{"id":276,"date":"2022-12-31T06:41:47","date_gmt":"2022-12-31T06:41:47","guid":{"rendered":"https:\/\/shinyangwork.com\/?p=276"},"modified":"2023-01-15T03:31:25","modified_gmt":"2023-01-15T03:31:25","slug":"in-the-red-and-brown-water-2","status":"publish","type":"post","link":"https:\/\/shinyangwork.com\/?p=276","title":{"rendered":"In the Red and Brown Water 2"},"content":{"rendered":"\n
2022<\/h6>\n\n\n\n
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Act ONE Scene 2<\/em> __ Elegba describes his dreams to Mama Moja\u2026<\/figcaption><\/figure>\n\n\n\n

The Moon<\/h2>\n\n\n\n
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\u201cLi’l ‘Legba begins to walk away like the half moon in the morning.\u201d
\u201cLi’l ‘Legba exits like a three-quarter moon in the morning.\u201d
\u201c’Legba sneaks off like the moon behind a cloud gone but still there.\u201d
\u201c’Legba fades into the house like the moon in the shadow of the world.\u201d
\u201cEnter ‘Legba beaming like a full moon.\u201d
\u201c’Legba enters like the moon during the day, there but not saying anything.\u201d
\u201c’Legba enters like the moon eclipsing the sun.\u201d<\/em><\/p>\n– In the Red and Brown Water<\/em> (2010), Tarell Alvin McCraney<\/cite><\/blockquote>\n\n\n\n

This project was first intrigued by a series of lines in the script describing Elegba coming in and out of the scene like a moon.
The front door is designed to act like a moon. It swings both inward and outward – from new moon to full moon.<\/p>\n\n\n\n

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Act TWO Scene 5<\/em> __ Shango left\u2026<\/figcaption><\/figure>\n\n\n\n

The Porch<\/h2>\n\n\n\n

Oya spends a lot of time on the porch, refusing to go inside the house. She doesn\u2019t want to be trapped, but she is trapped, and maybe more so on the porch than in the house.
A porch is both inside and outside. It is simultaneously private and public.
The scene consisting of the porches and walls can act as either exterior or interior. Lighting would play an important role here. The swinging direction of the front door would also indicate the inside-outside relationship.<\/p>\n\n\n\n

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Act ONE Scene 4<\/em> __ Ogun and Shango come to see Oya after she won\u2026<\/figcaption><\/figure>\n\n\n\n

The Wound<\/h2>\n\n\n\n

There\u2019s only one person who really entered Oya\u2019s heart – Shango.
The hidden door on the side wall is used only by Shango. He penetrates the wall when he comes to Oya, and when he leaves, he leaves a hole on the wall.
The \u201cwound\u201d is on the right side of the scene; Oya gives her right ear to Shango.<\/p>\n\n\n\n

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Act TWO Scene 8<\/em> __ Oya collapses down\u2026<\/figcaption><\/figure>\n\n\n\n

The Red and Brown Water<\/h2>\n\n\n\n

The porches are structured with pedestals beneath the platforms. This type of structure is commonly seen in flooding areas and houses by a body of water.
A few specific scenes where the ground turns into a body of water with fog entering from beneath the porches:
Act ONE Scene 2:<\/em> Elegba\u2019s dream.
Act ONE Scene 6:<\/em> Mama Moja dies. \u201cDown by the riverside\u201d.
Act TWO Scene 8:<\/em> Oya collapses.<\/p>\n\n\n\n

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2022 The Moon \u201cLi’l ‘Legba begins to walk away like the half moon in the morning.\u201d\u201cLi’l ‘Legba exits like a three-quarter moon in the morning.\u201d\u201c’Legba sneaks off like the moon behind a cloud gone but still there.\u201d\u201c’Legba fades into the house like the moon in the shadow of the world.\u201d\u201cEnter ‘Legba beaming like a full<\/p>\n

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