Modern Times Stage Company, Toronto
September 2009
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Hallaj
written by Soheil Parsa and Peter Farbridge
directed by Soheil Parsa
Cast
Hallaj, a Sufi mystic
Jamil, Hallaj’s wife
Nasr, the Chief Prosecutor
Junayd, a Sufi master
Sharif, leader of the insurrection
Abdul, a prison inmate
The Caliph
Atiyah, the Caliph’s daughter
The Bookbinder
A Scribe
Peter Farbridge
Lara Arabian
John Ng
Steven Bush
Keon Mohajeri
Stewart Arnott
Costa Tovarnisky
Bahareh Yaraghi
Stewart Arnott
Costa Tovarnisky
A Silent Guard, Hallaj’s Followers, Townspeople, Soldiers, Prison Guards – Ensemble
lighting design Andrea Lundy
costume design Angela Thomas
set design Camellia Koo
sound design Thomas Ryder Payne
assistant director/movement Thomas Morgan Jones
stage management Dale Yim
production coordinator Chris Clifford
at the Richmond Hill Centre for the Performing Arts
September 22-27, 2009
at IMPACT ’09, Centre in the Square, Kitchener
September 29, 2009
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MANSUR AL-HALLAJ
Mansur al-Hallaj was an Iranian Sufi master born in 857. He grew up in Madina alBayda, in the south of Iran at a time when Islam was still spreading across Asia. In
Arabic, “Hallaj” means “cotton carder” and his name meant he was the son of a
cotton cultivator. This was a primary vocation in his home region.
Hallaj was unique among the day’s Sufis in his belief that mysticism should be
shared with the masses. After an early interest in the Qua’ran and study, he spent
a year in Mecca and traveled throughout India and Central Asia where he preached
publicly to many followers. Hallaj showed concerned for the whole of humanity,
regardless of their religious beliefs. In each region he visited, he was called by a
different name: “the aesthetic”, “the nourisher”, “the enraptured”.
Hallaj eventually settled in Baghdad, then the capital of the region. His openness of
faith earned him suspicion from the ruling class and his teachings were considered
blasphemous by many devout Muslims. Hallaj’s actions went against the orthodox
conviction to remaining humble and subservient to God. Instead, he spoke of God
as his “beloved” and “friend”.
Once in a trance, Hallaj uttered the words that would seal his fate - Ana al-Haqq
(literally, “I am God”). “I am the Truth” is another translation of those
“unspeakable” words.
This declaration allowed the Abbasid rulers to put Hallaj on trial for "theological
error threatening the security of the state". He was imprisoned for eleven years in
Baghdad awaiting trial. He remained in opposition to his captors to the end,
likening his fate to Christ’s, giving his execution a similar redemptive significance.
Hallaj was publicly crucified on March 26, 922. He had been sentenced to death by
lashing, dismemberment and decapitation. His body was burned and his ashes
scattered. It is said that among his final words were "Here I am now in the dwelling
place of my desires."
The play “Hallaj” is inspired by these biographical facts, but imagines many of the
characters and situations Hallaj encountered during his lifetime and spiritual
journey.
"What will you say to yourself...on the day when you see me hanging on the gibbet
and killed and burned? Yet that will be the happiest day of my life."
- Hallaj
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The Execution of Mansur al-Hallaj, 17th century
5
HALLAJ’S LEGACY
During his lifetime, Hallaj wrote volumes of poetry and essays to further the reach
of his teachings. Although he was of Persian descent, he wrote in the Arabic
language so his work could be more widely read. His poetry, in particular, is
regarded among the best of the Persian Masters. His best-known works include
Diwan, Akhbar al-Hallaj, Ta Sin al Azal and the Kitab al-Tawasin.
Hallaj also wrote a thorough commentary on the Qur'an. His own readings were far
removed from orthodox teachings and interpretations of the five pillars of Islam. He
wrote about his concept of “isqat al-fara'id” which allowed that certain religious
duties might be “exchanged” for acts more useful to humanity. Performing the Hajj,
for example, might be exchanged for inviting the less fortunate into one’s home and
offering hospitality during a feast.
Hallaj’s belief in giving people moral and ethical choices within the context of their
religion was a dangerous assertion and a major factor in his condemnation as a
figure who might cause social and political anarchy.
Hallaj’s impact can be seen in the work of many of the later Persian poets. The 12th
century poet Farid al-Din Attar wrote of Hallaj’s death, describing it as a heroic act;
As Hallaj is taken to court, a Sufi asks him: "What is love?"
He answers: "You will see it today, tomorrow, and the day after tomorrow."
They killed him that day, burned him the next, and threw his ashes to the
wind the day after that.
This is love.
Jalalu'ddin Rumi also wrote about Hallaj, explaining the true meaning of his most
condemning proclamation, “I am God” in this way;
”I am God" is an expression of great humility.
The man who says "I am the slave of God" affirms two existences, his own
and God's, but he that says "I am God" has made himself non-existent ...
that is…
"I am naught, He is all; there is no being but God's."
This is the extreme of humility and self-abasement."
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MYSTICISM
Hallaj was a mystic, with beliefs rooted
in the Islamic tradition. The word
“mystic” is descended from the Greek
mystikos, meaning “seeing with one’s
eyes closed”. A mystic’s beliefs are based on a religion’s mainstream doctrine, but
extend to incorporate other practices (such as meditation) to reach a higher state of
awareness or unity with a Godhead.
Mystical leaders like Hallaj generally have a
history and education within their religion, but
have moved beyond traditional doctrine to
interpret sacred texts or develop new practices
relevant to their own experience. They may
gather followers who are not drawn to their
religion by traditional practice alone.
A mystic’s central goal is to attain unity, truth
and a purer, more fundamental state of
existence. The mystic surrenders to an egoless
state, relinquishing the external world in
pursuit of true nature and purpose.
Mystical sects are part of most world religions
and cultures : Kabbalah is a mystical sect of
Judaism. Hinduism embraces a broad set of
philosophies and has
many mystical
branches including
Vendanta and Yoga.
Zen and Tibetan
Buddhism, Taoism
and the Bahá'í faith
all have strong
mystical elements.
Christian mystics
include monks who
withdraw from
society as part of
their practice.
Mystics of the
Christian and Hindi
faiths (St. John of the
Cross, above, and
Kabir, below)
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The Trickster or Animal Spirits present in Native American, Aboriginal, and tribal
folklore are further examples of mystical culture. Their practices and rituals often
follow the storyline of a mythic “vision quest”, as passed down by elders.
Historically, mystics have often been
condemned, or at least misunderstood, by
orthodox followers of their faith. Mystical
practice can seem ambiguous. In writings
and teachings, the mystic portrays the
world through a different lens, often using
poetry, parables and esoteric language to
communicate ideas. These ideas are not
always easy to grasp, but they encourage
us to consider their meaning and extract
simple truths.
The coyote is a “trickster” character
common in mystical native stories (above).
The ying-yang symbol of Chinese philosophy
represents the duality of opposing, yet
complimentary forces (below).
An example from the Tao Te Ching;
My words are very easy to know, and very
easy to practice;
but there is no one in the world who is able
to know and able to practice them.
Acceptance of mystics varies within different religions.
Both the Catholic Church and Vedantic Hinduisim have
established criteria for validating mystical experiences
and incorporating mystics into the faith’s hierarchy.
While holding no official title or power, Buddhist and
Christian monks are also recognized within their faith
communities.
In many faiths, the dwellings or burial places of mystics
become pilgrimage sites for the devoted.
The eye with which I see God is the same
eye with which God sees me.
- Meister Eckhart, 13th Century
German theologian and mystic
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MODERN MYSTICISM
Since the late 19th century, the West has seen a
resurgence of interest in mysticism. Branches of Eastern
Philosophy, Occultism and Theosophy have been embraced
and studied. Yoga is perhaps the most prominent of the
mystic branches to achieve mainstream popularity (so
prevalent, in fact, that it has been largely secularized).
Skepticism for mystics still exists today. A modern mystical branch such as
Christian Science, based on the writings of its founder Mary Baker Eddy, has many
celebrity followers and regularly appears in tabloid stories.
Hollywood’s mystical pursuits, however, stand in stark contrast to the traditional
mystic path. Historically, mysticism was considered a gift initiated by a Godhead.
By comparison, modern mystics generally follow a self-initiated path and do not
aspire to the same egoless state.
Mystic practice has also influenced and/or led the path of a diverse group of
modern philosophers, writers and artists including Aldous Huxley, Jorge Luis
Borges, William Blake, William Butler Yeats, Arthur Schopenhauer, Frank Lloyd
Wright, Peter Brook, G. I. Gurdjieff and Friedrich Nietzsche.
Mysticism also mingled with drug experimentation, magic and the occult in the 20th
century, influencing the work of Aleister Crowley, Timothy Leary, Alan Ginsberg and
Jack Kerouac.
Intoxicated by the Wine of Love
From each a mystic silence Love demands.
What do all seek so earnestly? 'Tis Love.
What do they whisper to each other? Love.
Love is the subject of their inmost thoughts.
In Love no longer 'thou' and 'I' exist,
For Self has passed away in the Beloved.
Now will I draw aside the veil from Love,
And in the temple of mine inmost soul,
Behold the Friend; Incomparable Love.
He who would know the secret of both worlds,
Will find the secret of them both, is Love.
- Farid ud Din Attar, The Jawhar Al-Dhat
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SUFISM
Sufism is a mystical branch of Islam. Like Hallaj, Sufis believe that unity with God
and universal love can be experienced by returning to an original divine state.
The origin of the word “Sufi” is the Arabic word s!f which means “wool”. This refers
to the fact that early Muslim ascetics wore simple cloaks of wool. During the time of
the Prophet Mohammad, a group of devoted Muslims spent much of their time
praying on the veranda of the Prophet's mosque and so they were called ahl as-Suf",
(translated as "people of the porch").
Sufism likely originated near Basra, in modern day Iraq, and later spread through
Persia, India, North Africa and Spain. Schools were established for apprentices to
study under master Sufis, where they were taken through the progressive stages
toward unity with God. Sufis lived in simplicity, in contrast to the increasingly
materialstic society around them. As their practice gained prominence, Sufi
students were accepted into lodges and hospices throughout the region to retreat
and practice.
Sufi literature dates back to about 1000. Al Ghazali's treatises, “The
Reconstruction of Religious Sciences" and “The Alchemy of Happiness," presented
Sufism as a direct descendent of the Qur'an, compatible with Islamic theology. The
years between 1200-1500 are referred to as “the Golden Age of Sufism”, when Sufi
practice was practiced most widely throughout the Islamic world.
Sufism is practiced today, with orders throughout the Muslim world. European,
North American and African orders also exist. Sufism can be flexibly interpreted,
which has led to practice beyond
Islamic tradition.
Traditional Sufis have objected to this
development. Historically, Sharia
(Islamic law) and Sunnah (customs of
the Prophet) were crucial components
of Sufi practice. The greatetst Sufi
masters were experts in Sharia and
many acted as Qadis, Sharia law
judges.
Sufism is also known for the artistic
form its practice and rituals take. The
practice of Dhikr is a devotional act of
repetition that influences the music,
dance and rhythmic patterns of Sufi
arts. Some orders perform elaborate
Dhikr ceremonies that incorporate
music and dance with meditation and
trance.
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Poetry also serves as a significant record of Sufi teaching. Poems have been written
in Arabic, Persian, Punjabi, Turkish and Urdu, among others.
The best known Sufi poet is Maulana Jalaladdin Balkhi (1207-1273), known in the
West as Rumi. Born in Afgahnistan, he lived most of his life in modern day Turkey.
Rumi's major work is the Mathnawi, a six volume collection of spiritual teaching in
poetry, stories, and Qur'anic interpretations. This work is regarded as a treasure of
Persian culture and one of the best introductions to the philosophy and practice of
Sufism.
Much of Rumi’s poetry concerns the concept of Tawhid, or unity, a common theme
throughout Persian and Sufi literature. His expressions of desire, universal love
and tolerance have transcended geographical and cultural borders, making him one
of the most significant classical poets and a great influence on artists throughout
history.
The Mevlevi Order of Sufism was founded after Rumi’s death to carry on his practice
and still exists today. Mevlevi Sufis, better known as “Whirling Dervishes”, worship
through a dance and musical ceremony called the Sema. This ritual is a visual
representation of the Sufis’ spiritual ascent, release of ego and arrival at union with
God.
Mevlevi Sufis perform the Sema ritual, National Geographic photo.
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Portrait of Rumi, 12th Century
You've no idea how hard I've looked for a gift to bring You.
Nothing seemed right.
What's the point of bringing gold to the gold mine, or water to the Ocean.
Everything I came up with was like taking spices to the Orient.
It's no good giving my heart and my soul because you already have these.
So- I've brought you a mirror.
Look at yourself and remember me.
- Rumi
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BAGHDAD
At the time Hallaj arrived in Baghdad, the city was a diverse metropolis with an
estimated population of over a million people of Arabic, Persian, Aramean and Greek
descent.
The city of Baghdad was founded in AD762 on the west bank of the Tigris River.
Surrounded by a circular wall, it was known as “The Round City". From the 8th 12th centuries, Baghdad was the center of Arab civilization, fostering intellectual,
cultural and commercial growth.
Under the rule of al-Ma'mun, the city actively encouraged learning through Greek,
Sanskrit and Arabic texts. The “House of Wisdom” (Bayt al-Hikma ) was established
to further these studies and scholars from across the Abbasid Empire traveled to
study there.
The study of an eclectic mix of traditions altered the cultural and intellectual path
of Islam. Translations of Hellenic and Indian works were introduced to the Arab
world. The Islamic intellectual practice, faylasafa, (philosophy) was born out of The
House of Wisdom, based on the principles of rational inquiry originated by the
Greek philosophers Plato and Aristotle.
Abbasid Empire, 9th Century
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DURING HALLAJ’S LIFETIME…
858 Christian missionaries develop the Cyrillic alphabet from written Greek.
859 The oldest university in the world, University of Al Karaouine, is established in
Morocco
860 Vikings attack Constantinople. A new phase in Scandinavian aggression
begins.
868 The first book of paper pages is produced in China.
874 Vikings settle in Iceland.
900 The horse collar is introduced to Europe (invented more than 1000 years
earlier in China). The collar allows horses to pull heavier loads and makes
agricultural work far more efficient.
900 A Muslim trading settlement is established on the coast of Somalia, about 150
miles south of the mouth of the Red Sea.
905 China's Emperor looses control over Annam (northern Vietnam). Annam
declares autonomy.
912 Vikings convert to Christianity.
Inventions during Hallaj’s lifetime included the oil lamp, gunpowder, the windmill,
eye glasses, the parachute and antiseptic.
Shrine of Imam al-Hadi and Imam al-Askari, Samarra, Iraq, built during 9th century
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THE CREATION OF HALLAJ
Hallaj has been in development since 2003. Before writing a first draft, Soheil Parsa
researched the history and philosophies of Hallaj’s era. He has written numerous
drafts of the script since 2004 and workshopped the piece with the Tarragon Theatre
Playwrights Unit during their 2005-06 season. In 2006, a staged reading of “The
Passion of Hallaj” was held at Harbourfront as part of the “Under the Azure Dome”
festival of Persian Culture.
Over the past eighteen months, Peter Farbridge has been working with Soheil on a
final draft of the script. Two developmental workshops, in January and July of 2009,
were held with the cast, after which final rewrites were done. Rehearsals for this
premiere production were held in Richmond Hill from late August – September 2009.
Soheil Parsa spoke about his work in September 2008…
Why were you first attracted to the story of Hallaj?
SP - In every culture, in every political system, in every religion, there is somebody who
stood up and said ‘no’. Hallaj was one of these fascinating figures. He couldn’t tolerate
poverty, he couldn’t tolerate social injustice, so he said ‘no’.
He might be an idealist, I’m not saying that he was a perfect man, but this is interesting
for us. If we look at Joan of Arc, we don’t encourage people to do exactly the same thing,
but we say, look how unique this individual was. The spirit of these individuals…they
are not compromising their lives. Their lives are nothing if there is injustice, if there is no
relationship with God. So this is why I’ve chosen this character. He was wonderful and
controversial, confronting the religious and social conventions of the day.
His famous saying, which I love…he is asked, ‘Hallaj, if you believe in the unification of
man and God, then what of your belief as a Muslim, your belief in religion’” And Hallaj
says, ‘Religion is a raft.’ Once you get to the other side you don’t need it. He says
religion is a tool to take you somewhere else, to take you to another level. This is so
beautiful. He’s not rejecting religion, no, but it is a tool that takes you to the level of
spirituality.
How does your collaboration with Peter work?
SP - We have a strong mutual vocabulary so it’s a very productive collaborative process.
It’s an absolute collaboration without egos, and this is the point we’ve arrived at after 23
years of working together. The work is the main point, not the egos. We trust each other.
The important thing for Hallaj is that Peter, when he accepted to collaborate with me, he
asked for two months research for himself. I admire him for this. He said he wants to
know as much as I know about Hallaj and the history, otherwise it is a very phony,
shallow participation.
15
In a way, it makes my job 100 times easier when the lead actor playing Hallaj has done
all this research. We have a common vision, philosophy and understanding of the piece
and the character. That’s an advantage we have here.
During the workshop he’ll have to use both sides of his brain, but eventually I need to
ask him to detach himself as a writer. It’s a big challenge for someone to be both an
actor and a writer. He will always be conscious of whether a scene is working or if it
should be rewritten, but this is the same situation for me, as a director/writer as well.
Can you speak about your approach as a director?
SP - The way I work, I don’t want to imitate another ritual, but create a new ritual on the
stage.
And this is what Persian theatre has done for me…it has helped me find the essence.
Because in Persian theatre, called Ta'ziyeh, a bowl of water may represent an ocean. In
the Persian culture, this is codified and the audience understands this. You put a bowl of
water onstage in Canada and say ‘this is the Atlantic Ocean’ and people don’t
understand.
Years ago, this was my lesson as a director. If a bowl of water can represent an ocean,
why can’t a single man represent an army? This is the simplicity of style I have. For
example, we have a scene in which Hallaj is accepted to the monastery and they dress
him as a Sufi. We don’t have time to make this a big production…to bring the lights down
and change the costume and set…no. If I do all this, I lose my momentum on the stage.
A director is a storyteller. I simply have to tell the story.
Rehearsal Hall, July 2009
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ABOUT THE CREATORS
SOHEIL PARSA
In his native Iran, Soheil completed studies in Theatre Performance at the University
of Tehran and began a promising career as an actor and director. After arriving in
Canada with his family in 1984, Soheil completed a second Bachelor of Arts in
Theatre Studies at York University and went on to establish Modern Times Stage
Company as one of the most exciting culturally-diverse theatre companies in Canada.
In 1995, Soheil received a New Pioneers Award by
Skills for Change for Outstanding Contribution to
the Arts by a recent immigrant to Canada. His
work at Modern Times has been recognized with
six Dora Mavor Moore Awards, a Chalmers
Fellowship in 2002, and a senior artist creation
grant from the Canada Council, as well as a
number of international prizes and master class
requests. In 2007, Soheil was short-listed for the
Siminovitch Prize in Theatre, the most prestigious
award in Canadian theatre.
Soheil’s work is based on his experience in Iran
and focuses on oppression and loss of freedom
(especially loss of speech). His art is created to
empower those who are often marginalized and
under-represented.
PETER FARBRIDGE
As an actor and co-founder of Modern Times Stage Company, Peter has appeared in
the majority of the company’s productions including the title roles in "Hamlet" and
"Macbeth", and last season as Vladimir in Waiting for Godot. Peter is also an active
collaborator in various aspects of the company’s
administrative and artistic process.
Peter graduated from York University’s theatre program
in 1989 and began to work in the Toronto film, TV and
theatre community. In 1992 Peter moved to Montreal
where he has been working in theatre and film both in
English and French. Peter's stage credits in the city
include five productions with the Centaur Theatre, as
well as several seasons at Repercussion Theatre, and a
French production with le Théâtre du Rideau Vert.
Peter writes for theatre and for film, and has written
and directed several social documentary films including
“Change From Within”, set in Jamaica, and is currently
working on documentaries in Bosnia and Guatemala.
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GLOSSARY
The term martyr is from the Greek µ!"#$% meaning "witness", initially referring to a
person called to bear witness in legal proceedings. Later adapted in religious texts
to describe an individual who “bears witness” to a validating experience of faith
which later leads to suffering and/or death.
The Hadith are the recorded sayings and traditions of the Prophet Muhammad.
The Hadith is regarded as the authoritative interpretation, and living example of the
Prophet, for teachings of the Qur'an.
The Caliphate is the historical form of government under Islamic law, under the
authority of a Caliph. The Caliph was observed as a direct descendent of the
prophet Muhammad’s political will.
Mecca is the birthplace of the Prophet Muhammad and location of The Masjid alHaram (Grand Mosque), the holiest and most revered site in Islam. It is located in
Saudi Arabia’s Makkah province. A pilgrimage to Mecca during the season of the
Hajj is one of the Five Pillars of Islam, a sacred duty required of all able-bodied
Muslims who can afford to go, at least once in their lifetime.
At the centre of the Grand Mosque is the Ka’ba, which Muslims circle seven times
as part of their pilgrimage and prayer ritual. The Grand Mosque at Mecca can
accommodate up to 4 million worshippers during the Hajj period.
The Tigris River runs nearly 2000 km from Anatolia in Eastern Turkey to the
Persian Gulf. The city of Baghdad is built on its shores.
The Grand Mosque during the annual Hajj
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DISCUSSION
About the Play
1. What does the play tell you about the city of Baghdad in the 9th century? How
does it change your perception of the region from what you hear in today’s news?
2. In your own words, how would you explain the meaning of Hallaj’s “unspeakable
words”, I am the Truth?
3. What aspects of Sufism resonate with you, if any? Would it be possible to live as
a Sufi in Toronto today?
4. Hallaj is given the chance to renounce his beliefs and save his life. In a group,
discuss the decision he had to make. What would you have done?
5. Hallaj was accused of heresy and determined to be “a threat to the state”. Why
did the Caliph consider him a risk? What was the state afraid of?
6. Based on what you saw in the play, discuss the relationship between a Sufi
master and his students. Is it a relationship that you can identify with?
7. How would you define the word “martyr”? Do you consider Hallaj a martyr?
What figure, historical or in present day, would you consider a martyr and why?
8. Before settling in Baghdad, Hallaj traveled extensively throughout India and
Asia, encountering a number of cultures and religions. Read the following section
from the script:
Hallaj: India is land pregnant with mystery. I saw much and I think I
learned much. I learned that I don’t know anything. Actually, it’s not
entirely true. No, I know things. I’ve learned that the ways to God are as
endless as the breath of human beings. I am finding Him everywhere - in
the sound of the waves, in the song of a Hindu woman, in the tears of an
arphan, in the sorrow of a wandering Jew lost in the land of Krishna, in the
solitude of a date tree in a moonlit desert. He is here, around me, amidst
the gillyflowers at my feet, in the rough bark against my back, in your
restless eyes I miss so much.
i)
ii)
iii)
How did Hallaj’s travels impact his beliefs?
What is a pilgrimage? Why do you think pilgrimages are an important aspect
in many world religions?
Have you traveled somewhere that changed your view of the world? It could
be to another country or another neighbourhood in your city.
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About the Production
1. Consider the choices the designers made for this production. Choose one of the
design elements (lighting, costumes, sound or set) and discuss how it added to the
overall production. What other ideas do you have for the design of the show?
2. The cast of “Hallaj” represents a number of cultural backgrounds. What do you
think the director’s intention was by casting this way? Discuss how this affected
your understanding of the play.
3. In your opinion, what was the strongest image in the play? Describe it and
discuss what it communicated to you. Why do you think the director chose to stage
the scene this way?
4. In historical documents, there is little mention of Hallaj’s wife, but the creators
have chosen to make Jamil a main character in the play. Why do you think they
did this? How does her presence affect the story being told?
5. When Hallaj speaks alone in his cell, the theatrical convention being used is
called a “soliloquy”. What other plays have you seen or studied that use this
convention? What does this convention allow a playwright to do?
6. What is a “memory play”? What are the advantages of structuring a play in this
style? What other examples of memory plays can you think of?
7. Why do you think the playwrights chose to tell the story of Hallaj? Does it
resonate for you with the present day and current affairs?
9. On page 8 of this guide, several artists and writers who have been influenced by
mysticism are listed. Choose one who interests you and find out more about them.
What mystical elements of their work did you discover?
10. Choose a religion or belief system that you are familiar with, or would like to
more about. Research the mystical elements of this system and share your findings
with your class.
11. All of us hold our own set of spiritual beliefs. Discuss with your classmates
how your individual beliefs affected your understanding of the play.
Your Lord is your inner Self, why seek him outwardly
Says Kabir listen my people, I realized the Lord within —
like oil contained in the seed.
- Kabir, 14th Century Hindi Mystic
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RESOURCES & FURTHER READING
Texts
Mystical Dimensions of Islam by Anne Marie Schimmel
Hallaj: Mystic and Martyr by Louis Massignon (translation Herbert Mason)
Love Is the Wine by Sheikh Muzaffer Ozak
Sufi Poets
Kitab al Tawasin by Mansur al-Hallaj
The Rubaiyat of Omar Khayyam (1048 - 1122)
The Conference of the Birds by Farid al-Din Attar (1142 - 1220)
The Fusûs al-Hikam by Muhammad Ibn 'Arabi (1165 - 1240)
The Mathnawi by Jalalu'ddin Rumi (1207 - 1273)
The Ghazals of Hafez (1320 – 1390)
Other Mystical Writers
St Thomas of Aquinas (1225 – 1274)
Meister Eckhart (1260 – 1328)
Kabir (1398 – 1518)
Rabbi Levi Yitzhak of Berditchev (1740 - 1810)
Christina Rossetti (1830 - 1894)
Rabindranath Tagore (1861-1941)
Nicholas Black Elk (1863 - 1950)
Thomas Merton (1915 - 1968)
Rainer Maria Rilke (1875 – 1926)
Online
Wabash Centre’s Internet Guide to Religion
www.wabashcenter.wabash.edu/resources
Extensive multi-faith index to resources and online texts
Compendium of Muslim Texts
www.usc.edu/dept/MSA
Includes a searchable online Qur’an, fundamentals of Islam and glossary of terms
Sufism’s Many Paths
www.uga.edu/islam/Sufism.html
Site maintained by Dr. Alan Godlas, Associate Professor of Religion, University of
Georgia
Internet Sacred Text Archive
www.sacred-texts.com
Includes full texts of Islamic and Sufi resources including work by the major Sufi
poets
Poetry Chaikhana
www.poetry-chaikhana.com/Traditions/MuslimSufi.htm
Complete index of Sufi literature
”Growing popularity of Sufism in Iran”, published April 25/06
http://news.bbc.co.uk/2/hi/middle_east/4907406.stm
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Modern Times Stage Company is an artistic collaborative devoted to offering
culturally inclusive, alternative theatre experiences. We reach out to audiences
with works that are beautiful in their simplicity and truthful in their exploration of
the human spirit. We strive to transcend cultural and political borders; to tell
stories of myth and archetype that move away from ideology towards a human
vocabulary that speaks across civilizations.
Soheil Parsa, Artistic Director
Peter Farbridge, Artistic Associate
Adriana Sabogal, Director of Administration
Sue Balint, Director of Development
Guillermo Verdecchia, Playwright-in-Residence
OPPORTUNITIES FOR YOUTH WITH MODERN TIMES
“Take A Stand!” Youth Theatre Unit
Collaborating with local NGOs and academic institutions, we encourage youth 16 to
21 years of age to see the potential of alternative, risk-taking theatre to speak about
contemporary issues in our society and what questions they raise for Canadians.
Young people receive scene study and dramaturgy classes in Modern Times’ unique
methodology. In their final week, participants create a publicly presented theatre
piece that encompasses the elements of their learning.
Acting Workshop
A group of culturally diverse students is led by Soheil Parsa in exploring the original
approach to acting developed at Modern Times over twenty years. Music, movement
and text provide the framework for actors to discover rich body imagery and
different forms of storytelling.
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I am He whom I love,
And He whom I love is I:
We are two spirits
Dwelling in one body.
If thou seest me,
Thou seest Him,
And if thou seest Him,
Thou seest us both.
- Hallaj, Kitab al-Tawasin
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Learn more about Hallaj and Modern Times online
www.moderntimesstage.com
Read our production blog, download a copy of this study guide, join our facebook
group and take part in an online discussion of the performance with other students
and members of the Toronto theatre community.
Study guide prepared by Sue Balint with support from The Ontario Trillium Foundation
Modern Times Stage Company
55 Mill Street, Case Goods Building, Suite 400 Toronto, Ontario M5A 3C4
416.214.1428 [email protected]
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