On the evening of March third, the Monlam stage with its huge altar was transformed by the presence of four tall pillars arrayed across the front of the stage. In deep brown decorated in gold filigree, topped by lotus flowers, they supported the four animals—a tiger, garuda, vulture, and snow lion—that appeared to Milarepa in his famous dream. The four represent the main disciples of Marpa the Translator, through whom the Kamtshang lineage flows. In front of the stage, the rows of seats in the Pavilion are filled right up to the back while three screens on either side bring into the evening darkness the radiant and warm colors of the stage.
This is the setting for tonight’s play based on the life of the Second Karmapa, Karma Pakshi (1206-1283). Written by the Gyalwang Karmapa in a contemporary idiom, the drama focuses on three events: the arrival of Orgyenpa (1230-1312), who would hold the Karma Pakshi’s lineage; the meeting of these two great lamas; and finally, Orgyenpa’s meeting and recognizing the Third Karmapa, Rangjung Dorje (1284-1339). During the time of the Read the rest of this article