The One – Act 1: Scene 1

The One - Act 1: Scene 1
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Posted in: Script & Story

The One or Theater of the Transcendental Past-times of the Supreme Personality of the God-Head.


Act One: Scene One; An Allegorical Masque of the Creation of Reality from Emptiness, and the Incarnation of the Highest Personality of the Godhead.




Golden Peacock Feather Mask

Bright Adjustable Strobe Light


Black Sad Mask

White Happy Mask


Black Dot Confetti

White Dot Confetti


Very Large Mirror Cloak                                        Strobe Light





Golden juggling spheres/bean bags


Large Inflatable Earth/ Blue Green Sphere          Torch


Stage Directions:

  1. The Theatre is in darkness, as little light as possible.
  2. Actor switches on torch facing audience (torch as primordial soul)
  3. Torch Light moves as if seeking, starts to scatter reflections of torch light from his shimmering mirror cloak.
  4. Turns on the strobe light set to solid light [no strobe] so as to further increase the scattered reflections.
  5. Audience now are able to see the Actor sparkling and holding torch. He plays and dances with the mirror cloak, bright light, and torch a while.
  6. Now as dance reaches climax with the torch beam and smaller reflections bouncing around that stage wildly, he takes off his mirror cloak and on the inside there is that flexible nylon mirror foil: so a real mirror. He places the cloak on to a frame and effectively makes a large mirror that he sees himself with.
  7. As the actor and the actors reflection become explicitly prominent , the strobe and Aum begins, start the strobe light on slow.
  8. As Aum pitch/intensity/volume increases accelerate the strobe light.
  9. While the strobe and the Aum accelerate, enter Happy and Sad from either side of stage. Sufi Dancing: clockwise if left, anti-clockwise if right.
  10. Aum and Strobe at medium pace continues; bring up light on centre stage to dull but not stop strobe effect: Happy and Sad Sufi Dancing and Cosmic Laughter. [Lighting is crucial: the Mirror Screen must be the brightest light on stage by far; the light on centre stage must be dim and directed so as not to compete with the Mirror/Screen. (Even perhaps tinted gold to contrast with the pure white light of the mirror screen. ) The stage lights grow brighter slowly to further make strobe effect tolerable and more background]
  11. They slow down and sprinkle their respective confetti’s on the ground, still skipping and dancing/tai-chi movements/mock combat with each other in bliss. Littering centre stage with black and white confetti’s.
  12. Happy and Sad, collect to roll out the earth from below the mirror, while throwing confetti’s. They Dance around it three times throwing confetti as if baptising it, then walk back to mirror.
  13. Happy and Sad facing each other with Mirror/Screen platform in between. Throwing confetti on the raised platform in front of the Mirror/Screen as they kneel.
  14. Enter ‘The One’ from under and behind the Mirror Screen.  Live picture of bare feet stepping on Black and White Confetti on screen if there is a projector.
  15.  The 3 walk in triangle formation from the platform to centre stage to Pillow and Earth Set-up, Earth in centre. Happy and Sad Kneel to throw Confetti into the central Space and over Earth.
  16.  The scene is The Golden One sitting on a throne with the Earth in front facing stage, and Happy and Sad either side and the shining Mirror/Screen behind them. They begin to contemplate the earth, stroking hand gestures around the aura of the earth. They all suddenly look sharply and directly at the audience.
  17. Happy and Sad go the juggling positions and pick up and juggle the glowing golden spheres/ gold bean bags over the earth while the Golden One watches from throne.
  18. Front of stage lights on; revealing different Saints from various religions in the posture of prayer of their various traditions facing the Screen/Mirror. One by One, they turn to face the audience and make a devotional prayer from the religion they represent.
  19. As they pray each in turn, Happy throws one gold bean bag/soul metaphor on the the lap and feet of the One. When they are all done, a number of bean bags representing the souls in the following scenes are still being juggled.
  20. Centre stage lights off, all is darkness except for Screen/Mirror.


End Scene.



This is the first scene of an unfinished play. It details the creation of the manifest world from emptiness and sets up the play for following the journey of a group of souls through various rebirths and deaths: some attaining liberation, while others becoming mired in ignorance until the end of world comes and they are called for final judgement. Since the scene details events before and beyond reality it is naturally done without language. To truly make the scene work it would take a lot of practical set up and practice time, but I feel their a great potential for communicating something deeply impressed in the primordial memories of every living soul present in the audience.

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