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Overview
Product Details
| ISBN-13: | 9781841504308 |
|---|---|
| Publisher: | Intellect, Limited |
| Publication date: | 10/15/2011 |
| Series: | Playtext |
| Edition description: | New Edition |
| Pages: | 299 |
| Product dimensions: | 6.60(w) x 9.00(h) x 0.70(d) |
About the Author
Read an Excerpt
Disaster Capitalism; or Money Can't Buy You Love
By Rick Mitchell
Intellect Ltd
Copyright © 2011 Intellect LtdAll rights reserved.
ISBN: 978-1-84150-430-8
CHAPTER 1
Shadow Anthropology
a post-9/11 comedy
This(play(is(fondly(dedicated(to(the(memory(of(Mary(Ann(Mitchell.
Characters(in(order(of(appearance)
FATIMA An Afghan university student; 21 years old.
FE A PhD student and lecturer in anthropology; from Puerto Rico.
NAJIB Fatima's father; a farmer; Afghan.
GULAB A warlord and "holy warrior"; Afghan.
EVAN Administrator and mercenary for a private, US security co.
UNCLE AHMED A soldier and a blacksmith; 79 years old (more or less); Afghan.
TARIQ A mullah's apprentice; Afghan.
MUSICIANS Ideally, musicians will play traditional, indigenous instruments and conventional Western ones. And even if much of the music is prerecorded (due to budget constraints, etc.), consider utilizing at least one or two people (including actors) to play indigenous instruments (etc.) at times, particularly percussion.
SHADOW PUPPETS Hacivad, Karagöz, Wife, Mother, Daughter, Uncle Sam, etc.
Setting
2003: Rural Afghanistan and the United States. (Settings should remain simple so that there is little or no downtime between scenes.)
Notes: If a line ends in a hyphen (—), the next speaker must begin speaking before the previous speaker finishes his or her line. In general, the text's rhythms should be played at a brisk pace. Also, the shadow theater scenes should utilize (more or less) traditional Turkish shadow theater sounds, percussion, music, etc. (which the musicians can create). And when brackets ([ ]) surround a section of the play, performing that particular section is optional. Also, the Afghan characters may at times greet each other, etc. in Arabic or the local, indigenous language, but such moments must always be brief.
Shadow(Anthropology (premiered on January 15, 2011, at Son of Semele Theater, in Los Angeles, California. Produced by Paul Zimmerman, the play was directed by the author. Max Kinberg composed original music, Maria Bodmann designed the shadow puppets, and Allison Bibicoff provided choreography. Nigel Dookhoo was assistant director, Ben Cox was stage manager, and Matthew McCray was Son of Semele's artistic director. The production featured the following cast:
Anthony Castillo Tariq,(puppets
David Lee Garver Evan
Ray Haratian Najib
Andrew Qamar Johnson Gulab
Lymari Nadal Fe
Eduardo R. Terry Uncle(Ahmed,(puppets
Claudia Vazquez Fatima,(puppets
ACT I
PROLOGUE.(A(shadow(puppet(theater(screen,(which(is(at(one(end(of(the(stage,(is (suddenly(alight,(and(a(puppet,(HACIVAD,(appears.
HACIVAD The first time is history, and ... and ... I'll be right back.
HACIVAD(EXITS. (A(puppet(mouse(enters.(At(the(other(end(of(the(stage,(FATIMA, (wearing(a(burka(and(holding(and(lit(by)(a(candle,(sings("BEYOND(REALITY."
FATIMA TO THE EYE OF THE NON'BELIEVER, THIS SCREEN'S ABOUT WHAT YOU CAN SEE, YET FOR THOSE WHO CAN READ THE SIGNS, THESE SYMBOLS ARE MERELY A KEY:
TO THE PORTAL OF TRUTH WHICH IS ALWAYS BEYOND ANY LIKENESS OR WORD OF THE WORLD.
(a(puppet(cat(enters,(watches(mouse(from(a(distance)
BELIEVER BEHOLD THE MEANINGS HIDDEN BEHIND WHAT YOU SEE, WHOSE SUBTLE POINTS CAN BE GRASPED ONLY BY THOSE WHO BELIEVE.
YET NEVER LOSE SIGHT OF WHAT'S HERE, PLEASURES OF THE EARTHLY SPHERE.
(mouse(exits;(cat(heads(in(same(direction)
FOR ONCE THE CANDLE STOPS BURNING,
(she(blows(out(candle;(screen(and(stage(go(dark)
THE WORLD AS WE KNOW IT STOPS TURNING.
SCENE(1.(Split(scene:(A(university(lecture(and(shadow(theater.
FE Culture, which lives in and through representations, springs from the ground ... (shadow(theater: (a(field of(wheat (appears) (Of history, for example, and conflict. (shadow(theater: (mouse(hides(within(wheat(field;(at("process,"(cat( enters) Tellingly, the word "culture" originally signified the cultivation (of crops, which, of course, is a process, as culture must be, since it can only survive to the extent that it transforms itself. (cat(moves(toward(hidden(mouse,(eventually(chases (him) Similarly, individuals undergo a cultural process. One does not, for example, become cultured, or cultivated, all at once.
BLACKOUT(on(FE(as(cat(eats(mouse.(Audience(hears(sounds(of(eating,(digesting,(a burp.(Shadow(theater(disappears.
SCENE(2.(NAJIB's(home.(A(suitcase(sits(near(the(door(and(a(burka(hangs(on (wall.(The(shadow(theater(screen(remains(in(the(home, (where(it(acts(as(a divider.(
Note:(Intermittently(throughout(the(play,(NAJIB(prays((at(low(volume)(with(prayer( beads.
FATIMA But what good's survival if nothing changes?
NAJIB Change is going to come, Fatima.
FATIMA When?
NAJIB (pause) It has to be gradual.
FATIMA We've waited way too long already —
NAJIB Look what happened when the communists came here.
FATIMA At least they were trying to promote women's rights.
NAJIB People weren't ready.
FATIMA But that was so long ago, father —
NAJIB Right now, Fatima —
FATIMA Back in 1979 —
NAJIB My only concern is water.
FATIMA If it's not water, it's food ... or battles with Americans, religious fanatics ...
NAJIB The sky is high and the earth is hard.
FATIMA Maybe it's time to live somewhere else.
NAJIB God willing, Fatima, the soil will soon be moist.
FATIMA Sand is starting to cover the far edge of the field.
NAJIB Yes, but as long as we trust in our prayers ...
FATIMA Praying to God can not bring you water.
NAJIB Of course it can.
FATIMA How? How can praying bring you water?
NAJIB Remember last year, when Ali came upon that underground spring ...
FATIMA That had nothing to do with praying.
NAJIB God brought us that water.
FATIMA No, Ali brought you the water.
NAJIB Because that's what God willed.
FATIMA And why isn't God willing to help my sister?
NAJIB (pause) She's bringing dishonor upon the family —
FATIMA "Dishonor"? They were soldiers, with guns.
NAJIB If she had married Andaleb, she wouldn't be having this problem.
FATIMA Bibi's still about to have a baby, at fourteen years old ... and you've got her living up there in that ... that hovel —
NAJIB I'm trying to protect her.
FATIMA But the isolation's making her even more distraught —
NAJIB I don't create the laws, Fatima.
FATIMA The damn taxi should have been here by now.
NAJIB Why don't you stay till things settle down a bit?
FATIMA Things never settle down around here. (car horn beeps)
NAJIB Well, the drought can't last forever, can it?
FATIMA (she(hugs(him(while(holding(suitcase)(Goodbye, father. (she(turns(to(leave)
NAJIB Fatima, wait. (car(horn(beeps)
FATIMA I need to get back to school.
NAJIB Your semester doesn't begin for a few more days.
FATIMA I've got the scholarship ...
NAJIB To London.
FATIMA Right.
NAJIB That's for(next year.
FATIMA Yes, but I have to graduate from Kabul first.
NAJIB You're not leaving here dressed like that ...
FATIMA I should have just stayed in Kabul. (Fatima(takes (burka(from(wall,(puts(it(on)
NAJIB Now ... now you look acceptable. (horn(beeps)
FATIMA I don't look like anything.
NAJIB No, you look properly modest —
FATIMA I look like a sack of yams.
NAJIB The inside is what's important ... and you're showing some modesty now, respect for the Book. (she(picks(up(suitcase)
FATIMA I really have to get out of here. (she(exits;(Najib(bows(head)
NAJIB Your mercy, oh God, and forgiveness ...
Split(scene:(NAJIB(prays(as(FE(lectures.
FE Struggles for power are often fought within the realm of images. (as(Fe(continues(the(lecture,(Fatima(enters(her (house)(Which, as I've mentioned, is what I'll be discussing next month at the Anthropology of Folk Performance Conference in Las Vegas, as well as in my doctoral dissertation ... which I'm afraid I'm never going to finish ...
NAJIB You forgot something?
FE Unless I can get a travel grant to Afghanistan.
FATIMA That wasn't the taxi. (Fatima(is(removing(her(burka)
FE But with all the recent budget cuts ...
NAJIB It wasn't?
FE There's not much funding anymore ...
FATIMA No.
FE Although we could all be fully funded, right now, if even a fraction of the money spent on the "War on Terror" were put towards something constructive ...
NAJIB What ...
FE Like ...
NAJIB What's the matter?
FE Like education. (blackout(on(Fe)
FATIMA It was some guy in a Toyota truck. He said he needs to speak with you.
NAJIB (pause) What does he want?
FATIMA He ... he didn't say. (there(is(knocking(at(the(door)
NAJIB Yes? (more knocking)(Just a moment.
GULAB (he(suddenly(enters; (he's(armed) Hello ... (he (stares(at(Fatima;(embarrassed(and(angry,(she(goes(behind(screen) (My truck is low on petrol, and I was wondering if you might have any fuel.
NAJIB We thought you were the taxi driver.
GULAB You mean the man in the blue car?
NAJIB Is he out there?
GULAB He was. But when I commented about his face being beardless, he took off down the road.
NAJIB (pause) If I do have any fuel, it's out in the barn.
GULAB You have quite a nice piece of property here.
NAJIB It's not doing me all that much good at the moment.
GULAB I imagine the soil can be very fertile, though.
NAJIB Most of it.
GULAB It's not all yours?
NAJIB That patch beyond the rope ... a B-52 dropped a bomb there a couple of years ago.
GULAB If people didn't plant crops in soil that's been bombed, Afghanistan wouldn't have many farms.
NAJIB But that section ... it's still full of cluster bombs.
GULAB So work around them.
NAJIB I tried that ... last year ... with my wife ... but there were more than we thought ... And ... my wife, she ... (he( begins(to(break(down)
GULAB I'm sorry.
NAJIB It should have been me out there.
GULAB There are remedies for this sort of thing.
NAJIB The river which carried away your father is gone.
GULAB But never completely.
NAJIB I ... I'd rather not think about it —
GULAB What's your name?
NAJIB Najib.
GULAB Gulab. (they(shake(hands) (You grow wheat?
NAJIB Yes ... and there's a small vineyard.
GULAB Wheat can be a very practical crop.
NAJIB That's what we've always grown here —
GULAB But it's not the most lucrative.
NAJIB Nothing's lucrative without water.
GULAB We've been working on that.
NAJIB What?
GULAB Piping in water ... to the irrigation ditches.
NAJIB I didn't realize that was possible.
GULAB Of course, it comes with a cost.
NAJIB (pause) I don't have any money.
GULAB Did I ask you for money?
NAJIB I'm not even sure if I have any fuel.
GULAB I'd still like to take a look at your fields, my friend. C'mon.
SCENE(3.(Split(scene:(shadow(puppet(show(and(a(lecture.
Shadow(puppet(theatre:(WIFE(appears(as(somebody(knocks(on(her(door.
WIFE Who is it?
KARAGÖZ It's me. (knocking(continues) Hurry up!
WIFE Bugger off, You!
KARAGÖZ Open the door, Woman!
WIFE "Woman," he calls me.
KARAGÖZ Well, you call me "You." It's always, "Hey, You," never "Master." (Wife(laughs)
WIFE You don't deserve "Master." You're illiterate. (Wife(continues(laughing)
KARAGÖZ Open the damn door, or I'm gonna blow it up with this hand grenade. (he(blows(up(the(door(and(enters)
WIFE I told you not to come back here.
KARAGÖZ I've found another wife anyway.
WIFE (she(laughs) She must be blind, put up with an ugly puss like yours.
KARAGÖZ You've gotta learn who's boss, Woman.
WIFE Even the neighbors, they're getting sick and tired of hearing you abuse me.
KARAGÖZ They need to keep their feet in their own lettuce patches. Because I'm the king of this house, and I'll do whatever I like. (Wife(is (laughing) (You think that's funny.
WIFE If I don't laugh, I'll explode.
KARAGÖZ And if you explode, I'll be free ... free to be with my young, new wife.
WIFE She can have you, you big-bellied beast.
KARAGÖZ You old hag.
WIFE You should go sleep with somebody else —
KARAGÖZ I will.
WIFE Because I won't ever sleep with you again for as long as I live.
KARAGÖZ You'll do what I say. (he(strikes(her;(she(fights(back)
WIFE I'm leaving you!
KARAGÖZ Good! ... But let's go to bed first.
WIFE What?!
KARAGÖZ C'mon ... You know it's always best after we fight.
WIFE I'm leavin' you and I ain't comin' back! (she(slams(door, (exits)
KARAGÖZ Well, I'm a bachelor now ... But what am I gonna do? ...
LIGHTS(RISE(on(Fe,(on(another(part(of(the(stage.
KARAGÖZ Ohhh ...
FE War seems so distant here ...
KARAGÖZ I gotta go find a woman ...
(He(exits(puppet(stage.)
FE Because most of you have never experienced half-ton bombs pounding your backyard, one after another ... But this is often a reality for people in Afghanistan ... and in places like Puerto Rico, on my tiny island of Vieques, where the United States refuses to stop testing the effects of its bombs ... And as the military budget shoots through the roof, we're being told that learning doesn't matter ... I mean, I was just informed that once the semester ends next week, the university will no longer be funding graduate research, nor even paying us to teach, because of the "budget crisis." There, is, however, a possibility ...
As(FE(continues(lecturing,(a(shadow(puppet(bird(appears.(HACIVAD(eventually enters,(carrying(a(stick.(He(sings("LITTLE(BIRD."
FE that I could go to work for a Nevada-based contractor ... assisting the U.S. military ... Which is kind of controversial, of course, since an anthropologist's first priority is to protect the people she's studying ...
HACIVAD A LITTLE BIRD WITH A YELLOW BILL ...
FE Although if working for the private sector could help me to pay my bills ...
HACIVAD WAS SITTING ON MY WINDOW SILL.
FE And get me to Afghanistan, where I could finish my research ...
HACIVAD I LURED HIM IN WITH A CRUST OF BREAD ...
FE Maybe I'll have to consider it.
HACIVAD AND THEN I CRUSHED HIS LITTLE HEAD. (he(strikes(the(bird)
SCENE(4.(SwampWater(Security,(EVAN's(office,(Las(Vegas,(Nevada.
EVAN So how has Las Vegas been treatin' you?
FE Actually, I've been staying pretty focused on the conference.
EVAN Oh, right, right. What's it about again?
FE The anthropology of folk performance.
EVAN That's important to us, being active in the field.
FE It's important to me, too.
EVAN Good, good ... Now you're in a PhD program in Anthropology.
FE Yes.
EVAN What type?
FE "Type"?
EVAN What type of anthropology?
FE Cultural.
EVAN Excellent. (pause;(he(scans(her(resume)( And your primary research focus is Afghanistan ...
FE Well ... geographically.
EVAN You know, you're the first Afghani we've interviewed.
FE I ... I'm not "Afghani."
EVAN You're not?
FE No.
EVAN But ... I could have sworn, with your accent, and all —
FE I'm Puerto Rican.
EVAN Well, you look Afghani.
FE No one's ever said that before.
EVAN Now tell me what you know about SwampWater Security.
FE Um ... I know that you're able to respond to "hot spots" throughout the globe, with mercenaries from 23 countries —
EVAN We don't call them "mercenaries."
FE But you're using soldiers-for-hire, aren't you —
EVAN "Security personnel." And we're adding anthropologists now.
FE Is that a new strategy?
EVAN Well ... (looks(at(manual)(Um ... "Cultural knowledge is at the center of a successful counterinsurgency campaign." So we'll need you to map out Afghanistan's Human Terrain ...
FE "Human Terrain"?
EVAN The cultural landscape, like ... like who belongs to what tribe, who's on whose side. We need to map all that.
FE Well ... I'd hate to do anything that might compromise the people I'm studying —
EVAN You're gonna be helpin' these folks, Fe. But first, you gotta understand 'em. So you'll be goin' out into the field, collectin' their stories. And then ... and this is so cool ... you'll be takin' their stories and subtly rewritin' 'em, makin 'em pro-American ... before clandestinely scattering the rewritten stories amongst the natives, like seeds. Until the people start telling our stories instead of theirs.
FE You could wipe out an entire culture that way.
EVAN Enhance. We'll be enhancing their culture. Because, without firing a single bullet, we'll be cultivating, and winning, Afghan hearts and minds ... So what do you think?
FE I'm still trying to process it all ...
EVAN You could be earning – with bonus pay – a quarter of a million dollars per year.
FE It sounds great.
EVAN We'll begin with a three-month contract.
FE My dissertation's due in five months —
EVAN Now to start out, you're gonna be trainin' some of our new recruits.
FE But I also get(training ...
EVAN No, you'll be doing the training.
FE But I don't know anything about the job yet —
EVAN You(know a lot more than the other trainees.
FE What, exactly, do you want me to teach?
EVAN It's all right in there. (gives(her(a(manuscript)( And I'd like you to start tomorrow.
FE Tomorrow? That's kind of soon ...
EVAN I thought your semester was over.
FE It is ... but I'd have to relocate.
EVAN We'll put you up, give you a per diem —
FE But I still have an apartment back home —
(Continues...)
Excerpted from Disaster Capitalism; or Money Can't Buy You Love by Rick Mitchell. Copyright © 2011 Intellect Ltd. Excerpted by permission of Intellect Ltd.
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Table of Contents
AcknowledgementsIntroduction: Catastrophe Everywhere: Apocalypse Theater for the Twenty-First Century
The Plays
Shadow Anthropology
Through the Roof
Celestial Flesh