In 11 and 12 legendary theatre director, Peter Brook, turns his attention to a religious dispute between two rival African groups, one that ultimately leads to war. The piece, overall, is an apt metaphor for our times and asks the difficult question: at what price do we seek religious certainty?
11 and 12 is based on a novel by Malian author Amadou Hampaté Bâ, The Life and Teaching of Tierno Bokar: The Sage of Bandiagara. Tierno Bokar was a sufi mystic born in Mali during the late 1800’s and served as Hampaté Bâ’s spiritual teacher. Their relationship serves as the basis for the play which focuses on the consequences of a disagreement between followers of the same faith over how many times their sacred prayer should be said – eleven or twelve – who’s right, who’s wrong and does it really matter?
The play opens in Mali under French colonial rule. The French officers are portrayed as arrogant and ill-informed colonial masters who feel nothing but contempt for those they are meant to govern. When the spiritual leader of both groups dies before he can issue a final decree as to who is ultimately right, should it be eleven or twelve, his followers split and decide to follow separate leaders. Both leaders are shown to be men of true faith, exhibiting a genuine desire to find a solution to this theological problem. Meanwhile, the French officers stand back and watch tensions rise, hoping to capitalize on the civil war they know will surely follow.
One of the most touching moments in the play comes when the two leaders of 11 and 12 meet and talk through the night about their conflicting beliefs. After the meeting one leader converts to the other’s cause having been convinced that his interpretation is in fact correct. This genuine act of conversion is the spark that lights the flame which will eventually lead to wholesale slaughter.
Peter Brook brings his customary magic to this fascinating piece. With a minimal use of props and set, he manages effortlessly to evoke a Malian village, a river boat journey and towards the end of the play a Parisian cemetery. Perhaps the play’s most ecstatic moment comes during the meeting of the two religious leaders, a meeting illuminated by a single shimmering light.
The play concludes with the death of both leaders. One still living in his native Mali but now serving a sort of self-imposed exile from the church he once led, due to the fanatical fundamentalism of the cleric who now preaches there, while the other dies in Paris, exiled by the French colonialists who feared the power they thought he had over his followers. 11 and 12’s climax can be seen in two ways, one perhaps that those who practice religion rarely make room for debate but are ultimately happier with religious absolutes or two, true followers of god will always be willing to strive for what they feel is ultimately the true message.
Cover photo of a novel by Amadou Hampaté Bâ.
