Issuu

SIDDHARTHA,SHE (2025)

TheRiver(Siddhartha;Govinda;Abinaswar;ChorusIIinAudience;ChorusI;Dancers)

PERCUSSIONISTSATENTRANCESgraduallyceaseandreturntothestageasthehallcalms,lightingdims,andthesoundfocusshifts tothestagearea,withonelast,dramaticsoundingofthemountedonstagebellPRE-RECORDEDVOICESpotlighton SIDDHARTHA,whoremainsalonecontemplatingtheriver.[i]Then,fromaremotepartofhersoul,fromthebanksof herdormantlife,sheheardasound[ii]

SIDDHARTHAlooksaroundasifshecanhearsomething,thensettleshergazeontheriverMusicstartsandlightingnowreveals DANCERS,who,withgreatreverence,begintoperformaseriesofAartimudras,signalingthebeginningoftheAartiritual[iii][iii]oftelling therivergoodnightCHORUSIentersfromtherearoftheperformancespace,humming,stillholdingcandles,ceremonially,asfora processionOnceonstage,theydrifttheirflower-leaf-and-tin-candleraftsdowntheriver,asCHORUSIIjoinstheirhumming,illuminating theaudiencewithanincandescentharmonythatopensupthespacesofthewhole

Aftersendingtheircandlesintotheriver,CHORUSIMEMBERSstandatdifferentstationsalongtheriverbank,engagedinconversations, watchingtheceremony,andsoforthWhethersendingcandlesintothecurrent,watchingtheceremonyorperformingAarti,allonstageare inasortofsynchronouschoreographyahypnoticundulationenchantingtheaudience

SCENEI:SheWhoHoldsEternity

MelissaStuddard

ChristopherTheofanidis

peddownthroughm47 / (suspcymb) & & & (pianopatchforwholework)

peddownthroughm22

(TakingGOVINDA’Shandagain groundingher,lookingherintheeye)

(Finallyunderstandingdragging outthesoundofthewords)

ABINASWARdriftsjustoutsidethelightbutcanstillbeseen,faintlySIDDHARTHAwaits Positionshifts,aswellaschangesinlightingandmusic,indicatetimepassingABINASWAR paces,troubled,hisstepsinsyncwithSIDDHARTHA’SchangingpositionsWhichever waySIDDHARTHAshifts,ABINASWARisthere,notvisibletoher,normenacing, butlikeamothcaughtinherwinds

Owlcalls,thebuzzingandcrickingofcicadas andotherinsects,andchangesinlightingindicate eveningpassingintonight

ABINASWARwalksoutofthelightandagainpaces,weaklynow,moreslowlySIDDHARTHAremovesherjewelryandstandscompletelystill , facingthedirectionofherfather’spacingHerrighthandisraisedinAbhayamudra[i][i]Herlefthand,palmup,waistlevel,holdsherjewelry ONSTAGEMEMBERSOFCHORUSIstandbehindher,theirlefthandsraisedinAbhayamudra,theirrighthandspalmupAsSIDDHARTHA waitsforherfathertoreturn,herlegsbegintotremble,yetheroverallpostureremainsresolvedfeetfirmlyplanted,backstraight,shoulderssquare, handsinposition,gazesetsteadilyonafarpointoftheriverAstimepasses,owlandcicadasoundsgivewaytomorningbirdsongLightingand musicindicatethetransitionfromlatenighttopre-dawnABINASWARstepsbackintotheouterrimofthespotlight,whereSIDDHARTHAcan onceagainseehimMovingforward,heplacesonehandonSIDDHARTHA’Supturnedpalmfullofjewelry,theotherhandonSIDDHARTHA’S shoulderSIDDHARTHA’Slegsstoptrembling

withahintofimpliedhumor)

(Placingthejewelrybackinto ABINASWARShandsandclasping

twirlsaround,andthoughappearinglikeshemightcurtsey,bowsinstead

(Leaningforwardsquintingdramatically pattingGOVINDA’Shair,witbhumor)

GOVINDAtwirlsaround,andthoughappearing likeshemightcurtsey,bowsinstead

Veryfaintlyvisible,insideamysteriousdarkness:SIDDHARTHA,GOVINDA(stillpresentingasaman),andtheSAMANASsitonstage,possiblybehindadarkscreen orhangingfabricFromthevoidofdarkness,thesoundofanervoushumanheartbeat(SIDDHARTHA’S)whooshesandsurges,beatsandpumps[i][i]asafewslowflashes oflightpulsethroughthedarknesslikeheatlightningrevealingonlyamomentaryflashofthefiguresSimultaneously,andinsynchwiththeflashes,surrealmusic, morestrangethansinister,washesovertheheartbeat,thenbackoutAbstract,snakelikePROJECTEDIMAGES[ii]uncoil,rise,andswayintheotherwisedarkscene [i]TheheartbeatwillcontinuethroughmostofSceneIIwithvaryingintensityandspeed [ii]AnnePattersonsuggeststhatperhapstheprojectionscreenshouldbeinanunusualshapeandlocation,suchasahangingspiralabovetheaudience,orasetoffabricpanels menomossoq=90

SCENEII:SheddingSkin

Nowthesoundofasecondheartbeat(asnake’s)layersin,discordantandoutofrhythmwiththefirst , tanglingwithit,battlingitforpredominancewhiletwooftheprojectedsnakelikeimagestwistupandlock bodies,rearing,striking,hissing,growling[i] [i],tanglinginawrestle-dancesocomplexit’sdifficulttoknow whetherthey’refightingormating [i]Cobrasareknownforgrowlingwhenthey’reangry,butIunderstandthatthesounddesignermay notwanttoincludethisifitseemstodistractingorunusual

(Displayingapassiondiscordantwiththestarkness ofthesceneyetretainingatouchofseverity)

Now,thereisaloudclap,as,simultaneously,thePROJECTEDIMAGEofthecobrastrikes againandSAMANAIslapsSIDDHARTHA’SfaceThoughSIDDHARTHAbarelyflinches, allothersoundsandmusicstopabruptly,slappedaway

Whenwillyougetit?

Lightsintensifysuddenly,andtheSNAKELIKEPROJECTIONSrecoilandrecedebackintotheir basketsWecanseethefullstageforthefirsttime:itsearlyevening,sunset,andincontrasttothe starkappearanceoftheSAMANAS,thePROJECTEDIMAGEofastunninglybeautifulsky beginstopinkanddeepenMoreSAMANAScannowbeseenonotherpartsofthestage,engaged invariousactivities,suchasmeditation(somestanding,somesitting,somewalking),gathering fruitand/ornuts,scoopingwater,etcTheyallstopabruptlyandstareatSIDDHARTHA

ThesunsetintensiﬁesVariousshadesofcarmine,carnation,lavender,tangerine,andmagentavibrantlystretch,swell,andstriate, asthesunslowlylowersalongthehorizonWithoutnoticingthebeautyofthesky,SIDDHARTHA,GOVINDA,andtheSAMANAS standandquietlywalkovertoalargetree,wheretheyplacetheirbasketsforthenightAstheyclaimsleepingspots,someSAMANAS gatherinsmallclumpsorpairoff,whileotherschoosemoresolitarylocationstobeddownSIDDHARTHAandGOVINDAmovejust farawayenoughtospeakprivately,overgrumblingstomachs,lightsnoring,andambientnightsounds,andbeneaththePROJECTED IMAGEofavast,beautiful,twinklingsky)

GOVINDA

(afteramomentinthought,allowingthesoundsofnaturetosettlearoundthem)

But,you’velearnedsomuchIcan’tenterthecobra’smind Withtime,youcouldbecomethegreatestoftheSamanas

SIDDHARTHA

Whathavetimeanddeprivationandthesubjugationofcobrasgottentheelders? CanyounameoneSamanawhohasescapedthecycle?

GOVINDAandSIDDHARTHAlaughonelasttimeastheysettleintosleepNightdriftsquicklypastinaseriesofshiftingbodypositions, varyingnocturnalsounds,subtlechangesinlighting,andcloudsrollingbyMusic,toolikecloudsinvastspacerolls,drifts,andfoldsover andinonitselfandbackoutJustasmorningapproaches,inthefaintestofpredawnlight,whileeveryoneelse,includingGOVINDA,isstill asleep,SIDDHARTHArisestosittingmeditationSimultaneously,thePROJECTEDIMAGEofthelarge,wingedshadowpassesoverhead circlingandcircling,inrhythmwiththemusic,insynchwithSIDDHARTHA’SmovementsAgain,theheroncries,moreurgently,abeckoning

heronpassesoverhead

impactonSAMANAII

*TheSanskritLokahmantraisanofferingofloving-kindness toallbeings,includingnon-humananimals,andtranslatesas 'Mayallbeingseverywherebefreeandhappy'

SIDDHARTHAandGOVINDAhalf-bowtoSAMANAIIwhostandsstill,abittooawestrucktobowbackAsSIDDHARTHAandGOVINDAexit,SAMANAII walksintheotherdirection,tothetreewherethebasketsremainlinedupfromthenightbefore,andonebyone,removesthelidsAslightsfadetoendthescene,the PROJECTEDIMAGESofabstractsnakesslitherfromabrightclearingandintoTheunderstoryofaforest

ExcitedmurmuringaslightsfadeintorevealaSTREAMOFPILGRIMSandYELLOW-FROCKEDDISCIPLES,carryinglongstrandsofriverfabricastheyheadtowardsJetavana,the Buddha’sgroveinthelateafternoonsunSomewalkalonewithinthestreamandsomeinpairsorgroupsbutallarepartoftheonegreatmovingorganismasariverisboththedropsthat formitandthecontinuous,flowingbodyRiversoundsandgurgling,surgingmusicemphasizetherippling,flowingeffectsofmovementLightingunifiesthehuman/riverflowasasingleentity

ReachingJetavana,atthefarsideofthestage,someofthePILGRIMSandYELLOW-FROCKEDDISCIPLESbreakoffthemainstreamintosmallrivuletsorstations,whileotherscontinue pastthestageasifheadedtoslightlyfurtherpartsofthegrove,justoutofsightThosewhoexitthestagecomebackaroundandstartagainsothattheriverisacontinuousinfluxofpeople throughtheentiresceneSmallclustersofhouseholdersjustoutsidethegroveengageindomesticactivities

Withabright,bubblyliltinthemusic,SIDDHARTHAandGOVINDAflowin,disheveledanddirtybutlaughingandsmilingLiketwopetalsinariver,theyflutterthroughthestreamof peopletossedjoyouslyaroundinitscurrentsattimesapartattimestogetherWhentheyarriveatJetavanatheybreakoffandjoinasmallgroupThemurmuringcontinuesandperiodically fragmentsofdiscernableconversationbreakthrough:SIDDHARTHAintroducingGOVINDAasherbrother,PILGRIMSrequestingandreceivingshelter,PILGRIMSaskingeachother , “HaveyouseentheBuddhayet?”“HowmuchfurthertoJetavana”and“HaveyouseenTheIllustriousOne?”

Afterashorttime,theresasuddenhushfollowedbyachord(theBuddhaChord)soself-containedandradiantthatitholdseverythingwithinit,emitseverythingfromitTheriverstops movingasaYELLOW-FROCKEDBEING,whowasbeforeimperceptiblyembeddedinthecrowd,stepsoutoftherivertowardsthefrontcenterofthestage Asthebeing,GOTAMA,movesforward,theriverbendsasiftofollowAsidefromanimmense,ubiquitouscalmandareflectiveradianceemanatingfromtheskin,head,andclothing, GOTAMAappearsliketheothersEveryoneturnstowatchasGOTAMAandseveralYELLOW-FROCKEDDISCIPLESapproachahouseholdandreceivericeWhenGOTAMA’Sarmslift , theriverpeaks,whenGOTAMAturns,theriverswirls,whenGOTAMAmergesbackintothestream,itsurgesforwardagain,whenGOTAMAandtheYELLOW-FROCKEDDISCIPLESslip backoutandheadtowardsthefrontofthegrovetositandeat,theriverstopsflowingandbendstowardstheglowingbeingWhenGOTAMAsits,amongasmallclusterofYELLOW-FROCKED DISCIPLESeatingasmallbowlofriceonegrainatatimeslowlypeacefullynothingexistsbuttheBuddhaandthericeThespotlightisontheglowingBuddhaandeverythingelseisdim Soundsofconversation,river,music,andnaturehaveallstoppedAsecond,slightlydimmerspotlightisnowonSIDDHARTHAandGOVINDA

SCENEIII:DoorintheRiver

Jetavana,theBuddha’sGrove Jetavana,theBuddha’sGrove

CHORALSOUNDSHOULDBECONTINUOUS; STAGGERBREATHINGPHRASINGDOESNOTINDICATEAHARDBREATH

GOTAMA’Sarmslift,andtheBuddhachordsoundsagain,sustainedlongerthistime,andtheriverfollowsthepatternof GOTAMA’Sarmmovements,almostasifitisanextensionofGOTAMA’Sarms,bendingandripplingatthesameangles andinthesameproportionsuntilGOTAMA’SarmsandhandssettleintoVitarkaMudra[i] [i],andtheriverstopsonceagain Anythingthatisorhasbeenmovingormakingsoundonthestagenowstops,asifalloflifeistakingrefugeintheextreme stillnessoftheBuddhaAgentle,holylightilluminatestheorchard,andespeciallyGOTAMAThepeoplegatheredaround GOTAMAcanbeseenprominentlyinthereflectivesheenofGOTAMA’Sclothingand/orbodypaint,asifGOTAMA’S bodyistheirsanctuary,asifGOTAMAisthewholeofhumanity[i]SeeMudrachart(tobeincludedinplaybill)

(likeagiantbelltolling;afusedsonority)

GOVINDAandSIDDHARTHAhugandGOVINDAmovesslowly,achingly,towardstheYELLOW-FROCKED DISCIPLESAdisciplemovesoutofthegroupandgentlydrapesayellowfrockoverGOVINDA’Sshoulders

GOTAMAsmiles,turns,andwalksoffThegestureismodest,quiet,andpeacefulit’sclearthatGOTAMAisnolongerthinkingoftheconversationGOTAMAisnotimpacted bysurroundingsthereverseistruetreesrustleinGOTAMA’SwindasGOTAMAwalkspast,theriverbendswithGOTAMA’Smovements,cloudsfollowSIDDHARTHA watchesherownreflectioninGOTAMA’Sback

LightsslowlybrightenasCHORUSIstreamsoffstageanddowntheaisles,flutteringandfloodingtheriverfabricalongsidetheaudiencebeforeexitingtherearoftheperformance spaceAtthesametime,riversoundsstrengthenandsurgeandswell,andCHORUSIIilluminatestheaudiencewithhummingonceagainthatluminous,expansiveharmony

AfterCHORUSIhasexitedandCHORUSIIhasceasedhumming,riversoundsrecedetobackground,continuingthroughintermissionintheareasaroundtheperformancespace SIDDHARTHAstandsalone,aslightsfadetoblack