The plays are very different in style and include the use of physical theatre, naturalistic explorations of human rights abuses, and symbolic structures, puppets and poetry. The plays are supported by an analysis of their processes and themes. All have reached production and the text is supplemented by photographs of these performances.
The plays are very different in style and include the use of physical theatre, naturalistic explorations of human rights abuses, and symbolic structures, puppets and poetry. The plays are supported by an analysis of their processes and themes. All have reached production and the text is supplemented by photographs of these performances.
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Overview
The plays are very different in style and include the use of physical theatre, naturalistic explorations of human rights abuses, and symbolic structures, puppets and poetry. The plays are supported by an analysis of their processes and themes. All have reached production and the text is supplemented by photographs of these performances.
Product Details
| ISBN-13: | 9781841508870 |
|---|---|
| Publisher: | Intellect Books |
| Publication date: | 01/01/2003 |
| Series: | ISSN |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 137 |
| File size: | 4 MB |
Read an Excerpt
Tormented Minds
By Christine Roberts
Intellect Ltd
Copyright © 2003 Intellect Ltd.All rights reserved.
ISBN: 978-1-84150-887-0
CHAPTER 1
Part One
Ceremonial Kisses
Author's Introduction
Ceremonial Kisses explores the effect indoctrination and guilt can have on the development of a personality. Within the play we experience the increasing torment of the main character/Master of Ceremonies through the actions and presence of the Chorus/Choir.
The Chorus represent: the institution of the church; the main character's suppressed desires and his gradual descent. It is without specific gender – the scenes and roles in which it appears dictate the sex of the individuals within it. The Acolyte is both part of the Chorus and, at times, separate from it. He becomes the focus of the main character's increasing obsession with his own sexuality. He encounters the Acolyte through cottaging – the practice of picking up men for casual sex in toilets.
As the main character becomes more confused, so the role of the Chorus and Acolyte becomes more ambiguous. Do they really exist? Or are they an elaborate fantasy created by the Master of Ceremonies to further punish himself? Are they physical representations of his mind?
The play takes place in four locations, each with its own particular set of rituals: the church and the confessional; the supermarket aisles with its 'muzak' soundtrack; the gents' toilets adjoining the supermarket aisles and the cubicle and, the Master of Ceremony's home where his increasing isolation is epitomised by his obsession with television advertisements and the practice of 'zapping'.
As the Master of Ceremony's attempts to liberate himself leave him racked with guilt, so he is forced back to the solace of the confessional and absolution. The cycle continues and the demons remain.
Ceremonial Kisses
Ceremonial Kisses was premiered by Lusty Juventus at the Exeter & Devon Arts Centre on 21 September 1996, followed by a run at the Hackney Empire Studio Theatre, London (December 1996) with the following cast: James Barlow(The Acolyte); Misri Dey (Choir Member/Wife); Shad Khan (Choir Member); Rube (Choir Master); Mike Stoneham (Master of Ceremonies) and Ruth Way (Choir Member).
It was performed at the Edinburgh Festival 1997 and the Redgrave Theatre, Bristol, with Alistair Ganley as the Master of Ceremonies. Co-directed by Roberta Mock and Christine Roberts. Design and construction by Sam Shaw. Choreography and vocal work by Misri Dey and Ruth Way. Lighting by Emma Pearce and Debbie Tyreman.
The Characters
The Master of Ceremonies (M.C.) (a married man in his forties)
The Acolyte (a man in his early twenties)
The Chorus/Choir (group of three or more men and women)
The M.C.'s Wife (played by member of the chorus)
Scene One
(There is one cubicle on stage. This looks solid, but the walls are in fact stretched muslin or latex. There is an ambiguity about the set: basins which can be either stoups or washbasins; the drinks fountain doubles as a font, an altar with vases of flowers and cloths which can be used ritualistically, or literally, as towels. There is a vertical grid up Stage Left (SL). The lighting defines three locations: church, toilet and supermarket. The cubicle is lit for the church. The light intensifies on these as the noise builds. A quiet chanting can be heard. This begins at an indiscernible level and grows. Throughout the play, lines attributed to the chorus may be sung, chanted or spoken in unison or distributed to individuals as is deemed appropriate. The chorus is made up of choir members.)
ACOLYTE AND CHORUS
Red is for the feast of the Precious Blood,
For Martyr,
For Holy Innocent's Day.
Make a prostration,
If the Blessed Sacrament is exposed during the rite of Exposition
On entering or leaving the church.
To make the Sign of the Cross,
Place the left hand extended under the breast,
Hold the right hand extended also.
At the words Patris,
Raise it and touch forehead.
At Filii touch the breast at a sufficient distance down,
But above the left hand.
Choir, not necessarily those who sing,
So it was originally and in theory should still be so.
Do not place them either side of the altar,
It is not artistically effective to do so.
Servers.
They should avoid too much precision,
Or affectation,
Or such a bearing as befits soldiers on parade rather than Churchmen.
All must be done gravely and regularly;
But if behaviour is too punctilious and uniform
The sacred functions look too theatrical.
The normal place for the Acolytes
Is in front of the credence.
The Master of Ceremony should know what he has to do,
And the function of everyone else.
(As the volume of the voices increases the characters inside the cubicle begin to move, pushing hands/faces etc. against the walls. All characters come /climb out of cubicle except M.C.. These characters construct a series of religious tableaux as the M.C. continues to speak. The M.C. becomes increasingly more frantic.)
M.C.
Those who are about to celebrate the holy mysteries must have confessed their sins, must be reconciled to all men and have nothing against anyone. Till the time of sacrifice they must keep their hearts from bad thoughts, be pure, and fast, until the moment arrives.
Bless me Lord for I have sinned!
Mea Culpa!
Guilt is an abstract which my religion makes concrete,
Something palpable,
Something tangible.
Mea Culpa!
(The CHORUS breaks from the tableaux and begins to climb around and over the cubicle until they are inside with the M.C. all pushing the walls.)
CHORUS
Secrets.
Say the secrets reading from the Missal.
Says these silently.
Only the first and last secrets have the conclusion,
Per Dominum Nostrum.
At the end of the last secret say the words of the conclusion
Spiritus Sancti Deus,
Silently.
Confess your sins with true sorrow.
M.C.
Absolution after confession.
(CHORUS move out of cubicle and take up one final tableau. ACOLYTE stays in the cubicle with M.C.. Lighting change for toilet. CHORUS move behind the grid and watch. ACOLYTE comes out of cubicle and exits SL. He is followed by the M.C. who washes his hands and then exits SL. Chorus slowly disappears, exiting from behind the grid.)
M.C.
Absolution after confession.
Scene Two
(Lighting change for supermarket. Muzak drifts out (possibly as well as an electronic bleeping noise). The CHORUS and ACOLYTE enter Stage Right (SR) with supermarket trolleys. M.C. and one of the CHORUS are clearly a couple, this is emphasized by their interaction. The remaining CHORUS members and the ACOLYTE are characters in a supermarket.
The M.C.'s WIFE is the only one not relishing the atmosphere and is eager to buy what she needs and leave. Movement piece should emphasise the link between the tranquility of a church and the ritualistic element of supermarket shopping, using aisles and images in an ambiguous way. The characters can enter frenetically but should become unblinking and malleable. This should be seen as another refuge from the pressures outside, but it should also be clear that they are being manipulated by the experience.
The fourth wall can be utilised as imaginary shelves.)
ALL CHARACTERS EXCEPT WIFE
Big and bland and abundant,
Homogenized.
Cleanliness, convenience, availability.
Fruit market-stall freshness,
Not soiled.
Fish,
For the brain,
Without smell.
Flesh, meat, neat, bright, unstained, glossy, vacuum-packed, shimmering and
Bloodless.
WIFE
List?
M.C.
Spurlchase.
CHORUS
Resistance is entirely pointless,
In an hermetic world.
Hopeless ... helpless.
WIFE
Middle-class, middle-brow ...
CHORUS
... loyal!
It looks good.
WIFE
It's easy to produce!
CHORUS
It's fresh!
WIFE
Aroma management.
CHORUS
Impulsive, innovative.
WIFE
Brainwashed, seduced.
Numb feelings of power, without
Responsibility.
CHORUS
Seduction.
Numb feelings of power without,
Responsibility.
Sanctuary.
WIFE
Supermarkets!
CHORUS
Servicescapes.
WIFE
Shelves!
CHORUS
Stock Keeping Units.
SKUs.
WIFE
Needs!
CHORUS
Need state.
Dieting? Economising? Indulging? Impressing?
Hello! That looks good.
M.C.
Pasta! We need pasta ...
CHORUS
Fusilli, Farfalle?
Rigate, Radiatore, Rigatoni ...
Pappardelle, Vermicelli, Torchietti, Campanelle ...
Tagliatte pagliae fieno!
WIFE Shells ... quick cook ...
Beans ...
CHORUS
Mixed in mild chilli sauce,
Mixed in spicy pepper sauce,
Mixed in sweet and sour ... sauce.
Flageolet,
Aduki,
Borlotti,
Butter,
Broad,
Kidney,
Black eye,
Stringless
Haricots Verts!
WIFE
Baked.
Coffee ...
CHORUS
Italian roast, Italian blend,
French roast, Mocha blend.
Kenyan blend, Colombian roast.
Cafetière and Percolator,
Espresso ...
WIFE
Instant.
CHORUS
Meat!
German pepper salami,
Luke's Hogs sausage,
Kanos sausage ...
Proscuitto di spech?
Sancisson sec?
Mortadella?
Pancetta?
Bresaola?
Felino?
Milano?
Chippolat ... o?
WIFE
Frozen.
CHORUS
Spinach and Ricotta Cheese, Cannelloni!
Seafood Linguini ...
Pasta Penne Nicoise ...
Spaghetti Puttanesca.
Deep Dish Duck Dupiaza,
Creamy Chicken Korma,
Mouthwatering, Microwaved ...
WIFE
Peas.
M.C.
Treats?
CHORUS
Treats, treats, treats ...
Five cranberry topped pork and turkey snack pies ...
Six mini Isle of Skye smoked salmon en croute ...
Dinner party Dim Sum selection ...
Cocktail chicken satay.
Seven mini banoffe pies ...
Seafood medley ...
Filo parcels ...
Vol-au-vents.
Ciabatta, cholla, sfilatino,
Bagels, pitta, petits pain ...
Crusty rolls.
Two large tarts au citron ...
Twenty crostini!
WIFE
Toilet paper.
CHORUS
Deep heat kumquats ...
Party prickly pears ...
Paw paw ...
Lychees ... loose.
Mangos, mini, medi, large ...
Lollo Biondo, Lollo Rosso ...
Oyster, horse, button, British, organic, shitake!
Single, double, dwarf, fine ...
Snap, smooth, deep and firm.
Firm and sticky ... medjool dates.
WIFE
Ajax?
CHORUS
Potato skins.
(As the scene continues the M.C. becomes increasingly distracted. He kisses his WIFE, gives her flowers from the altar and moves SL. He slowly moves into space. Lighting indicates toilet.
CHORUS and ACOLYTE continue shopping etc.)
M.C.
Convenient, clean and available.
(The M.C. washes his fingers and methodically dries them on the towel. He then stands provocatively in the doorway of the cubicle. The ACOLYTE breaks away from the CHORUS and enters.)
ACOLYTE Sanctuary.
(ACOLYTE crosses to the cubicle and enters. M.C. follows him in.)
M.C.
Seduction.
(Lighting is on the cubicle and dim in the supermarket. Musak plays quietly in the background. The CHORUS and WIFE remain in the supermarket.
ACOLYTE leaves cubicle followed by the M.C.. M.C. returns to his WIFE.)
WIFE
That was slick, I didn't see you disappear.
M.C.
Never fear.
WIFE
No dear.
Now can we get on ...
I want to get out of here.
M.C.
Now?
Go?
WIFE
I've got everything we need.
M.C.
For Jim?
For Jean?
For Jo?
WIFE
Come on, let's go.
How many more have we got to feed?
M.C.
I thought I might stay.
Buy some ...tools.
WIFE
Anything to linger,
You're behaving like a fool!
M.C.
OK, don't make a fuss.
I can come alone,
It's only an eight-minute drive ...
From home.
WIFE
Eight minutes?
From home?
M.C. (exiting with WIFE.)
Yes.
I timed it one day.
Eight minutes.
So!
WIFE
Absolutely bloody vital to know!
(WIFE leaves with trolley, M.C. follows her. Lights fade as they exit SR.)
Scene Three
(CHORUS form tableaux or cross-like shape. Lighting indicates church.
M.C. enters SL. He stops at basin /stoup and crosses himself with the water. He then genuflects at altar and enters the cubicle/confessional.)
CHORUS
Take the holy water from the stoup,
Make the sign of the cross.
In ceremonial entrances everybody genuflects.
Continue the custom of the church,
There is no good reason to change it.
Observe the rules which forbid certain ceremonies.
Observe the points – they make for reverence and decorum.
Confess,
Confessional –
Days and hours are fixed when these can be heard,
Order amongst the chaos.
Proper place for confession –
Church.
In a confessional.
Penance is the only sacrament administered sitting.
The penitent should make the sign of the cross
Then seek the blessing ...
Dominus Sit A Corde Tuo.
Penitent speak the Confiteor.
Pray before telling your sins.
Confess to almighty God and to the Father.
M.C.
Bless me Lord for I have sinned.
I am filled with loathing and self-disgust at my actions.
But I am compelled –
I have no resistance.
Every time I commit the sin,
I vow not to do so again ...
CHORUS
One can be absolved of ones sins only if they are not premeditated.
If you are overcome,
Overpowered by some,
Desperate urge,
And commit the sin,
You can be forgiven.
Your sins can only be forgiven if they are totally unpremeditated,
Without intention
Or design.
M.C.
I feel as if I'm being sucked down,
Sucked in.
I feel so desperate.
I am betraying my wife, my children,
I put my profession at risk.
I feel as if I am drawn to meet with devils –
Head on,
To confront the demons.
I commit obscene acts,
Am compelled to debase myself and others.
I relish the pain I inflict on others.
I delight in the pain I inflict on myself.
I consume and am consumed by the demons.
The feeling is intoxicating.
The greater the sense of danger,
The greater the fear of being caught.
So the desire is heightened.
The ecstasy!
The intensity of the guilt only seems to confirm the immediacy of the act.
The guilt itself is almost as pleasurable –
It is so ... intense.
I am really aware of existing.
It is so palpable.
The ecstasy ...
CHORUS
Before the fall.
M.C.
Mea culpa, mea culpa, mea culpa (beats chest and weeps).
The ecstasy before the fall.
CHORUS
We must observe rules which forbid certain acts.
There are strict rules to observe.
Rituals to perform which help control our behaviour,
To keep our free will within certain strict parameters.
Use these to help yourself –
To exercise control within the church
And you will find God's strength.
What is allowed?
What is permitted?
Temptation is the cloak of the devil.
The devil comes in many guises.
He comes to tempt you.
You are tempted with the promise of ecstasy –
Ecstasy without God will lead to the fall.
It will lead to damnation and the fires of hell.
But ...
To fall to temptation is not a sin,
It is not final.
M.C.
No, to fall to temptation is not a sin.
I am after all human.
CHORUS
But a fall with no remorse,
Or sense of guilt,
Or repentance,
Cannot, and will not, be forgiven.
There can be no absolution without guilt and remorse.
How great is your sense of guilt.
M.C.
As great as the pleasure I experience.
The greater the pleasure,
The greater the guilt.
CHORUS
Sickness, sin and evil are what we encounter in life.
These men you desire are devils in disguise.
If you succumb ...
Confutatis Maledictus –
You will be consigned to the flames of woe,
To fire which never dies – burning you forever.
Be thankful that we have the sacristy of the confession,
Absolution through guilt, repentance and confession.
M.C.
God the father of mercies through the death and resurrection of his son, has
reconciled the world to himself and sent the Holy Spirit among us for the
forgiveness of his sins.
CHORUS
Is the Lord in your heart?
Do you confess your sins with true sorrow?
M.C.
I do with true sorrow.
CHORUS
I absolve you from your sins in the name of
The Father and of The Son and of The Holy Spirit.
Amen.
(Continues...)
Excerpted from Tormented Minds by Christine Roberts. Copyright © 2003 Intellect Ltd.. Excerpted by permission of Intellect Ltd.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
Contents
Acknowledgements,Part One,
Ceremonial Kisses,
Author's Introduction,
Ceremonial Kisses,
Part Two,
Shading the Crime: Acting Hopelessness as an Act of Hope by Christine Roberts and Roberta Mock,
Shading the Crime,
Part Three,
The Maternal Cloister: The Manipulation of Sor Juana?,
Author's Introduction,
The Maternal Cloister,
About the Author,
About Lusty Juventus,