapy lagoon between his legs. The Head of Acting was nodding and writing furiously on his jotter pad. Stanley watched the girl roll up the giant painting and descend quietly from the stage.

A boy began to describe the worst fight his parents had ever had. He was one of the comedians of the group, cheerfully self-deprecating and witty and successful with the girls, and as he spoke the class visibly relaxed and brightened, and sat up with a new generosity and willingness to laugh. The Head of Acting turned to a fresh sheet and looked up at the boy over his glasses, his head tilted and his finger-pads splayed on the desk in front of him.

“And that was the point,” the boy was saying, “where Dad goes, You are a neurotic, compulsive woman and one of these days you are going to need to accept that. He really screamed it, and it was a bit frightening just for a moment because my dad’s a really quiet, patient sort of a person. After that something just broke. Mum ran off, she really ran away from him, right down the corridor into her study, and slammed the door. We thought the fight must be over, but ten minutes later or so she opened the door again with her head so high and proud, like this—” he demonstrated, holding his arms out like a ballerina “—with her arms full of paper, and she’d typed it out, the whole phrase, in thirty-six point, and she’d got fifty copies printed. She put it up everywhere. She hid copies in his briefcase and in all his pockets. She pinned it to the noticeboard in the kitchen. Everywhere in our house there were these signs that said, You are a neurotic, compulsive woman and one of these days you are going to need to accept that.”

Everybody laughed. The boy gave them a quick thumbs-up and then made as if to return to his seat on the floor.

“Stay there a second, Oliver,” the Head of Acting said. He wasn’t smiling. “Why did you choose this as your most intimate memory?”

The boy shrugged and shoved his hands into his pockets. “I guess because it was the day I learned about revenge,” he said, and everyone laughed again.

“Really?” the Head of Acting said. “Or was it because the easiest thing in the world for you is to make everybody laugh? And you chose the easy option, took the easy way out, instead of choosing to actually share yourself in a sincere and honest way?”

The room had gone quiet. Everyone picked at the floorboards with their fingernails and avoided looking at the comedian Oliver, who was still standing with his hands in his pockets and scuffing the soles of his shoes upon the stage. Stanley watched the defensive smile flicker like a flame at the corners of the boy’s mouth.

“Everyone else here has really shared something,” the Head of Acting said. “They have willingly shown themselves at their most vulnerable. They have relived the most painful and most sacred moments of their lives, and laid them out for us to see. That’s a brave thing to do. There’s been a lot of trust in this room this morning. I don’t see a lot of trust in you, Oliver. Playing to your strengths isn’t brave. You knew everyone was going to laugh, big deal.”

Oliver was nodding now, chagrined and visibly straining to get down off the stage and melt back into the seated crowd so he could ponder his disgrace in private. He had known this was coming. All the first-years endured a breaking-in of this sort, a forcible public fracture of their ego-mold in the interest of rebuilding a more versatile self. About half the first-years had been targeted so far, and the rest sat glumly and waited for their own turn.

“Do you have a girlfriend, Oliver?” the Head of Acting asked.

“Yes.” She was part of the first-year batch and his eyes sought her out briefly in the crowd.

“Is there any aspect of your relationship with your girlfriend which you would not want the rest of the group to see?”

The boy turned back to the Head of Acting. He paused and looked at the tutor suspiciously for a brief moment. “Yes,” he said again, but Stanley thought to himself that he could not very well say no. The girl looked faintly stricken, as if anticipating some forced revelation that would cheapen or destroy her, but all the same the boy’s admission gave her a rush of pleasure and she almost smiled, looking quickly around at her classmates to see if they were jealous.

“That is what intimacy means,” the Head of Acting said. “Intimacy is all the moments that you would be unwilling to share.”

The Head of Acting looked at the boy Oliver and tapped his fountain pen against his desktop in a disapproving way.

“You can get down,” he said at last. “But I haven’t finished with you.”

The Head of Acting was sitting behind the students, arranged sideways behind a small writing-desk, with his long legs folded and one palm absentmindedly stroking his calf as he wrote. He watched the shamed Oliver return to his seat next to his girlfriend on the floor, and then capped his pen crisply.

“Stanley,” he said. “Up you get.”

NINE

Friday

Julia’s cue cards are swollen at the edges from the damp of her hands.

“The girls are like wax models in a living tableau: it’s always the same scene and they’re always in the same configuration,” she is saying. “Whoever is the most sexed-up functions as the snare. The snare is always in the middle. She can’t be too near the edge or she’d be an easy target.”

A crisp spotlight nails Julia flatly to the wall.

“The snare is not necessarily the most beautiful,” she says, “but she is always the most provocative. Sometimes the snare will do things that will shame or embarrass the other figures, mostly by adopting a crass or deliberately scandalous manner. That’s a normal part of her role.

“The most beautiful girl sits to one side of the snare, and she is known as the prize. The prize is characterized by her untouchability. She is often the only figure in the tableau to be in a stable long-term relationship. The objective of this relationship is always to emphasize her untouchability. Typically the prize is clean and successful and unknowable.

“Standing behind the snare and the prize is the manager. The manager orchestrates all movements within the tableau. The manager is often hard to spot: methods of management naturally differ from group to group. Some common methods of covert management include the use of wit or cruelty, or sometimes the adoption of a motherly persona.