The Study Guide

Fall 2011

HALLAJ
by Peter Farbridge and Soheil Parsa directed by Soheil Parsa Cast Hallaj, a Sufi mystic Jamil, Hallajs wife Nasr, the Chief Prosecutor Junayd, a Sufi master Sharif, leader of the insurrection Abdul, a prison inmate The Caliph Atiyah, the Caliphs daughter The Bookbinder A Scribe Peter Farbridge Beatriz Pizano John Ng Steven Bush Carlos Gonzles-Vio Stewart Arnott Costa Tovarnisky Bahareh Yaraghi Stewart Arnott Costa Tovarnisky

A Silent Guard, Hallajs Followers, Townspeople, Soldiers, Prison Guards Ensemble

lighting design David DeGrow costume design Angela Thomas set design Trevor Schwellnus sound design Thomas Ryder Payne movement coach Thomas Morgan Jones stage management Dale Yim technical director/production manager Douglas J. Morum producer Sue Balint

at Buddies in Bad Times Theatre November 18-December 4, 2011

2

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 days Sufis in his belief that mysticism should be shared with the masses. After an early interest in the Quaran 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. Hallajs 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 Christs, 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

The Execution of Mansur al-Hallaj, 17th century 4

HALLAJS 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 ones home and offering hospitality during a feast. Hallajs 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. Hallajs impact can be seen in the work of many of the later Persian poets. The 12th century poet Farid al-Din Attar wrote of Hallajs 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."

MYSTICISM
Hallaj was a mystic, with beliefs rooted in the Islamic tradition. The word mystic is descended from the Greek mystikos, meaning seeing with ones eyes closed. A mystics beliefs are based on a religions 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 mystics 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 Bah' 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) 6

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 faiths 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

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. Hollywoods 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
8

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 greatest 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. 9

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 Rumis 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 Rumis 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. 10

Portrait of Rumi, 12th Century

What can be done, O believers, as I don't recognize myself? I'm neither a Christian nor Jew, Magian nor Moslem. I'm not of the East or West; neither land nor sea; I'm not of Nature's mine; nor the stars in Heaven. I'm not of earth, water, air or fire; I'm not of Heaven, nor the dust on this carpet. I'm not of this world, nor the next, Paradise nor Hell; I'm not of Adam, nor Eve, Eden nor Rizwan. My place is in the Placeless, my trace in the Traceless; I'm neither body nor soul, as I belong to the soul of the Beloved. I have dispensed with duality, and seen the two worlds as One. One I seek; One I know, One I see, One I call He is the first, last, the outward and the inward, I know none other than He, and He Who Is. - Rumi
11

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 12

DURING HALLAJS 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 Hallajs 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 13

THE CREATION OF HALLAJ

Hallaj has been in development since 2003. Before writing a first draft, Soheil Parsa researched the history and philosophies of Hallajs 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. Since then, Peter Farbridge has been working with Soheil on final drafts of the script. Two workshops, in January and July of 2009, and a premiere production at Richmond Hill Centre for the Performing Arts and MT Spaces IMPACT 09 Festival in September 2009 have all contributed to the artistic development of the production presented at Buddies in Bad Times. 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 couldnt tolerate poverty, he couldnt tolerate social injustice, so he said no. He might be an idealist, Im not saying that he was a perfect man, but this is interesting for us. If we look at Joan of Arc, we dont encourage people to do exactly the same thing, but we say, look how unique this individual was. The spirit of these individualsthey are not compromising their lives. Their lives are nothing if there is injustice, if there is no relationship with God. So this is why Ive chosen this character. He was wonderful and controversial, confronting the religious and social conventions of the day. His famous saying, which I lovehe 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 dont need it. He says religion is a tool to take you somewhere else, to take you to another level. This is so beautiful. Hes 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 its a very productive collaborative process. Its an absolute collaboration without egos, and this is the point weve 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. 14

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. Thats an advantage we have here. During the workshop hell have to use both sides of his brain, but eventually I need to ask him to detach himself as a writer. Its 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 dont want to imitate another ritual, but create a new ritual on the stage. And this is what Persian theatre has done for meit 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 dont understand. Years ago, this was my lesson as a director. If a bowl of water can represent an ocean, why cant 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 dont have time to make this a big productionto bring the lights down and change the costume and setno. 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 15

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 establish Modern Times Stage Company with co-founder Peter Farbridge. 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 and 2010, Soheil was short-listed for the Siminovitch Prize in Theatre, the most prestigious award in Canadian theatre. PETER FARBRIDGE As an actor and co-founder of Modern Times Stage Company, Peter has appeared in the majority of the companys productions including the title roles in Hamlet and Macbeth, as Vladimir in Waiting for Godot and as Hallaj in this productions 2009 premiere. Peter also collaborates in various aspects of the companys administrative and artistic process. Peter graduated from York Universitys 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 Thtre 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. 16

GLOSSARY
The term martyr is from the Greek !"#$% 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 Muhammads 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 Arabias 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 Kaba, 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 17

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 todays news? 2. In your own words, how would you explain the meaning of Hallajs 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 dont know anything. Actually, its not entirely true. No, I know things. Ive 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 Hallajs 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.

18

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 directors 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 Hallajs 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

19

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 Fuss 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 Centres Internet Guide to Religion www.wabashcenter.wabash.edu/resources/guide-headings.aspx Extensive multi-faith index to resources and online texts Compendium of Muslim Texts www.usc.edu/dept/MSA Includes a searchable online Quran, fundamentals of Islam and glossary of terms Sufisms 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

20

Modern Times Stage Company was founded in the belief that individual voices, experiences and backgrounds can unite in a common vision and create theatre that expresses the essence of a shared human spirit. As artists we believe in a world where human identity defies a singular definition, so our theatrical aesthetic draws from many styles of theatre. Within this diversity, we seek beauty in simplicity and truth through vulnerability. Our process and awardwinning productions are rooted in this unique theatrical approach, resulting in a timeless, placeless expression of reality. Since 1989, Modern Times has explored stories from across the globe, producing adapted, translated and original works for audiences in Canada and internationally. Soheil Parsa, Artistic Director Peter Farbridge, Co-Artistic Director Sue Balint, Producer ________________________________________________________________________

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 or twitter feed and start an online discussion about the performance with other students and audience members.
Study guide prepared by Sue Balint with support from The Ontario Trillium Foundation

Modern Times Stage Company 55 Mill Street, Case Goods Building #74, Suite 310 Toronto, Ontario M5A 3C4 647.210.0598 info@moderntimesstage.com

21