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Constantin Stanislavski

Protected: Important Disclaimer: Mia Djojowasito does NOT endorse the Stanislavski Class at Komunitas Salihara!

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Mia Djojowasito: Kelas Stanislavski Minggu Ke-7

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... Continue Reading →

Mia Djojowasito: Kelas Stanislavski Minggu Ke-5

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:

 

Sexual harassment at Komunitas Salihara (2016)
Sexual harassment at Komunitas Salihara (2016)

 

 

This week we start rehearsing, first time is Prologue and Scene 1, and I’m just learning what butoh is (class manager and teacher suggested it as reference). I still have no idea what it is—I don’t have a clear concept of it yet and I’m not sure I am understanding what I’m reading yet, really.

But this is what I caught my attention when I read the Wikipedia page:

  • This desire found form in the early movement of ankoku butō (暗黒舞踏). The term means “dance of darkness”, and the form was built on a vocabulary of “crude physical gestures and uncouth habits… a direct assault on the refinement (miyabi) and understatement (shibui) so valued in Japanese aesthetics.”
  • The first butoh piece was “Kinjiki” (Forbidden Colours) by Tatsumi Hijikata.
  • There is a general trend toward the body as “being moved,” from an internal or external source, rather than consciously moving a body part. A certain element of “control vs. uncontrol” is present through many of the exercises.

When some people overheard the class manager saying “butoh”, some people automatically said, “it’s like tai chi” (obviously they’re talking about the slower butoh because some butoh is faster than what I was doing on Sunday and they said it was too fast). But then, after reading a bit online, it’s not really like tai chi (where it looks like the human moves time, space, and energy).

In tai chi the human pushes the circulation if chi, here you’re to create the illusion that the chi controls you (you’re moved because you’ve surrendered to an external or internal force). Of course in reality, you’re always in control. Both require extreme levels of control (I’m going to use this to train myself to become less ADHD, increase my concentation levels so I can watch one MUBI film on one sitting).

I think butoh is appropriate for this play—because it is a grotesque play, especially for Scenes 1 and 2. There’s that line where Elder Sister (the Goneril/Regan hybrid) says, “itu puteri bungsumu: terjelma dari ampas cintamu’ (which sounds disgusting and sort of mirrors the crass description of Edmund’s conception in the original “King Lear”).

When I first read the script, I thought all the dancing would be some sort of Javanese dancing (but not overwhelmingly Balinese like the “Lear Bali” interpretation of “Lear Asia” we saw two weeks ago). Personally, I envisioned Younger Sister (Cordeila) to be a Javanese princess (because in Javanese culture, the silence would be seen as especially rebellious/subversive—I mean it’s a culture where one is expected to respond with “dalem” when called upon by a family elder). I did not expect butoh.

When I learned what butoh is, I was so angry that they almost deprived me of this experience (I could be in my own Kate Bush music video, FFS). I don’t even care what kind of snarkings I get from other students (for daring to ask for the role) during breaks anymore. I would never have forgiven myself if I never asked. And what, they were just going to bench me there? I’m glad I spoke out because that’s just cruel.

Now, not only have a proven that I don’t just want to be a ‘star’, but I’ve proven that I’m not immature in that I’m also wiling to play roles I don’t really want to play: Last Sunday, they asked me to play a child version of Cordelia, which TBH, I loathe doing. I mean, I hate Fifteengate enough for happening and swore I’d exclusively play adults from then on (and I thought it would ever happen again after taking that role in “Makan Malam”, in which I play a mother figure to a grown man a la Fellini film. LMAO). But it happened, and it’s not just an “older minor” (teenager) this time, they want me to play a literal child. FFS. But, hey, I already rejected one role they wanted me to play and I got my way and was allowed to play Cordelia, so now I’ll compromise and agree to play child Cordelia too. I’ve agreed to play a child so I can be an adult in real life. I compromised, like an adult.

Anyway, I was wrong during the first rehearsal because I thought all of Younger Sister’s (Cordelia) dance movements were a substitute to the “so young, my lord, and true” and the “love, and be silent.”

So… I’d mistakenly do an interpretive dance which was a reaction to Raja Lear’s words (I didn’t just mindlessly mime them, FFS! Of course I did interpretaive dance moves based on Cordelia’s view-point). Turns out, Younger Sister is meant to be completely disconnected to to everything else that’s happening in the scene (I’m not sure whether it’s an ‘oblivious’ diconnect or an ‘apathetic’ one, though—I still have lots to think about).

Then, I decided—since this is a play about parental relationships and the Elder Sister’s dialogue deals with conception, I would do a birthing dance and grow like a tree (and since Mother Nature is a ‘shadow’ that accompanies King Lear’s late wife, becoming a part of nature would make logical sense for this play).

So I ask the teacher/director if I can start in fetal position, but he said no (Cordelia is to lay down, hands and feet all relaxed, like how I ended when I did my twisted dying scene on January 31). But then it gave me better dance ideas: Since Cordelia has to have her palm on the floor and feet straight on the floor, as soon as the chanting (cue) starts, the first body parts I’ll move are my palms (with the fingers still touching the floor) and lift my heels (with my toes also still on the floor) so my limbs look like tree roots. And then start growing from there. If the director approves, I’ll start developing an entire choreography (with word cues) just to make sure I’ll be a fully-grown tree by the time Raja Lear puts is mask on.

I’m still the public enemy in class. When I make a teeny-tiny mistake—like if I sit on the wrong spot, I sense angry energy like a heat wave, if that makes sense? People’s faces just turn into stones when I make mistakes. The tolerance level for me making mistakes is very, very low. When I dared to say I found the first rehearsal “exciting”, I think I totally piqued someone’s anger (it comes off extremely obnoxious) and I unintentionally made her snap into a diatribe (twice that day).

My classmates must think I’m some sort of remorseless sociopath with a complete lack of a moral compass or something (but really? Do I really have to tell the real story of what happened on Week 3 that made me justify all of my behaviour? What happened even before any of us had a chance to show what we were capable/incapable of play—do I really have to tell all the details of how I was treated on January 24 that’s making me appear to those-who-don’t-know-the-whole-story like a selfish bitch? There’s a reason why I worked so hard on Cordelia and was so showy in class until the casting date… Whatever. The truth always comes out anyway).

People who know me well enough know I normally wouldn’t behave like this unless I had a good reason (or justification) to. Normally, as soon as I’d realise it had been announced while I was ‘out’ (after crying after my murder scene) I would have took my request back, but I didn’t (and I have my reasons). It’s like people can call me a “cheap shameless famewhore”  all they want but the truth is, I walked out of an entire film in 2010 because I was molested by the crew, so it won’t affect me (if I was even only half as shameless as they accuse me of being, I’d be famous by now and they wouldn’t have treated me the way they did). When you know the truth, nothing anyone says can hurt you.

I’ve been practicing slow moves at home since Monday (even after class on Sunday). Like I’d be reading on my bed and I’d try to move my legs around as slowly as I can, or I’ll do my butoh moves to get a glass of water or something.

I’m planning on watching DVDs (one of my former castmates gave me some of her old DVDs) while doing butoh non-stop while I watch. They’re about 90 minutes, I think? Maybe I’ll allow myself about 3–4 breaks (and water) in between.

I had a funny dream on February 9:

Classy like Fassy!
Classy like Fassy!

 

Kelas Akting Salihara

Minggu ini aku akan langsung menulis jurnal setelah kelas usai saja karena… Minggu depan aku akan jalan-jalan saat Imlek dan harus menyelesaikan lukisan dan harus juga menulis tentang “Macbeth” untuk blog pribadi (bukan ulasan filem, tapi membicarakan bagaimana filem itu membantu ketenangan batin aku). Biar cepet beres PR-nya dan biar nggak numpuk aja kerjaan… Apalagi habis Imlek cuti aku habis. LMAO.

Jadi PR jurnal mingguan sekalian aku cicil sambil mikirin subteks Puteri Bungsu.

1–5 Februari, 2016: Macbeth, Monty Python, dan Mewarnai

Seperti yang aku janjikan ke diri sendiri, setelah ‘pentas’ kecil minggu lalu beres, aku beneran nonton “Macbeth” di bioskop:

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Mia Djojowasito: One

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:

 

Sexual harassment at Komunitas Salihara (2016)
Sexual harassment at Komunitas Salihara (2016)

 

 

Hi, everyone! I’d just like to warn you that (and apologise if) my English sounds awkward in the next couple of months (until April 16, 2016). I’ve been in bilingual mode (mostly from reading “Lear Asia” in literary/dramatic Bahasa Indonesia as well as writing über long Stanislavksi journal entries for weekly assignment submissions). So I’m pretty much in ‘bilingual mode’ right now, and it can be very confusing for those on the listening/reading end of things (I’ve found myself lost for words quite frequently these past few days, I just can’t seem to think of equivalents of words both ways sometimes). Plus, I’ve been reading “King Lear” study guides (with Elizabethan English on one side and good English on the other) so, technically, it’s like being in ‘trilingual mode’ (because I’m juggling what feels like three different languages, because Shakespeare to plain English feel like Danish versus Dutch). And I end up speaking in English in Bahasa Indonesia and vice versa, I occasionally even think in Bahasa Indonesia although I still dream in English.

If you can’t imagine how that (being in ‘bilingual mode’) feels, as an illustration, it’s kind of like when you say “a woman of a certain age” in an English sentence, but you’re thinking it in your mind as “une femme d’un certain âge” and you feel as if you’re speaking French, but you’re really still speaking English but then not really?

I’m currently drafting a post (inspired by Ahok on “Kick Andy” last week) about how watching “Macbeth” helped me with the extreme anxiety I had after asking for that role (because I want to tell my side of the story of how I got labelled ‘thirsty’ and was treated like I just wanted to be a ‘star’, although I know this). It had great calming effect on me. And how I think it was super unfair for people to treat me like I’m just a thirsty famewhore for simply working so hard (plus, there was a reason why I was so ‘demonstrative’ and obvious between Week 2 and Week 4—which I will explain through the scene where King Macbeth and Lady Macbeth were sitting on the floor in that film).

I know they say you shouldn’t bother trying to explain yourself to people who are determined to misunderstanding you, but I thought it would be therapeutic (at least I should do it for myself just to remind myself who I really am, because when people vilify you and treat you like a public enemy and stick labels on you, you start believing it’s true).

Kelas Akting Salihara

Ini kelas akting. Ini kesempatan untuk memerankan apa yang ingin (dan perlu) kita perankan yang tidak terikat dengan bankability atau kepentingan produser dan aku melihat semua kebutuhanku di Cordelia. Aku membutuhkan credit itu di CV-ku. Makannya aku langsung saja bilang aku mau.

Tuh, kan? Aku beneran nggak bohong bahwa aku memang punya ambisi (sesuai yang aku bilang dalam post di blog pribadiku ini). Aku memang ingin memerankan Cordelia karena ambisi dan keperluan CV, hanya saja setelah aku memerankan Cordelia [yang aku pikir] untuk kali terakhirnya sampe mewek, aku baru sadar kalau ambisi itu paling 10% dari keinginan itu, dan 90% lagi karena cinta. Dan aku makin nggak rela melepasnya.

Ketika aku memainkan Cordelia, aku merasa ‘satu’ dengan yang aku cinta. Ketika aku memainkan Cordelia rasanya seperti direngkuh erat, hangat. Dada dan lengan di kedua pipi. Merasa aman. Aku nggak ingin pisah darinya. Aku sudah nggak peduli siapa-siapa yang akan membenciku…

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Mia Djojowasito: Kelas Stanislavski Minggu Ke-4

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:

 

Sexual harassment at Komunitas Salihara (2016)
Sexual harassment at Komunitas Salihara (2016)

 

 

Farewell, Cordelia… Someday I will play Lady Macbeth, but not this time: I refuse to lower myself to their levels and fight this time, I’ll fight when my opponent is worthy. I refuse to play a game that’s unfair and its players’ motivations are so unpure and untrue. Not even for the love of acting.

As promised, I did post my angsty monologue about being ‘punished’ by Indonesian men for being ambitious:

I'm a girl who keeps her words...
I’m a girl who keeps her words…

And I am dead serious, if Lemon were in Indonesia right now, he would’ve come to Salihara duing weekends, and wait for me outside class. And then I’d wave frantically when I see him from the class windows. Then he’d demonstratively show them that I am his—but don’t mistake it as an act of objectifying possessiveness, it’s a favour to help me get those men to leave me alone and let me study in peace:

https://twitter.com/MiaDjojowasito/status/693106918785613824

Lemon would beat them to their deaths. He would be my Lady Macbeth. So senselessly he would beat them, their skulls would look nothing like poor Yorick’s. They would resemble petty shards of glass.

Lemon may be a jealous guy who functions like that John Lennon song, but if he were to beat those two up, it would not be because he was afraid I’d fall in love with them (seriously? With a pushy narcissist and a loud-mouthed attention-whoring misogynist who tries to shoot me down for being clever, talks down to me, and talks because he needs to say something like the Fool in Plato’s quote? I’d rather die a spinster than be with lowlives that low). Jealous guy that he is, Lemon wouldn’t even worry they’d steal my heart. Moreover, it would be ridiculously unrealistic for Lemon to be threatened by them! Just the thought of it makes me LOL. If Lemon beat them up, it would be because Lemon takes acting very seriously. Even more seriously than I do! And to him, it would be unacceptable and intolerable that anyone would ruin an otherwise good acting education and steal a role that means so much to me—just for the fun of trying to get my attention, ruining my future in the process.

And as added bonus, he’d give the class manager and teacher a piece of his mind (about their twisted ‘star’-hating paranoid school of thought, the punishing studious students and rewarding plagiarisers). And he wouldn’t even have to do that for me as a lover or life partner, he would beat them up to their deaths as a friend. Just as an actor who understands what something like this truly means. As an actor, not as a ‘star’ (like they’re so scared of). Out of pure solidarity.

He would destroy them all for daring to destroy me. That’s true love. True love doesn’t anger from being ignored—that’s primitive ego. True love angers from seeing the ones we love hurt and injured. The way those two male classmates have hurt and injured me.

Lemon whispers in my ear and tells me not to be afraid. He says the pain the fear brings isn’t worth it.

I shouldn’t even be this upset: I’m used to being third in line. I’m normally grateful to just be given supporting roles. And even when I do unexpectedly get to play lead, I’m still not the pretty one. I’m used to not getting what I want in life.

I woke up from a dream this morning that I was prepping for another Jakarta Players play. Except we were in the Netherlands and I was going to play a role that was already made mine since autumn 2015. I was so excited about travelling and living somewhere far, far away to stage the play. I hope it comes true. I may lose Cordelia for ridiculous reasons, but I’m sure Chuckling Deity will replace it with something better. In a faraway land… Not in this sexist hellhole of a passport country.

And someday, when I finally matter and when people listen to what I have to say, I will speak up and use this as an example of what torment women have to face and deal with when they try to pursue acting and behave as ambitiously as the average man. And how Goneril had to fight Edmund’s fight.

Kelas Akting Salihara

Lho, kok tanggal 30 Januari pukul 11:48 sudah ada murid yang posting soal minggu keempat? Belum-belum sudah 6,328 kata pula… Iya, minggu ini aku akan nge-blog dengan gaya berbeda. Soalnya minggu ini bukan kelas biasa. Minggu lalu, kelas kita dibagi menjadi tiga kelompok (jumlah murid 21 orang, jadi satu kelompok anggotanya 7–8 orang). Tanggal 30 Januari, kelompok akan latihan untuk menampilkan dua adegan dalam “Lear Asia” di tanggal 31 Januari.

Karena kita akan tampil, maka aku pengen hatiku tenang. Jadi, alih-alih menulis untuk Sabtu dan Minggu digabung jadi satu posting yang aku publish di akhir minggu, aku akan posting sekali sebelum latihan (ngeluarin semua uneg-uneg biar plong, karena kalo aku nggak fokus dan kepikiran nanti kasihan teman-teman sekelompokku nanti yang jadi korban). Lalu aku akan menambahkan apapun yang aku pikirkan setelah kelas Sabtu, supaya aku bisa ngerasa plong di Hari H. Memang ini “cuma lakon kelas”, tapi bagi aku…

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Mia Djojowasito: Kelas Stanislavski Minggu Ke-3

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:

 

Sexual harassment at Komunitas Salihara (2016)
Sexual harassment at Komunitas Salihara (2016)

 

 

In which Puteri Cordelia gives you a sampling what typical Indonesian sexism looks like (not just for actresses—but for Indonesian women in general) among supposedly ‘progressive’ Indonesians. I also touch upon body image (which is how I was introduced to “Hamlet” in the first place).

I also discuss how Goneril (a legitimate child, first in line to the throne anyway—no brothers) had to go fight the same fight as Edmund (illegitimate child entitled to nothing) because that’s what it’s like to be a woman. You have to fight for something that’s always been your birthright in the same way men have to fight for something that was never theirs to begin with.

C’est la vie (so I marry a French prince because the Indonesian ones are embarrassingly sexist).

Kelas Akting Salihara

Aslinya aku bertekad minggu ini akan menulis dengan batasan 1,000 kata karena kasihan yang baca (sekarang 2,767). Tapi kali ini banyak uneg-uneg yang kalo nggak aku keluarin sekarang, mungkin aku akan meledak dan nggak akan bisa lega. Karena hari ini ngeselin banget bagi aku. Nggak napsu juga ngelucu karena emang mood aku nggak lucu, dan yang bikin aku sebel itu bukan lelucon.

23 Januari, 2016: Simbolisme

Jumlah kucingnya Salihara ngalahin jumlah kucing Erasmus Huis. Tapi rasio kucing–manusia masih wajar, nggak kayak rasio sapi–manusia di Belanda.

Murid baru kelas akting Stanislavksi di Salihara Murid baru kelas akting Stanislavksi di Salihara

Minggu kemarin aku sempat jadi kucing waktu Mas Budi mirroring aku. Dan sekarang Mas Retmono sedang punya proyek pribadi jadi kucing juga (Mas Is menugaskan kita untuk masing-masing punya proyek pribadi menjadi sesuatu yang lain dengan diri kita—aku masih belum memutuskan untuk jadi apa).

Hari ini kita kebanyakan menonton dan belajar mengerti apa yang kita tonton. Makannya untung aja…

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Mia Djojowasito: Kelas Stanislavski Minggu Ke-2

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:

 

Sexual harassment at Komunitas Salihara (2016)
Sexual harassment at Komunitas Salihara (2016)

 

 

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.

https://www.instagram.com/p/BAwa2B7I2Gu/

https://www.instagram.com/p/BAwa_SJo2G4/

Kelas Akting Salihara

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…

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Mia Djojowasito: Kelas Stanislavski Minggu Ke-1

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:

 

Sexual harassment at Komunitas Salihara (2016)
Sexual harassment at Komunitas Salihara (2016)

 

 

Pupils in my Stanislavski class are required to write journals of their experiences in class like the real Stanislavski (we’re to write weekly entries and post our entries on the class blog). As a class assignment. I’m doing it to pay respect to the man and make up for the fact that he had no Interwebs back in the day.

This is my post for the first week, in which I share insights on why I think Lars von Trier should direct Indonesian sinetron, intense fantasies of wanting to beat Tadashi Suzuki up using his imaginary bamboo sticks, what comes to mind when I hear the term “career peak”, and how my raison d’être is to butcher the Bard (I am at my happiest when I am in that state). Menjadi.

This first journal entry is quite lengthy (originally 4476 words on the MS Word file) because it chronicles my origin story: from my being overexcited to being unmotivated to becoming motivated again. “Menjadi atau jadi-jadian?” Itu, kan, pertanyaannya? Karepmu!

My posts can be read on the “Maria Djojowasito” tag, but not all the posts under the “Mia Djojowasito” author are actually written by me.

My definition...
My definition…

Kelas Akting Salihara

9 Januari, 2016: Karepku, Permulaannya Harus Baik…

Males. Males pake banget.

Keluar rumah aja udah nggak niat, apalagi belajarnya?

Sumpah nggak nyangka bakalan merasa demikian begitu waktunya tiba untuk akhirnya mulai masuk kelas akting Stanislavski-nya Salihara. Awalnya, waktu aku daftar di akhir bulan November 2015, semangat betul.

Waktu itu aku direkomendasikan oleh teman, Mbak Wiwin Erikawati—yang baru saja nonton bareng (dengan Mbak Putri Lokitasari dan Mbak Paulina Nainggolan) pertunjukan Jakarta Players “Naked Mole Rats in the World of Darkness” (hore, ada temen nonton pertunjukkan aku, seneng banget). Mbak Wiwin WhatsApp link ke situs Salihara beberapa hari setelah mereka nonton.

Aku kenal sama Mbak Wiwin, Mbak Putri, dan Mbak Paulina gara-gara aku ikutan sketsa alumni tahunan sejak sekitar tahun 2009-an. Sketsa alumni ini pengalaman panggung pertama aku (kalo nggak ngitung school play zaman SD). Dan aku terlibat sampai lama-lama aku harus pindah ke belakang panggung karena takut penonton bosan lihat pemain…

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