Yael Farber - RAM: The Abduction of Sita Into Darkness
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- Year:2011
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THE ABDUCTION OF SITA INTO DARKNESS
Yael Farber
THE ABDUCTION OF SITA INTO DARKNESS
OBERON BOOKS
LONDON
First published in 2011 by Oberon Books Ltd
Electronic edition published in 2012
Oberon Books Ltd
521 Caledonian Road, London N7 9RH
Tel: +44 (0) 20 7607 3637 / Fax: +44 (0) 20 7607 3629
e-mail:
www.oberonbooks.com
Copyright Yael Farber 2011
Yael Farber is hereby identified as author of this play in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted her moral rights.
All rights whatsoever in this play are strictly reserved and application for performance etc. should be made before commencement of rehearsal to Thomas O. Kriegsmann, President, ArKtype, P.O. Box 1948, New York, NY 10027 (). No performance may be given unless a licence has been obtained, and no alterations may be made in the title or the text of the play without the authors prior written consent.
You may not copy, store, distribute, transmit, reproduce or otherwise make available this publication (or any part of it) in any form, or binding or by any means (print, electronic, digital, optical, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
A catalogue record for this book is available from the British
Library.
PB ISBN: 978-1-84002-988-8
EPUB ISBN: 978-1-84943-673-1
Cover photograph by Vinna Laudico
www.vinnalaudico.com
Printed, bound and converted in Great Britain by CPI Group
(UK) Ltd., Croydon, CR0 4YY.
Visit www.oberonbooks.com to read more about all our books and to buy them. You will also find features, author interviews and news of any author events, and you can sign up for e-newsletters so that youre always first to hear about our new releases.
ORIGINALLY COMMISSIONED BY
Artistic Director, Allan Buchman
Special Thanks
This adaptation was inspired by Ramesh Menons
magnificent prose retelling of The Ramayana. My profound
gratitude for his opening the gates to the rest of us.
R.K Narayan & Ranchor Primes short prose versions were
also helpful. My thanks goes to the above and any other
writers who may have impacted upon me while creating
this text.
The ending I have chosen for this version of The Ramayana
is inspired by an ancient Southern Indian tale and is
recounted by Ramesh Menon in the final pages of his
Ramayana retelling.
Allan Buchman for choosing me to adapt this wonder.
Lekha Singh for initiating & enabling this adventure.
Anant Jesse for a rainy afternoon of black chocolate,
orange juice and rama revelations in the garden.
Brian Drader for your continued generosity, insights and
exquisite gift for the lazer-precise questions that lead a
writer to their own answers.
The abduction of Sita into darkness
In the summer of 1988, sanitation workers across North India went on strike.
Their demand was simple: They wanted the federal government to sponsor more episodes of a television serial based on the Indian epic Ramayana. The serial, which had been running on Indias state-owned television channel for more than a year, had proved to be an extraordinarily popular phenomenon, with more than eighty million Indians tuning in to every weekly episode. Streets in all towns and cities emptied on Sunday mornings as the serial went on the air. In villages with no electricity, people usually gathered around a rented TV set powered by a car battery. Many bathed ritually and garlanded their television sets before settling down to watch Rama, the embodiment of righteousness, triumph over adversity. When the government, faced with rising garbage mounds and a growing risk of epidemics, finally relented and commissioned more episodes of The Ramayana, not just the sanitation workers but millions of Indians celebrated.
VALMIKI SAMAJ
Sanitation Workers, Keepers of the Sita-Body
RAMA
Ordained King of Ayodhya
SITA
Beloved of Rama
SITA - BODY
Body of Sita
LAKSHMANA
Brother of Rama
DASARATHA
Father of Rama
RAVANA
King of Sri Lanka
KAUSALYA
Mother of Rama
MANDODARI
Wife of Ravana
INDRAJIT
Son of Ravana
VIBHEESHANA
Brother of Ravana
SUGRIVA
Monkey King
VALI
Brother to Sugriva
HANUMAN
Monkey God Devotee of Rama
KUSHA AND LAVA
Street Urchin Sons of Rama
+ varuna; goddess of the sea
Incarnated by performer of the SITA-BODY
+ jatavu; ancient eagle warrior
Incarnated and / vocalized by performer of DASARATHA
+ garuda: half man half bird
Incarnated and / vocalized by performer of DASARATHA
+ the golden deer
Incarnated and / vocalized by performer of RAVANA
+the valmiki samaj The valmiki samaj
The valmiki samaj may be performed (as described in this text) by the performers of KAUSALYA and MANDODARI. As with all the additional characters above, performers doubling on roles is
optional.
The ideal performance space for RAM is a high-ceilinged urban-industrial room of stark, worn beauty. Seating is steeply raked to look down on and hold the performance on three sides or in the round. (Proscenium arch with a raised stage would be anathema to this work). The high ceilinged walls are covered in plastic-wrapped scaffolding, as though undergoing construction. The movement of the plastic sheets from the wind of large industrial fans, creates an unsettling, haunting sound. Before entering the performance area the audience is invited to remove their shoes and place them in a pile. Strewn around the performance area are piles of debris and tethered plastic bags a bleak yet ethereal landscape of urban waste. Centre of the performance area is a large, ungainly television (circa 1970s) powered by a car battery and garlanded with dead flowers. The television screen is filled with the searching pattern of snowy static: the void we recognize when a television is sitting between channels. Static sonics fill the auditorium with its soft but disturbing sound.
The snow pattern of the television is reflected on the back wall of the space creating epic presence from the banal domestic. Placed before the old television is a stunningly worn, long sofa. Seated in this sofa, standing behind and around it is the full company[with the exception of the SITA-BODY, hidden beneath the waste of the landscape].
As lights fade, the cast slowly rise from the sofa and drift away. The television is unplugged from the car battery by the last remaining members of the company and removed. Finally it is only the VALMIKI SAMAJ who remain. They sift through the layers of tethered plastic bags and waste, with a singular and unhurried air. Finally VALMIKI SAMAJ signals to the other. At her feet, curled in a fetal position and wrapped in plastic, is the body of a woman. She is handsome, naked and dead. The VALMIKIS cover their mouths with fabric, tear the plastic open and unwrap the broken SITA-BODY. They sing softly of death.
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