Act
Three
Scene Two
THE FOLLOWING SUMMER, IN
AUVERS-SUR-OISE, JUST NORTH OF PARIS.
A SERIES OF PAINTINGS IS PROJECTED
ON THE SCREEN IN FRONT OF THE STAGE.
The Pieta (after Delacroix)
Self Portrait (Dedicated-Paul
Gauguin)
First Steps (after Millet)
Blossoming Almond Tree
Wheat Field with Crows
***Wheat Field with Crows (also
background flat)
THE MUSIC OF, Richard Wagner, Lohengren Prelude, ACCOMPANIES THE
PAINTINGS.
THE MUSIC FADES AS THE SCREEN IS
LIFTED AWAY REVEALING A PASTORAL SETTING.
THE LARGE BACKGROUND FLAT IS THE
PAINTING, Wheat Field with Crows.
VINCENT IS DRESSED IN A JAPANESE
ROBE, HIS HEAD IS SHAVED, HE IS AT HIS EASEL PAINTING.
VINCENT
The air is so clean and refreshing.
(UKIYO
enters and looks at VINCENT but doesn’t speak)
The wind is blowing but it’s blowing
softly. It’s not bothersome like
before...it’s almost like…almost like…caressing me.
UKIYO
Vincent?
VINCENT
(continues
painting but doesn’t look up)
Yes?
(Vincent looks
around distracted, continues painting and the finally looks up)
You again?
UKIYO
You again? You were saying?
VINCENT
I was talking about this wind. It’s so kind … it’s nothing like the Mistral
that sweeps through Arles. It’s so
brutal there. The trees there bend to
its will. As did everything.
(Vincent pauses
and paints, pauses again and puts his hands in his lap)
And I suppose I bent too - didn’t I,
Ukiyo?
UKIYO
Yes, you did, Vincent. You did. But the question remains, did you break?
VINCENT
Well, I broke down in Arles, that’s
a fact. And then again…and then at
Saint-Remy. But I got back up. And for me, it was a trial - a very difficult
time. But yet, a fight worth fighting.
I’ve come to know who I am.
UKIYO
And who are you, Vincent.
VINCENT
I am the monk. I’m the ascetic, the
artist.
(Vincent becomes
distracted)
The light here in the North is not
as bright and yellow as near Arles. But
it is lovely, isn’t it? This could be
heaven, I think I have arrived.
(distracted
again)
Theo sent me a photograph of Jo and
my little nephew. I copied a work of
Millet’s and put all three, Jo and Theo and little Vincent in the new
painting. I call it First Steps, maybe you’ll see it someday. It’s sweet, it touches my heart.
UKIYO
You’ve studied a lot of
Jean-Francois’s work since I’ve known you.
VINCENT
You know he painted common people like
us - working in these fields - outdoors with their hands in the earth -
reflections of the great harmony and balance around us. There is a certain grace in nature isn’t
there? There’s an unspoken understanding
- there’s a beginning and an end and the cycle continues. There’s comfort in knowing that. You know it wasn’t until Jean-Francois died
that the art world took notice of his contribution. And I take notice of that as well.
UKIYO
Take notice of what?
VINCENT
That there is some kind of sick
preference out there for the work of a dead artist. It’s like mining for gold in cold bones - as
if the art is somehow separate from the man.
But how can it be? Dead painters,
dead poets, dead novelists - how can they be failures in life and geniuses in
death. It’s a perversion. But it’s a
fact - and not gone unnoticed.
UKIYO
Some things just can’t be explained.
They are what they are.
VINCENT
You always say things like
that. Now I have a question for
you. What do you say about this new
tower in Paris? It was built while I was
away in Arles and at Saint-Remy. Theo
took me to see it when I came back - this Eiffel Tower. Is this art to you?
UKIYO
Is it art to you?
VINCENT
(agitated)
Don’t I know you so well? I knew you would answer like that. You never
engage me. You play word games. Well I’ll tell you what it is. It’s a metallic monstrosity. Who would dig up the earth to plant such a
thing. If this is an example of what our
modern technology is capable of bringing us, then God help us. We are losing
touch with what nurture’s our souls.
UKIYO
And what nurtures you, Vincent?
VINCENT
The days spent painting, regardless
of how much of a toll it takes. This is
what nurtures me. And of course, the
Japanese artists. They bring life and
art together. I hope I have come to such
a place in my art as well. And of
course, my loving brother Theo, who has nurtured me in many ways over the
years. If not for Theo – well, I just
don’t know.
UKIYO
Yes, Theo has been your benefactor.
He has blind faith in you.
VINCENT
But as in nature, all things pass
away. It’s only natural - to find peace
for myself and for Theo.
UKIYO
What are you saying?
VINCENT
You know, you know what I’m saying. I’ve made my decision, my peace. My mind is clear as is my conscience. I haven’t felt so crystal clear in a long
time.
UKIYO
Vincent, this is wrong. You know this is wrong.
VINCENT
It is what it is. Now that sounds like something you would say
but it’s true. Perhaps it’s just wrong
to you - not to me.
UKIYO
If it’s wrong to me, it’s wrong to
you.
VINCENT
But things need to change. All things need change. Don’t you see how this will change things?
UKIYO
Change things? Yes, you’ll be dead. That’s how things will change.
VINCENT
No, you don’t see it. Theo will be out from under this burden he
has endured for so long - this burden of supporting me. I have been a failure as an artist from the
beginning. I still am, yet he still
sends me money to support my work.
UKIYO
Theo has an undying faith in
you. You should honor that.
VINCENT
(VINCENT
pulls a pistol from his robe, he holds it, looks at it and gently sets in on
his easel)
I will honor him by offering up my
life for him. You see, it will all work out. My work will sell after my death
because of this unnatural perversion for dead artists. I know my work will sell
- that’s what faith I have in my work.
It’s time - I have to die for my work to live on.
UKIYO
Vincent, no.
VINCENT
Look we both know I’m not well -in
body or mind. But Theo isn’t well
either. He’s sick and he has to work
that much harder. He has Jo to think of
and my namesake, little Vincent. I can’t be a burden to them anymore.
(Vincent pauses,
thinking of his family)
VINCENT
No – it’s enough.
(Vincent
paces obviously agitated then stops suddenly and changes the subject)
Do you know I painted a Blossoming Almond Tree for little
Vincent? It’s very Japanese you know.
UKIYO
Yes, I know that.
VINCENT
I hope they’ll hang it in his bedroom. Please see that he gets the painting. I want him to remember his uncle that way.
UKIYO
You’ll have to give him the painting
yourself.
VINCENT
Why won’t you?
UKIYO
I can’t - only you can.
VINCENT
Why not? Why can’t you give it to him?
UKIYO
You know why.
VINCENT
Why?
Why are you always so evasive?
Why must you always fence with me this way? It drives me insane. Perhaps it’s you who has driven me to this. Look it’s simple. I’m a failed artist - a burden to his
brother. The life he has given me, I
want to give back to him.
UKIYO
This is no
sacrifice. This is a selfish act -to
take your life because you can’t bear it - it’s selfish. (UKIYO slowly walks
backward away from VINCENT)
VINCENT
No, it’s not selfish. It is my
ultimate sacrifice. It’s my sacrifice to
my brother and to my art.
(UKIYO is
now gone and can’t be seen on stage. VINCENT is alone.)
You see, I am a monk now. And my life is not my own. And all this time I didn’t know. But now I do.
I know who I am.
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