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    Kyotopolis
    Kyotopolis
    Kyotopolis
    Ebook142 pages1 hour

    Kyotopolis

    By Daniel David Moses

    ()

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    About this ebook

    A darkly comic and theatrical fantasia, this sequel to Big Buck City follows the continuing journeys of the First Nation families the Bucks and the Fishers. Exploring the nature of communication and the ongoing struggle Aboriginal peoples in Canada face in finding an identity, this bizarre and otherworldly drama makes use of science fiction conventions to express an indigenous worldview.
    LanguageEnglish
    PublisherIndependent Publishers Group
    Release dateAug 24, 2018
    ISBN9781550967548
    Kyotopolis
    Author

    Daniel David Moses

    Daniel David Moses is "a coroner of the theatre who slices open the human heart to reveal the fear, hatred and love that have eaten away at it. His dark play… can leave its audience shaking with emotion." (Kate Taylor, The Globe and Mail, about The Indian Medicine Shows). Moses, a Delaware from the Six Nations lands on the Grand River, lives in Toronto, where he writes, and in Kingston, where he teaches in the Department of Drama at Queen's University.

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      Book preview

      Kyotopolis - Daniel David Moses

      Formatting note:

      In the electronic versions of this book blank pages that appear in the paperback have been removed.

      K Y O T O P O L I S

      A Play in Two Acts

      Daniel David Moses

      Publishers of singular Fiction, Poetry, Nonfiction, Drama, Translation and Graphic Books

      2008

      Library and Archives Canada Cataloguing in Publication

      Moses, Daniel David, 1952-

      Kyotopolis / Daniel David Moses.

      A play.

      ISBN

      978-1-55096-116-4 (pbk)

      978-1-55096-754-8 (ePub)

      978-1-55096-755-5 (MOBI)

      978-1-55096-756-2 (PDF)

      1. Indians of North America--Drama. I. Title.

      PS8576.O747K96 2008 C812'.54 C2008-905966-2

      Copyright © 2008 Daniel David Moses

      Design and Composition by Digital ReproSet

      Cover Digital Composite by Jayeson Earl

      Published by Exile Editions Ltd ~ www.ExileEditions.com

      144483 Southgate Road 14 – GD, Holstein, Ontario, N0G 2A0

      PDF, ePUB and MOBI versions by Melissa Campos Mendivil

      Publication Copyright © Exile Editions, 2008. All rights reserved

      We gratefully acknowledge, for their support toward our publishing activities, the Canada Council for the Arts, the Government of Canada through the Canada Book Fund, the Ontario Arts Council, and the Ontario Media Development Corporation.

      Exile Editions eBooks are for personal use of the original buyer only. You may not modify, transmit, publish, participate in the transfer or sale of, reproduce, create derivative works from, distribute, perform, display, or in any way exploit, any of the content of this eBook, in whole or in part, without the expressed written consent of the publisher; to do so is an infringement of the copyright and other intellectual property laws. Any inquiries regarding publication rights, translation rights, or film rights –or if you consider this version to be a pirated copy – please contact us via e-mail at: info@exileeditions.com

      When the bough breaks, the cradle will fall,

      And down will come baby, cradle and all.

      —EFFIE CROCKET, Rockabye Baby

      ...I went around the world inside a big trout...

      So I wasn’t too surprised when I got on that

      Air Canada jet.

      —RON GEYSHICK, Te Bwe Win: Truth

      CONTENTS

      CHARACTERS

      ACT ONE

      Scene one

      Scene two

      Scene three

      Scene four

      Scene five

      ACT TWO

      Scene one

      Scene two

      Scene three

      Scene four

      CHARACTERS (in order of appearance)

      BABE Fisher (a little Indian girl)

      CLARISSE Chrisjohn (an Indian street worker)

      JACK Buck (BABE’s great uncle)

      BARBARA Buck (BABE’s great aunt)

      MARTHA Fisher (BABE’s grandmother)

      BOO Fisher (BABE’s aunt)

      TOMMY Hawk (Indian clown, host of a children’s television show)—is later also RICKY Raccoon, as wel as the LADY in black and cameraman NICKY

      MARY Oh (virtuo jockey/rogue reporter)—is later also the SISTER, a nun in black

      LARRY (MARY’s cameraman) the voice of launch CONTROL

      JO (MARY’s producer)

      Fred FACE, the reporter

      Curly BEAR (CLARISSE’s husband)

      the TWO RANGERS

      a female ANGEL

      the voice of the Tele Presence SYSTEM

      a Tele Presence OPERATOR

      BEAVER (a puppet)

      the Chocolate MOOSE (a puppet)

      L.A. CHIEF of police Harry Smith

      The play is set at a variety of intersections in the global Indian village, that almost-present dream of the city of tomorrow. Straight paths cross circular ones, ideas meet pleasure, directions become dimensions, and the news meets an old or other story, all in a play of light across and through and in and out of the open face of the planet.

      ACT ONE, SCENE ONE

      Darkness.

      Then a drum begins an extremely slow double-beat, like a heart from far off in a dream. And with each heartbeat there’s a pulse of light projecting a place. First it’s a cracked rock face covered with petroglyphs—highly abstracted images of men, women, boats, bears, turtles, Nanabush. Then it’s a city seen at night from the air with a freeway a glowing blur. Then it’s the Milky Way—and the nearby constellations are very clear. And then it’s a path through a clearing.

      And then the cycle of these four places begins again. And it becomes clear that the crack in the rock, the freeway and the Milky Way are all somehow the path through the clearing, because along it, along them, comes BABE, a little Indian girl, dawdling in the pulsing lights, trailing a red balloon on a string, paying attention to Nanabush, or stars, or cars, or yellow butterflies.

      And then, as the cycle begins once more, away from the path but in the half-light of petroglyphs and then constellations and then apartments and then leaves, CLARISSE and JACK, and then BARBARA and MARTHA, and then BOO and TOMMY (as a face on a monitor), and then RICKY, appear and turn (even TOMMY from the monitor) to face BABE, to watch her.

      And then, as the heartbeats come more quickly, BABE tries a few steps of a powwow dance, probably a jingle dance, maybe a shawl dance, and so loses her hold on the balloon. The drum hesitates and all the lights but the path fade down. And the balloon lifts away and BABE’s eyes follow it with longing. Then someone, something, somewhere ahead—perhaps the drum which now begins to insistently beat—calls her and she hurries off along the fading path with one last look back and up.

      And the drum becomes a strange background rumbling and the progress toward the sky of the balloon stops, fades to the stars. And as the stars fade with the coming dawn, the rumbling shifts into distant surf and present insects.

      MARY:

      Oh...

      LARRY:

      Are you all right? You phased out there for a sec.

      MARY:

      What? I did not. It’s this stupid equipment, okay?

      Hello? Hello? Is it on now?

      (The unit’s light flares up and MARY Oh turns toward its spot)

      MARY:

      We’ve got the power now? Okay?

      (Her cameraman LARRY gestures toward her earpiece)

      MARY:

      I can’t hear a thing.

      LARRY:

      Careful there, Mo.

      MARY:

      What is it? What?

      LARRY:

      You’re about to slip into the Banana River.

      MARY:

      Larry, I thought you if anyone would know that this is the Indian—oh— (she slips and falls to her knees)—sugar.

      LARRY:

      I don’t care about geography, Mo.

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