Those who participate in making this a 'living drama' and not dead words on a piece of paper, must be potentially prepared carry the heavy burden of love, physical or metaphysical or "both, to any and every member of their audience -and naturally to themselves in the first place- otherwise they cheat and just play a game in which they hit below the belt, undermine the painfully achieved precarious stability of civilised people, the play will not 'happen'.. No moments of enlightenment but resistance, dismissal or aggression.

PARTICIPANTS

ANNOUNCER

being anything he likes perhaps a clown?

PHOTOGRAPHERS

with cameras that make clicking noises and have flash attachments and make flashes

CLOTHES COVERED MEN AND WOMEN of PROTOPLASM (minimum number 2 women and 2 men) in a state of WORSHIP BEING CUSTODIANS of:

LATE COMMERS TO THE SCENE

being in custody of CLOTHES COVERED MEN AND WOMEN of PROTOPLASM

being CLOTHES COVERED MEN AND WOMEN of PROTOPLASM in the play before... ... or in the next play..

PLASTIC MADE MODEL OP PROTOPLASMIC HUMAN BEING NAILED TO FRAME

PLASTIC MADE MODELS OF CLOTHES COVERED MEN AND WOMEN OF PROTOPLASM ON FLOOR

TOOLS AND EQUIPMENT (a)

for nailing and securely fixing PROTOPLASM CONTAINING HUMAN BEINGS onto appropriate frames

TOOLS AND EQUIPMENT (b)

for connecting PLASTIC MADE MODELS OF CLOTHES COVERED MEN AND WOMEN OF PROTOPLASM ON FLOOR- to HIGHER BODIES ? in the sky

TOOLS AND EQUIPMENT (c)

for raising frames as high as is consistent with SAFETY, STABILITY and VISIBILITY

ELECTRONIC TITILLATORS

for CLOTHES COVERED MEN AND WOMEN OF PROTOPLASM in a state of WORSHIP, CUSTODIANS OF LATE COMERS in the form of tape recorder and T.V. (ad lib.)

SOUNDS OP WORSHIP

SOUNDS OP NEWBORN BABES AND CHILDREN

DEAD LIGHT SHOW on all walls

WAVES OF CHEERING AND CLAPPING from nowhere in particular

WAVES OF CHARING AND CLAPPING from tape recorder on stage (ad lib)

MANAGER at the exit with expensive suit and huge smile

ACT TIIS FIRST

Soft and very solemn sound of reverent worship Dead light show on all walls

ANNOUNCER     : (carrying two obscene pieces of wood which are capable of making a very sharp and unpleasing sound when banged together)

(very dramatically) Act the first (he clicks his pieces of wood)

(PHOTOGRAPHERS jump in from all over the Place and take flash photographs)

---------------------------------

(nothing happens)

(a little embarassed) perhaps it is Act the second?

(PHOTOGRAPHERS jump in and take more photographs with flash)

---------------------------------

(nothing happens)

(taking the audience into his confidence)

no one really knows.. when, where, how and wither the beginning.

(clicks his pieces of obscene wood)

---------------------------------

(nothing happens)

(with evident glee)

no one will ever know

(changing his tone and suddenly acquiring an authoritative menacing attitude)

so stop Running away and START you hopeless bastards you can't escape there is no escape

(he clicks his pieces of wood very sharply and repeatedly. An expression in sound of 'birth' happens- mother grunts and baby cries,

THE SCENE IS REVEALED

ANNOUNCER withdraws to one side where he can observe the happenings without being too conspicuous or intruding unduly into consciousness.

When the scene is revealed and after a short latent -period for consciousness to take it in, ANNOUNCER starts "beating time with his sticks in a very regular monotonous rhythm all through the first scene. In the dark interval which follows, the monotonous time rhythm is taken up exactly "by tape recorder until! ANNOUNCER reappears in ACT THE SECOND and takes up the time keeping again.

'THE SCENE'

Centre back hangs PLASTIC MADE MODELS OF PROTOPLASMIC

HUMAN BEINGS nailed and tied securely to a frame.

The frame is made of? wood? iron? concrete.. any non-living material which is hard enough, ideally

-according to physicists- a diamond frame.

The frame and the model are as large and as high as

the Participants' resources and space would allow (if

they are a proud lot, they can make a frame larger

than they can afford which will have a very favorable

effect on viewers).

The frame may or may not be cross shaped since experience

adequately shows that protoplasmic human being forms

can be satisfactorily framed onto a wide variety of

frame shapes with equal effectiveness (cost effectiveness,

effort effectiveness, and result effectiveness.. etc. .)*

In the foreground facing the PLASTIC MODEL of PROTOPLASMIC HUMAN BEING NAILED TO FRAME, and in attitudes of devout worship the CLOTHES COVERED MEN AND WOMEN of PROTOPLASM make a perfectly still tableau of reverent worship.

The tableau remains perfectly static all through, ANNOUNCER beats time with perfect regularity, perceptible light and sounds (of devout worship) change periodically as new prophets of the human race erupt and disappear.  At every change/phase PHOTOGRAPHERS with extreme intensity and breakneck urgency dash into the scene, take numerous flash photographs of everything and then dash out again.

the scene gradually fades out of consciousness giving way to complete stimulant-poor darkness, except of course

for the perfectly regular time beat which is now taken up "by a tape recorder or another suitable mechanical or electronic device.

Darkness for two thirds the duration of the unfolding of

ACT THE FIRST

ACT THE SECOND

Being an extreme contrast to what came before :'ACTIVITY.'

frantic activity being the all important note.

With extreme efficiency and dauntless determination, CLOTHES COVERED MEN AND WOMEN OF PROTOPLASM apply every ounce of energy they have to the construction and support of huge frames according to the existing models presented to them by a higher authority.

The frames arouse a considerable amount of interest and curiosity. Any children or retarded adults in the audience will no doubt long to come up, play with the frames, feel them, jump over them and otherwise widen the range of their experience them through a variety of interactions with them.  That childish aspect of human curiosity remains -as it ought to remain- suppressed in the face of the serious and momentous happenings unfolding on stage.  At any rate undiscerning children would mercifully always be accompanied by responsible adults and should any problems arise they can always be very quickly brought under control or removed -temporarily or permanently as is necessary.

It is also SAFER for the children not to wander on stage in pursuit of something as silly as 'childish 'exploration', for the pitch of activity is so intense -something that would put the most efficient beehive to eternal shame and is certainly an example to any nation in a state of war or in a state of peace with threat of war- that the actors have no more reserve of consciousness to register the presence of exploring children and would -quite innocently and unintentionally- hammer an exploring child into a beam or mix him or her into a concrete support  ..etc

ANNOUNCER stands aside and beats time with perfect regularity as before.

DEAD LIGHT SHOW on all walls.

WAVES OP CHEERING AND CLAPPING from nowhere in particular seep periodically in and out of consciousness.

PHOTOGRAPHERS record the happening at intervals.

..and it came to pass that it was decreed that that which has unfolded shall be known as the first tableau or the second tableau....and when the construction is complete .. and each man and woman has made a frame and when all groups have constructed their stipulated frames…

it is to be THE END of the first tableau or the second tableau.. and there is SILENCE except for the relentless beating of time ..and DARKNESS

...except for time and it shall be short..

ACT THE SECOND

THE SECOND TABLEAU

Completed frames at the back.

DEAD LIGHT SHOW on all walls.

ANNOUNCER "beating time with perfect regularity.

WAVES OF CHEERING AND CLAPPING from nowhere in particular

temporarily out of consciousness but making an early re-entry and progressing to support the unfolding to come and to reach a tremendous climax at its end.

but all this is premature .'.'

for the tableau starts in darkness and silence except for time ..or the tableau before ends in darkness and silence except for time and only when there is the light we can see is the scene revealed..

Together with:

CLOTHES COVERED MEN AND WOMEN OP PROTOPLASM standing each in front a completed frame so as to face the frames with their backs.

PHOTOGRAPHERS into consciousness photographs

PHOTOGRAPHERS out of consciousness

Each CLOTHES COVERED MAN or WOMAN OF PROTOPLASM stares determinedly into his or her audience fixing into their respective gazes a human being who is to be the corresponding LATE COMER INTO THE SCENE*.

After a latent period, each CLOTHES COVERED MAN and WOMAN OF PROTOPLASM walks with determination to the chosen LATE COMER INTO THE SCENE, takes firm possession of him or her and conveys the creature in question bodily on to the stage.

NEVER USE ROUGHNESS OR FORCE

except when absolutely necessary)

Wheel chairs, "babies' prams (large) or simply carrying on the back are suggested, but any 'end effective' method can be used as long as it does not have the external aspect of being cruel or unnecessarily unpleasant.

Periodic WAVES OP CHEERING AND CLAPPING From nowhere in particular re-establish themselves firmly in the consciousness at the beginning of the action of conveying LATE COMERS on to the stage and develop gradually from then.

Once the'conveyance' is complete, each CLOTHES COVERED MAN

AND WOMAN OF PROTAPLASM proceeds to achieve the following;

to have in the most efficient and effective way the corresponding LATE COMER INTO THE SCENE stripped, molded and manipulated till they can be securely tied and nailed to the corresponding frame IN A STATE OF

NON-COMPLAINING PEACE AND QUITE - and preferably ACTIVE CONTENTMENT.

The participants achieve the prescribed end to the acconpyment of a rising crescendo of

WAVES OF CHEERING AND CLAPPING from nowhere in particular.

The participants use their imagination to the fullest possible degree.  Clothes for example can be cut off by scissors or

sharp knife or dissolved in suitable acid, but NO MORE SUGGESTIONS.' for that only stifles the imagination and interferes with its unexpected unfolding.

Participants must again remember that roughness should never

be used except when absolutely necessary.  For the most part those of them who are custodians will find that it is an unnecessary tool on the road to achieving the prescribed end. In fact the qualities of civilization and the desire for conformity which seem to have happily crept into the genes of most of the LATE COMERS INTO THE SCENE are so effective as to make them actually help their CUSTODIANS getting them securely fixed on to the --—appropriate frames*.

When (rarely) resistance is shown or complaints are made during or after the process of framing on to the prescribed frame thereby making for an unfortunate situation in which

the use of force is necessary, this must be done with determined ruthlessness and unflinching efficiency;

(no one of the participants would like everyone to say of them that they failed in attaining the end set for them, would they?

...and after going so far???? ...and what about the ANNOUNCER standing in the shadows but watching everything like a hawk

and beating time???? ....and what about others who are watching the play?? ...what about others who HAVE succeeded?? No! no one will accept to be publicly labeled and exposed as a failure and a cowardly weakling

NO.!!

WHEN DUTY CALLS

THE JOB SHALL BE COMPLETED WITHOUT FLINCHING

....... W H A A M............................. )

In truth there is one very civilized reason for using force ruthlessly and unflinchingly when it is needed and -that of course- is to shorten the agonies of the receiver/s. (delete whichever does not apply).

.... and it was decreed

.... that in the second tableau

....... of the second act...

...and out of kindness...and love ....and concern (etc) FORCE SHALL BE USED WITHOUT LIMITS ... if necessary

…………………………………………………………………………………………………………………………………………………………

The framing of the MEN and WOMEN is completed and consciousness is engulfed by a tremendous sound of WAVES OF CHEERING AND CLAPPING from nowhere in particular.

PHOTOGRAPHERS record the happening with flash shots
Everything is frozen                  except for time

Short silent darkness                  exccept for time

...and thus ends the second tableau.

ACT THE SECOND

THE THIRD TABLEAU

THE CLOTHES COVERED MEN AND WOMEN OF PROTOPLASM raise the frames with their occupants as high as is compatible with safety, stability and visibility.  They then acquire before them the exact attitudes of devout worship in which they had first been seen in during the first unfolding of the drama.  It is not clear now whether their prostration is pure reverence or perhaps shock? or fear? or guilt? or exhaustion?

or all ? or none ?

but all these questions are irrelevant..

for they ARE prostrated

being CLOTHES COVERED MEN AND WOMEN OF PROTOPLASM

in a state of WORSHIP..

Complete silence and stillness is only interrupted by the ANNOUNCER'S perfect time keeping.

SOUNDS OF WORSHIP gradually re-find their way into consciousness.

After a while ANNOUNCER approaches the WORSHIPPERS who are at first too absorbed in their worship to notice anything else-He beats time louder and LOUDER. They notice him but do not move.

ANNOUNCER             : I am tired of having to watch and keep time, law and order and all that..

                      go and fetch the dolls..

THE CLOTHES COVERED MEN AND WOMEN OP PROTOPLASM in a state of worship show some reluctance.

ANNOUNCER understands after a latent period.  He finds several lumps of sugar and gold coins in his pocket and goes round feeding the WORSHIPPERS who though they take their rewards eagerly, continue to keep their dignified posture throughout.

When they have finished they crawl with very great dignity on elbows and knees disappearing through various exits only to reappear almost at once pushing the dolls required. These are plastic made models of themselves with mobile limbs to which suitable strings are attached.  Each CLOTHES COVERED MAN and WOMAN OF PROTOPLASM places his or her1 doll in the place and position he or she was in, and then crawls out of the scene with immense dignity.

ANNOUNCER goes round picking the strings attached to the dolls which are PLASTIC MODELS OF THE CLOTHES COVERED MEN AND WOMEN OF PROTOPLASM who have just crawled out with immense dignity.  He- throws the free ends of the strings up into the sky where they seem to stay -Newton or no Newton-

?taken by higher                   authority ??? miracle

ANNOUNCER then directs his attention to the dolls to whom the relates as if they register in his awareness as natural living men and women

ANNOUNCER           : (helpfully and persuasively)

now you take my time beats into you..

(he beats time educationally)

come on

(he stops and listens for a while. tape recorder time takes over very softly gradually attaining a suitable volume. He walks into the auditorium, sits amongst the viewers, lights a cigarette and puffs smoke as he speaks

easier...

and much safer....

PHOTOGRAPHERS take photographs then disappear out of consciousness.

The tableau unfolds for a further period in the stillness of non-movement on stage and of repetitive time keeping and sounds of worship till the happenings are interrupted by a sudden loud but short succession of baby's cries.

ANNOUNCER walks to the stage and speaks to the dolls.
ANNOUNCER  : (as usual treating them as live men and women)

(firmly)

you must go now

(nothing happens)

(irritated and a little impatient)                                         your time is up

(with understanding)

                  I know it is unpleasant

 (with a slight degree of self pity like a man volunteering to carry out an all important task purely out of the goodness of his heart and finding that he is being needlessly delayed and misunderstood)

........ but there are new comers to

be dealt with

and those (he points at the MAN and WOMEN nailed and tied to the frames hanging at the back... MUST be given their chance after all the hard work they have been through . . .

(pause)

very soft sounds of very old man and very old woman sobbing, ?as when they know that their children are sending them to an old people's home.

(loudly)

STOP WORRYING (with exaltation)

YOU CAN GO TO HEAVEN.

(he looks up, gives two sharp and impatient claps, then a signal for 'raising up'. The dolls are slowly raised towards heaven. As they disappear out of sight PHOTOGRAPHERS jump in and take innumerable flash photographs.

To the background sounds is added the gentle sound of a choir of angels ala Faust and Marguerite.

MEN of religion appear at once with incense intoning suitable hymns and murmuring prayers

Some members of the audience overcome with emotion sob with real tears, PHOTOGRAPHERS take flash shots of them too.

.......................... and thus on a note of

extreme emotion disappears out of consciousness into silent darkness that which was called the third tableau of that which was called the second act, leaving us to wonder upon the

happenings........... ?miraculous

??super-natural ???both?

Everybody acquires a suitably pious and pure attitude.

17

ACT THE THIRD BEING ACT THE FIRST and also ACT THE SECOND

BEING A RECAPITULATION of what is AFTER

....... and BEFORE

THE FIRST TABLEAU

DEAD LIGHT SHOW on all walls

ANNOUNCER  : (very dramatically)

Act the third..

                     (he clicks his pieces of wood)

----------------

(nothing happens)

(a little embarassed)

    perhaps it is act the second?...
    or act the first????

(nothing happens)

(very angry and impatient)

come on you fucking bastards START.'

(he beats time directly and louder than usual THE SSCNE IS REVEALED as sounds of WORSHIP creep gradually into consciousness.)

'THE SCENE' is exactly like in that which was called act the

first, except that the WORSHIPPERS now are the MEN and WOMEN who where framed during that which was called act the second in the earlier part of the drama.

THE CLOTHES COVERED MEN AND WOMEN OF PROTOPLASM BEING WORSHIPPERS AND CUSTODIANS in the earlier acts have mysteriously disappeared.  Where? No one will ever know.'  and if they knew, no one could tell.. Why worry, when the LATE COMERS TO THE SCENE are now fully fledged CLOTHES COVERED MEN AND WOMEN OF PROTOPLASM in a state of WORSHIP and obviously mature enough to be in their own turn reliable CUSTODIANS of new consignments of LATE COMERS INTO THE SCENE to come?

PHOTOGRAPHERS excitedly jump in

record the happenings as time passes

and then

they jump out again...

ACT THE THIRD

THE SECOND TABLEAU

THE LIGHT SHOW LIVES, gradually but progressively to a point of extreme intensity in movement, colour, shape, and unpredictable synthesis and interaction,

THE 'PLASTIC MADE MODEL OF HUMAN BEING NAILED TO FRAME' LIVES, gradually in movement, light and later sound and music, also reaching a point of extreme intensity.

SOUNDS OP WORSHIP fade gradually giving way to a rising

crescendo of SOUNDS OF NEWBORN BABES AND CHILDREN PRECEEDING FOLLOWING AND BLENDING INTO THE SOUND OF GREAT MUSIC

The above elements are developed to the point of maximum intensity the participants dare venture into.

ANNOUNCER and WORSHIPPERS are completely unaffected.

PHOTOGRAPHERS jump in, take flash shots of life and then disappear out of consciousness.

At the height of the gradually developed climax everything is sharply cut off from consciousness..

except for the regular beating of time...

..and for the human form nailed onto the frame

-now intensely outlined with ultraviolet light, as he writhes convulsively then utters an immense scream..

..IN WHICH IS PUT EVERY ATOM Of THE BEING OF HE       WHO IS KNOWN AS MAN..

WHY HAVE YOU FORSAKEN ME

There is a complete and silent darkness..

the silence is complete..

..for even time shall then have a stop..

...and thus ends that which was called the second tableau as there creep into the consciousness;

THE SOUNDS OP WORSHIP

for it is now

THE THIRD TABLEAU

which is exactly the FIRST TABLEAU

ANNOUNCER recommences his time keeping

it is a different rhythm

..it is also a faster rhythm..