(* I have added the link to the next installment, Part 2, at the bottom, for continuous reading)
A Brief Overview of the History of Liz’s Strategem
In 1999, I directed the play, Largo Desolato, by Vaclav Havel, which was an abstract, existential retelling of Havel’s imprisonment under the Russian Regime in Czechoslovakia. Through Havel’s work, I was introduced to the Velvet Revolution, Amnesty International, the John Lennon Peace Wall in Prague, and theatre as social protest. The themes in the play showed the fragility of human existence and the horror of tyranny. The history following the play’s events exemplified the very best of humanity in resisting oppression, and the possibility of societal transformation from war to peace.
Prior to the invasion of Iraq, I directed an adaptation of LYSISTRATA in November of 2002 at a private college in the Midwest. Because of the lack of public debate prior to the war, I chose to “front-load” the production in November of 2002 with interdisciplinary activities that preceded the production: the creation of a larger than life, interactive “Peace Wall” in the theatre lobby which included the figures of Ghandi, Martin Luther King, Jr., Mother Teresa, Nelson Mandela, John and Yoko, along with many of their quotes and slogans from the Velvet Revolution—to which passers-by could respond to in writing. We conducted readings in the library from Vietnam soldiers; we had a film festival of anti-war films. In spite of an atmosphere of inquiry, the production engendered significant controversy, while it received several awards from the Kennedy Center/American College Theatre Festival adjudication.
Two additions bookended the 2002 adaptation: a “moment before” and a “moment after” using videotapes and/or projections of war images. The text was directed to specifically foreground the women’s point of view. While the text remained virtually intact, some of the more obscure Greek references of the text were omitted, and some were “contemporized”:
e.g. the “Magistrate” became the “Senator,”; “Akropolis,” the “Capitol,” etc. The interactions between the women and men throughout were made more personal and specific, accompanied by the musical commentary of a “contemporary” Chorus, singing songs relevant to the unfolding scenes.
At the end of Aristophanes’ text, there is an odd moment in the middle of the Peace celebrations in which the Senator and his Officer engage in a covert conversation, and leave the celebration to subvert the Peace Treaty. The foregrounding of this unusual aside inspired the “moment after” –- a somber warning of tragic events that may be caused by such covert actions in a post-nuclear world.
Since 2002, I have fine-tuned revisions to my adapted staging of LYSISTRATA, using the translation published in 1912 by the Athenian Society, which is in the public domain, and rumored to have been translated by Oscar Wilde.
The original production (2002) used contemporary music, for which I was not able to obtain permission for use in my new adaptation. In this updated version the choruses are all my original compositions.
The production in its current form is meant to be accompanied by projected images
(some public domain, some with permissions obtained) to connect the ‘then and there’ with the ‘here and now.’ Also, at the end of the play, the cast interacts with the audience, distributing Peace stickers among them, including them in their celebration of Peace.
In November of 2009, an international cast gave a riveting first trial reading of the reader’s theatre version of my adaptation of Lysistrata at the Tenth International Theatre Symposium at Washington and Lee University, In April, 2011, it had another reading—with updated original music and accompanying projections—at the All Power to the Imagination Conference at New College, in Sarasota, FL.
I have since retitled my adaptation, Liz's Stratagem, and have created a 20 minute Reader's Theatre version to accompany (or stand alone) the full length version of the play. It is my hope that this play can be an accessible, artistic vehicle to raise awareness and help transform the hearts and minds of all, towards Peace in our day.
The first installment of this blog of Liz's Stratagem includes the casting information, the Prologue, and Scene 1, The Argument--aka---the 'moment before'. Enjoy.
LIZ’S STRATAGEM
Adapted for the stage from Aristophanes’ LYSISTRATA (c. 400 B.C.)
© KPS 2012
CAST (roles may be doubled*)
12+ WOMENT...........11 + MEN
North Land Women:
Liz (goddess is my oath);
Callie (Callie, gift of beauty), Officer’s wife
Maya: (woman; life) Cornelius’ wife
Old Woman/’Kita (‘kita, victory of the people), Old Man’s wife
South Land Women:
Latoya (victorious one), Diplomat’s wife
Sahara (dawn);
SOUTHLAND Woman
Woman 1-3; Other women, as desired
North Land Men:
Senator
Officer
Sergeant
Old Man
Cornelius (horn)
Servant to Cornelius (doubles as Liz’s Partner)
Prop: Child of Cornelius
South Land Men:
Diplomat
Ambassador
SOUTHLAND Man; Other men, as desired
CHORUS:
2 women, 2 men: They are onstage throughout, observe, and participate/comment on the action. The Director may choose to have them accompany any of the various ‘chants’ in the text.
Epilogue: Optional music composed by KPS
YouTube video: Where in the World
SETTING (s): The Capitol:
At first, LIZ’s home; then, a public square
…later, beneath the walls of the Capitol;
…lastly, within the Capitol itself.
PROLOGUE
CHORUS: (The CHORUS chants the following)
THE RICH GROW RICHER,
THE POOR GROW POORER
HATE GROWS OLDER
LOVE GROWS COLDER
IN TIMES LIKE THESE (may echo)
THE LIES GROW LONGER
THE STRONG BECOME STRONGER
THE WRONG GROW RIGHTER
ALL BECOME FIGHTERS
IN TIMES LIKE THESE (may echo)
Scene 1: The Argument
(LIZ and her PARTNER are reading updates/reports—He is packing his gear, getting ready to leave on another tour of duty; they argue)
LIZ
What can I do to get through to you… you’re not listening to a word I’m saying!
PARTNER
We’ve been over all this before….I’m just doing my duty…
LIZ
Your duty? The pillaging of natural resources? The raping of innocent women and children? The drone attacks and bombings on innocent civilians. . .
PARTNER
You know I have nothing to do with any of that…
LIZ
These endless wars...they're ravaging the countryside, destroying towns and homes, displacing thousands of families…when will there be an end to it all?
PARTNER
It's all I can do to follow the orders given to me….I’m doing the best I can, for us, for our country…
LIZ
I don't see how you can stand by while those in command corrupt the rule of law, and continue to bankrupt our country, without any accountability to the people!
PARTNER
I really don’t need to hear this right now, just before leaving on my next tour…I’d really appreciate some support…especially since we've been in this together since the beginning…
LIZ
Support goes both ways…when will you be home again? …Will you be home again?…And if you return, what condition will you be in? This is your third tour of duty….I’m so tired of the fear, of the violence, of politicians and profiteers pocketing the profits, while sending honest men like you to fight their senseless wars…
PARTNER (shouts)
I’ve had enough of this, I’m through! (He puts on his military hat, grabs his gear, EXITS)
LIZ
What can I do? How can I get through to you…..?
(LIZ sits alone, thinking; PROJECTION, “Breaking News”;
she then begins ‘tweeting’ a message on her cell phone;
her TWEET/PROJECTION, appears:
“@ LIZ: all women: urgent/meet at capitol steps; national emergency.”
************
Tune in to the next installment, tomorrow:
PART 2: LIZ's Stratagem, or War, What is it Good For?