The World Of Tzu Chi(Vol.114).

27 TZU CHI 114 the Three Jewels and had an appetite for seafood that accumulated in negative karma. In death, she was condemned to suffer in the unremitting depths of hell. Bright-eyes could not bear to see her mother in agony and made a vow to save her mother from karmic retribution. Captivating performances The cast brought the story to life with their evocative performances, capturing the attention of the audience as the play unfolded. Witty, comical scenes and the expressive, animated antics of several cast members injected a dose of humour into the story, leaving the audience in stitches at various points of the play. The light-hearted tone of the play took a grave turn as the audience was transported to an underworld setting, a bottomless, inescapable pit of despair whose harsh conditions were enhanced by lighting and sound effects. The bitter, anguished cries of Bright-eyes’ mother, covered in bloodied wounds, reverberated throughout the scene, implying the appalling extent of torment suffered by the inhabitants of the underworld. The terrifying sights and sounds demonstrated with gripping impact the grievous consequences of karmic retribution, while at the same time evoking an immersive experience for the audience as the plot progressed at a dynamic pace. In another scene, Bright-eyes followed the Lord of Hell on a tour of the underworld, where she found her mother severely wounded and hounded by a pack of beasts. She could not believe that the bloodied, battered soul before her eyes was indeed her mother, whom she missed dearly. Upon witnessing the torment her mother endured, Bright-eyes vowed to liberate all beings in all realms from suffering before attaining Buddhahood herself. She stayed true to her vow and subsequently manifested in the form of the Ksitigarbha Bodhisattva, played by Tang Mei- yun, who entered the scene with a khakkhara staff and a cintamani jewel in either hand, shuffling slowly across the hall while serenading the Ksitigarbha Bodhisattva’s benevolence in a dignified, sombre refrain. The play ended on a high note to rapturous applause from the audience. Malaysian Buddhist Association (Kuala Lumpur/Selangor Branch) vice-chairman Venerable Chang Chao appealed to the audience to contribute to the Tzu Chi International School Kuala Lumpur (TCISKL) construction fund. He was backed by Mei-yun, who quipped, “This is my first time ‘begging for alms’ like the Dharma masters I have portrayed. Your donations are most appreciated, regardless of the amount. It’s the sincerity that counts.” Incorporating the teachings of theDharma in a stage performance, such as The Story of Bright- eyes Rescuing Her Mother reflects Master Cheng Yen’s intention to make the way of the Dharma more accessible to the masses, with Bright-eyes a model to all in undertaking honourable vows for the greater good. A Tale of Filial Piety and Noble Virtues