Important Disclaimer: I do not endorse (or recommend) Komunitas Salihara’s Stanislavski class, please read my post here: https://miadjojowasito.com/2016/11/14/important-disclaimer-maria-djojowasito-does-not-endorse-the-stanislavski-class-at-komunitas-salihara/
I do not want my name associated with this community in any capacity and wish to distance myself from Komunitas Salihara and the Stanislavski class. This is not an acting class, this was run like a pay-to-play programme misleadingly marketed as a ‘class’, which was run in a disability-unfriendly environment that is not safe for women:
In which I explain why while I am utterly happy our class is studying “Raja Lear” (Lear Asia) and at the same time I feel really touchy about the themes “King Lear” explores. I mean FFS, I call Cordelia’s sisters “The Bullshit Sisters”, and that’s me being generous and merciful. When I really feel like calling people names, I just call The First Sister “Gonorrhea”. I just can’t stand what Goneril and Regan stand for in the play.
I really need to stop submitting my homework so last minute, but I was trying to get some of my drawings done. Monday I finished my “Bad Medicine” drawing, Tuesday I wrapped up my “Ndoro” drawing, Wednesday I ran errands and saw my film in a cinema for the first time—big day for me, Thursday I wasn’t feeling too well, Friday I finally started doing my homework but I ended up having so much to say about the play as a whole (we were given an assignment to pick on character to study their subtext, and there’s so much subtext in Asian Cordelia’s non-text) and Cordelia.
I didn’t intend it to be this long, but there’s so much to say about “Lear Asia” (and I’ve chosen to study Cordelia—who’s been reduced to a rather minor supporting character in this version, not even The Bullshit Sisters who could warrant an entire thesis). But she’s so brilliantly flexibly written in this version (with tweaks here and there, no “love, and be silent”, “I am sure my love’s more ponderous than my tongue”, or “unhappy that I am, I cannot heave my heart into my mouth”). Literally, she’s completely silent during the entire flattery scene—and the silence is so ambiguous, so she’s so open to interpretation. You can make her defiant/Byronic, an antihero who gradually and eventually cowers as her sister becomes increasingly sadistic by the time she does speak (if a director let you get away with it). I’m not even shitting you. Or you can play her like the original British Cordelia, or like a typical submissive Javanese princess. Mind-blown.
Aduh, maaf, ja… Catatan harian minggu ini panjang lagi (6593 kata kali ini). Padahal udah aku niatin mau nulis yang ringkas-ringkas aja setelah nyiksa pembaca (kalo ada yang baca) minggu lalu. Lagian pake acara belajar Shakespeare, sih! Nggak bisa diem, kan, jadinya! LOL. Ntar kalo udah puas membahas “Lear Asia”, semoga aku bisa nulis catatan harian dengan panjang yang lebih wajar dan manusiawi.
Dan ini masih versi berantakannya (belum di-proofread). Ntar aku rapiin lagi, deh.
16 Januari, 2016: Raja Lear
Mau tahu nggak kenapa jurnal minggu pertama aku panjang banget sampe 4,000 kata lebih? Aku bukan sekedar sembarang ngotorin dunia maya, tapi aku sedang memberi pembaca informasi mengenai given circumstances aku. Paham? Bagos.
Lanjut. Di episode terakhir “Kelas Akting Salihara”, Mas Is memberi PR membaca mengenai “given circumtances” (halaman 11) dan “lingkaran tasbih emas” (aku pikir halaman 27). Ternyata aku salah baca, loh… LOL. Jadi ternyata…
View original post 6,814 more words