I have been working on the script for a week now. Mostly writing ideas. Some might call it procrastinating. Maybe, maybe not. A student emailed me some basic thoughts that were intriguing--he wanted some new character introduced one that represented an outsider religion into what was essentially a Christian/Islamic conflict. It got me thinking how odd it was to be developing a play about religion, religious conflict, and religious art. He proposed a Jewish artist. I thought, great, if it isn't complicated enough I have to now placate all religious views....
So this is in my thoughts when I went to NYC this past week. 3 events there, mixed in with this students thoughts, influenced the way the play is taking shape. One: I went to visit the Occupy Wall Street site, and then on my way back to the subway, I walked by the site of the world trade center. Then took the subway uptown to the recently reopened Islamic art exhibit at the Metropolitan Museum, and then, in the evening saw the most spectacular theatre I have seen in years: Punchdrunk's adaptation/meditation on Macbeth: "Sleep No More".
These 3 seemingly unrelated events really did a number on my subconscious. What I discovered at the Islamic art exhibit was how Ottoman art in particular, and Islamic art in general, were greatly influenced by art movements and artists that lived throughout their empire. For the Ottomans, and this has direct bearing on the work that is in the Hagia Sophia, it is quite possible that Sephardic Jewish influences were present. The Ottomans, for all their other faults, were very tolerant and in fact encouraging, of different religions and cultural influences. Indeed the Jews and the Muslims had a lot in common in this region of the world, both being kicked out of Spain during the Inquisition, just before the fall of Constantinople. In fact the Ottoman's invited the jews to repopulate the cities of Salonika and Istanbul after the fall of the Byzantine empire decimated these cities populations. So, for our play, it is quite possible to include characters from all over the Ottoman empire who were brought to the court because of their artistic talent.
Then there was "Sleep No More". In simplest terms it was as if I was invited to participate in someone else's nightmare, both as a witness and a participant. And what a nightmare it was: the Macbeths. It was presented non linearly and mostly in dance/movement. I could, as a masked observer/participant do anything in a five story "haunted house" environment--explore a room, follow non masked actors, whatever. It reminded me of this basic idea while writing this script: if you can say it with movement and sound and lighting there is no need for words.
This concept is reliving me of the burden of taking the deep work by our students, which was created through movement, and trying to put it into words. I think that it this point I am writing a sketch: something that outlines movements and physical pictures and will let words come if necessary through the 6 week rehearsal process. This is true for many episodes in the play. There are some of course where words are coming as I work on it, but for most it is getting the picture in my head and writing it down. What follows is an example, a draft of the opening, which places a high value on movement and sound but does include some necessary dialogue to move our story along.
Oh, before I include that I have to talk of the Occupy movement (Helicopters hover over Berkeley as I sit in a cafe near the UC campus, monitoring the student strike here). It reminded me of the impetus behind this play in the first place. The Hagia Sophia's history is relevant to today's world, as all history is. It reminds us that human's have had the conflicts before that dominate the headlines today. Being near the world trade center site reminded me of the news from a few months ago of the outrage by some at the proposal of building a mosque/islamic community center near this "sacred site". So the outrage at the changing of the Hagia Sophia from a Christian church first built by a pagan emperor, then transformed into a different brand of Christian worship by invading armies from the West, then it's conversion into an Islamic mosque, and finally a secular museum plays itself out in today's world as well.
Ok so here's the opening as of now.
Opening/Prologue
There is music, of course.
One young artist runs out onto the stage from backstage—ending up downstage center. It is a girl or a boy, carrying a blank canvas. There is a sense that s/he has been running a long time, and is making certain no one is following. Another comes, from a different place, perhaps from the audience area. They embrace, but are clearly wary, looking about. One begins to speak, but the other stops them, so they won’t be heard.They set up the canvas and begin to work on it together. A series of words appear on the backdrop: ‘ The Year: 1453. The place: The Hagia Sophia, the great church of the Holy Wisdom, in Constantinople. It is the last moments of the Byzantine Empire.’
They are working on the painting, and we hear the sounds of war in the background—canons, explosions, yelling. The two artists are clearly fearful and painting with great urgency. We can tell, through their clothing that the two artists are different. One is an Ottoman Turk, one a Byzantine. In the background we hear the progression of the battle that rages outside. The artists move their work, closer and closer to the audience, in a zig/zag pattern across and down the stage, finally ending crouching below the stage, on the stage left side of the theatre, hiding, but still working. It has to be clear, through movement if not in words, that it is essential that they get the painting done, now!. Armies clash behind them, in front of them, some in giant shadow behind, some in shadow on scrim (using as many walls as possible to create this battle, both in shadow and on stage) Shouts: The Turks have broken through the walls and other shouts we will develop. Actors in black costume will be holding hand held lights and will cast shadows of the battle. There will be a rhythmic exchange of movement/tableux between the painters and the soldiers. Only when the soldiers are in tableux should the artists speak. At last the Sultan Mehmet II Enters downstage center, a soldier is seen taking something of value. Mehmet II holds him by the neck:
Mehmet II
Why are you destroying this floor, soldier?
Soldier
For the faith, my commander.
Mehmet II
Did you not hear? Leave the building alone. The Hagia Sophia is mine. Content yourselves with treasures from elsewhere.
This comes to a tableux (dead soldiers, Mehmet)
Our artists come to life here and are focus
Ottoman Artist
We have to hide this. If the Sultan or any of his soldiers find it, he will surely destroy it, and kill us.
Byzantine Artists
But it’s not finished.
Ottoman Artist
We don’t have time to finish it. It’s better like this, half done, then destroyed. Destroyed it does no good.
Byzantine Artist
A few more strokes, with your pen, then, your Calligraphy is what makes it whole.
Ottoman Artist
And your portraits, I wish I could paint like you—you bring to life the very prophets themselves.
Byzantine Artist
I could teach you, and you could teach me.
Ottoman Artist
But it is forbidden
Byzantine Artist
So it is. For now. I wish we could show this. Even incomplete it is something the world has never seen.
Ottoman Artist
It is beautiful, yes, but they are not ready yet. Maybe, someday. But not now.
Let’s hide it now, or we will die and it will be destroyed and nothing will change.
Byzantine Artist
Even unfinished, it is a thing of beauty—a blend of our worlds.
There comes a point where the tableux’s begin to move in slow motion, while our artists continue to talk, at last they notice the movement and urgency again takes over.
They will find us…where can we hide it.
Ottoman Artist
The building itself will hold it. Behind one of your mosaics. Maybe the one of the prophet, Jesus, or the one of Mary.
Byzantine Artist
No. Those are the first places they’ll look. Let’s think.
Ottoman Artist
No time.
Byzantine Artist
No, I have it…upstairs, on a railing, there’s some strange writing that no one knows anything about…It just looks like scratches, nothing of value or of danger to your faith. They’ll leave that alone…Let’s roll it up and put it under there. Quickly….
They roll up the unfinished painting, and make their way and we show them hiding it, as the shadows of the soldiers move around
End scene
