But the market colonnade bustled with activity, even when they reached it with their escort of dread jaran riders. Streamers of variegated silk hung from the sexpartite vaults that made up the colonnade, which were otherwise open to the air on all sides. Diana could see that it was gloomy underneath the vaulted colonnades, but all around on the outskirts old women in embroidered black shawls sold fruit and vegetables from the backs of painted carts and men with frogged, knee-length brocaded jackets and dyed leather shoes hawked bolts of silk and utensils of bronze and iron. The intense bustle of the marketplace slowed to a halt as Habakar merchants and buyers froze and stared. Many melted away. Others, more brazen or perhaps simply resigned, returned to their business. Veselov fanned his riders out, and they sat with their horses on a tight rein and watched this activity with perplexed expressions. Owen herded the actors out of the wagons and, in record time, they set up the platform and placed the screens for their makeshift stage.
They drew an odd sort of audience while they set up. People stared but did not linger, as if they did not want to draw attention to themselves. Children edged close to watch and were dragged away by their elders.
Owen strode up to Diana as she adjusted a screen to Joseph's precise specifications: a 38-degree angle exactly, no more, no less. "Diana. Who is that?" He gestured. She turned.
He was looking straight at Vasil Veselov, who sat astride his horse not fifty paces from them, watching the stage assembly with interest. With that absolute instinct for an audience that he possessed, Vasil shifted his gaze to look toward Owen and Diana.
"That's Vasil Veselov. He's Anna Veselov's cousin, and he's also dyan-warleader-of their tribe."
"Perfect." Owen examined Veselov. "Look at the angle of the shoulders, and the tilt of the chin. He's canted just off center, too, in his seat on the horse, which draws attention without seeming to and without imperiling his stability in the saddle. And that face. Goddess, if I'd had that face, I would have stayed an actor."
"A good thing you didn't have it, then," retorted Diana, stung by his praise. It wasn't as if Veselov was acting; he was just being himself. She had never heard Owen praise anyone so extravagantly, not even Gwyn. "Everyone says your genius is for directing."
"So it is," agreed Owen without a trace of arrogance. "He's acting without knowing he's doing it, and he's doing it right, by and large. I've been watching him for the whole ride over here. He's taught himself the art of listening and the art of connecting. Do you know how many competent actors I've worked with who took years to get where he is now?"
Diana wondered ungraciously if Owen counted her among their number, but then Yomi came over to chase her back to the tent set up as a dressing room behind the platform.
The performance was a disaster and yet absolutely wonderful. The setting itself could not be improved upon. Coming onstage for her first entrance, Diana felt transported to some ancient scene. They could have been any group of itinerant actors out making their way along the Silk Road, the famous Earth trade route that ran across the mountains and deserts and steppes of Asia, stopping in this medieval oriental city made glorious by its marble colonnades and gentle silk banners. Even the play, in its own way, seemed ironically appropriate: During a revolt in feudal Georgia, Grusha, a servant girl, flees to the mountains with the Governor's small son, who has been abandoned in the panic by his mother; in the second act, a drunken village clerk named Azdak is made a judge by the rebel soldiers and tries the case to determine which of the women is the child's true mother.
From the beginning, they attracted a hard-core audience off to the left who stayed in place for the entire play. But other than that group, and the jaran riders who patrolled the square with half an eye on the Habakar natives and half on the play, the audience shifted and grew and shrank according to some tidal schedule that Diana could not interpret. It was frustrating, and yet, it was in part for this experiment that she had come, to see what would play, what could communicate, across such a gulf of space and culture, to touch those who were open to being touched. And, inspired by the setting, by the city, by the bright colored silks or the clear blue of the afternoon sky, the acting fell into place and they worked off each other in that seamless fiction that can never be achieved except by grace, fortune, and sheer, hard repetitious work brought by a fortuitous combination of events to its fruition in transcendent art.
It worked. Diana knew it worked. They all knew it had worked. At the end, sweating and exhausted and for once sated, she took Gwyn's hand-he had played the soldier and lover Simon-and, with the lifelike doll that represented the child tucked in the crook of her other arm, she, and he, and the others, took a single bow, which was all that they needed to take, or that the audience understood. Straightening, she flashed a grin at Gwyn and he smiled back, wiping sweat from his forehead. She turned to look toward Arina, who had watched it all from a wagon over to one side, and discovered that Vasil had dismounted to stand next to his cousin and was regarding Diana, and the stage, with uncomfortably intent interest.
"You've made a conquest, Di," said Gwyn in an undertone as he turned to go back to the dressing room and strip his makeup off.
"I hope not. Wait for me." Veselov bothered her. One of the things she so liked about Gwyn was that when he was offstage, he was off; he did not drag the one world into the other. She knew she emoted offstage, at times, but it wasn't a habit she wanted to foster in herself, and she usually only did it when the person she was with seemed to expect it of her. A professional knew how to separate work and life. But Veselov was always on, always aware, always projecting. The Goddess knew, it ought to be tiring, going on like that all day and presumably all night. She went with Gwyn back to the awning and wiped her face clean. They took down the stage. By the time they got the wagons loaded, the afternoon had mostly passed, and the marketplace lay quiet and almost empty. They started back.
"I liked that story," said Arina. "It was true, what the judge did, knowing which woman was the true mother. But I can tell it's a khaja story."
"How?"
"Well, it isn't a man's part to make such a judgment. That is women's business."
"But we changed it," protested Diana, "when we did it at the camp. We made Azdak into an etsana."
"I didn't see that." Arina smiled, looking ahead, and lifted a hand to greet a rider. "Here is Vasil."
Vasil reined his horse in beside them, on Diana's side of the wagon. "Why is it I've seen none of these songs of yours before?" he asked.
"I don't know. We've-sung-them many times, and we-practice-every night, in our encampment." She could think of no words for "perform" and "rehearse" in khush.
Veselov did not look at her directly, and yet Diana felt his attention on her as much as if he had been staring soulfully into her eyes like a besotted lover. She shifted on the hard wooden seat. He sat a horse well, and his hands were light and casual and yet masterful on the reins. For an instant, she wondered what he would be like in bed. His lips twitched up into a bare, confiding smile, as if he had read her thoughts and promised as much as she could wish for, and more.
"I would like to see more," he said, but did he mean more plays or more of her? "You become the woman in the song, yet you remain yourself."