Samye Dance and Theater Company

During late 1950's, 60's and the 70's I worked with avant garde political theater, sacred drama performances. I was inspired by Grotovsky, Stanislavsky, Marcel Marceau, theater groups that toured the world such as La Mama Theater, The Living Theater, Bread and Puppet and of course Peter Brooks inspiring performances. I had the great fortune to work with a wide diversity of skilled artisans, composers and directors.

While visiting His Holiness Gyalwa Karmapa's Monastery in Sikkim in the early seventies and seeing His operas, I became inspired to create Dharma theater in the West. Expressing these visions to His Eminence Situ Rinpoche, I was advised to go forward in this quest, to discover talented actors, dancers and writers and draw from the magnificent storehouse containing 'Life Stories of Masters'.

I envisioned the first play to portray the life and quest of Padmasambhava, a great mystic who was invited to Tibet by King Trison Detsen, to inspire Vajrayana, the Buddhist Diamond Path amongst his people. I wished to portray the sage both in historical and current perspectives thus evoking his enlightened benevolence at this time when the world is threatened by many wars. In addition, my aim was to demonstrate how the great mystic in his quest to enlighten all realms can transform negative energies into auspicious qualities through non attachment and devotion. This would be acted out in a scene where Padmasambhava challenges the Raksha King who is the energy of stagnant self cherishing, the rudra of ego. They debate and Padmasambhava display the mystical dance of the great Herukas, Protectors of Dharma. The Raksha King and his realm realizes the futility of attachment and are instantly transformed into the matrix of Enlightened Benevolence. They become one with the activity of the Herukas. Bridging a wide array of diverse spiritual traditions such as Native American, African, Indian and Tibetan; dancers, actors and musicians would honor PadmasambhavaÌs victorious quest.

One of the main characters would be a Chinese Taoist priest whose support of Padmasambhava signified the long sought-for peace between Tibet and China. The accomplished yogini Yeshe Tsogyal, the consort of Padmasambhava would be seated in a solitary cave performing ChodÓ practice, evoking equanimity aspired for by women of today. Mandarava, an Indian princess would represent motherly love and compassion that goes beyond the craving of the Self. A Naga queen with attendants who guard sacred treasures offers them to Padmasambhava.