Wednesday, March 7th 2012

Today in class, we had to research on different Asian forms of theatre in order to decide what form we would choose as a group to do a theatre research on.

Kathakalli

Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. It consists of a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology.

One of the most interesting aspects of Kathakali I thought is its elaborate make-up code. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., determine the color and style they will wear. Characters , such as the demon king Ravana, are allotted a green make-up, with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters wear a black make-up base while women and ascetics have lustrous, yellowish faces.

As i studied in the video, the technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigourous. To attain the high degree of flexibility and muscle control required for this art, i found out that a Kathakali dancer was trained since the age of 5. I noticed that the dancers in the video moved a lot the muscles of their foreheads and used stronger facial expressions that the dancers from Kecak. Also, although their movements are much stiffer, they twitched their fingers a lot and it was very sophisticated to watch the way their facial muscular movements accompanied their hand gestures. Kathically performances also trait with chants, and they use instruments swell to add beat to their actions.

The dancers wear large head and elaborated dresses, different from the balinese form of Kecak, and maybe this has something to do with the tradition or other influences in the region. The extraordinary costumes and make-up serve to raise the participants above the level of mere mortals, so that they may transport the audience to a world of wonders.

This is an online source I found of the types of dresses they wore! As we can see, it is very elaborate, with a lot of layers of textiles and colors, pompons and golden jewelry, showing that this theatre form is very proud of its richness and color

Kecak

Kecak is one of the best known Balinese Performing Arts, a mix between a religious choral piece, a theatre play and a choreographed dance. I was told by my teacher that it originated from Kathically theatrical influences, however it is mainly performed in Bali, Indonesia.

At first, I was a bit scared and shocked when watching the video, by the strong  aggressive chants, as the voices of the community of men and their vocal projections sub divide into groups to get more sounds and over laps of noise (nice use of pacing, pauses, tones, voice) which as an ensemble gave an overpowering effect over the audience. Their faces seemed possessed, as their eyes would grow big and their body gestures, even when they were sitting down were powerful as they moved their body using their abdomens and arms and swayed it from side to side, as if entering in a trance.

 The middle part showed influences from the Kathackali style of theatre, a sit was a performance of a story they where trying to convey which was much more naturalistic. I specially admire the delicate hand movements, and although their facial expressions where insipid, I think this was to not retract emphasis on the hand movements as well as on the ritual as the back ground. The dresses this time where much more elaborate compared to the men in the ritual, and I believe this is because in the ritual, the men are trying to connect spiritually with an external force, and not having clothes on symbolized how they are ready to create that connection and that there is no layer to interfere the explosion between their bodies (mind, soul and heart) with nature.

By the end, the chants turned into nice, calm, soft songs, representing the coming out of the trance for me.

A picture of the ritual being performed, with the fire in the center and the artists/performers  surrounding it and chanting

I thought it  was a powerful and energetic performance, full of life and interesting visual and vocal images. The voice of those a hundred men chanting and their sound provoked to my whole body a vibration. It was a very unique experience watching this also very unique theatrical form, and I thought it would be very interesting to explore it futher.

Kabuki

Kabuki is a traditional Japanese form of theater with its origins in 16^th centaury, in the Edo Period. Kabuki was initially popular only among the common townspeople and not among the higher social classes.

Kabuki plays are about historical events, moral conflicts and the affairs of the heart. The actors use an old fashioned language which is difficult to understand even for some Japanese people, and that is one of the things I found the most challenging if I were to do it myself!

 Actors speak in somewhat monotonous voices accompanied by traditional Japanese instruments. It takes place on a rotating stage (kabuki no butai). The stage is further equipped with several gadgets like trapdoors through which the actors can appear and disappear. Another specialty of the kabuki stage is a footbridge (hanamichi) that leads through the audience.

In the early years, both men and women acted in kabuki plays. However, later during the Edo Period, the Tokugawa Shogunate forbade women from acting, a restriction that survives to the present day. Several male kabuki actors are therefore specialists in playing female roles, like the ones in the video, and this was astonishing to watch, specially how make up and the control of facial expressions as shown in the video could change the image of a person to such a point, where I thought he was a woman!

What I found truly amusing about Kabuki is that the characters use a pose to establish their character. I found this a very interesting technique to introduce the characters in a play, and also very comical. I liked how the characters where also treated like puppets, and how their movement where adapted to that form as well. The make up wasn’t as extravagant as Kathically’s version, however it is also a recognizable element to the theatre form. I thought this was a good theatre form to explore as it looks very enjoyable to rehearse, and also because, for me it is much more light hearted but at the same time very deep.

In this picture I found as an online resource from google,  I liked how the characters hold their pose, also known as Mie, to represent their characteristics as a character

Noh theatre

Focusing in character, masks and costume

 Form of Japanese drama. This theatre form goes back for over 600 years. The stage is known to be very sacred, where it is said that spiritual forces of nature are encountered. The stage is supported by 4 pillars and the roof is visual to the audience. I was drawn in by one of the rules for Noh theatre, as one of the main traditions was that nothing is allowed to separate the audience from the stage, not even a curtain, which I liked as it shows truth and reality, and the emotion is transmitted better.
the use of mask, when skillfully used can be extremely dramatic form of expressions, as In Noh theater, the “living” expressions of the characters were expressed by the external expressions of the masks. This I thought was a skill very interesting to learn about, being able to work with things that are already set in your face, as the mast cant change form and it will only transmit to the audience what you as an actor are able to manipulate in it and change. I thought of it as having a permanent face, that could be worked around and changed. I thought of someone been given a paper face, but of course characters feel and their emotions change all the time, just like mine do and therefore, I want to learn as an actor how to depend on this element of drama and to learn how to work with it to be able to convey strong feelings. The way you angle your mask changes the emotions of the character, and the movement you use to accompany it has to be very descriptive. The costume as well, I found was the physical identity of the character.

I liked Noh theatre since the minute I watched the video, as I thought it was a theatre form that was very involved in the detail and very concentrated in the characterization techniques and images of the character.

www.google.com/Noh theatre masks

In this photo from an online source, we can see that, the full- faced mask, when worn by skilled actors, can induce a variety of perceives expressions with changes in head orientation. Rotation of the head out of the visual plane changes the two dimensional image characteristics of the Noh mask which audience members may misinterpret as non-rigid changes due to facial muscle action. These figures show the same Edo-period Noh mask, Magojiro, at three different inclinations.

Butoh

Butoh was a movement that began in Japan in the late 1950’s. It was actually a rebellion against Western and Japanese Traditional dance, and it also has it's roots in German Expressionism.

It was Tatsumi Hijikata, the founder of Butoh. He was inspired by the writings of the Marquis De Sade, Jean Genet, and Antonin Artaud's Theatre of Cruelty. Butoh was born out of Post war Japan. It was a movement that was a search for a new identity for the country, explored to establish meaning for a society after defeat. Butoh the dance of darkness is an exploration into the unconscious, it is the realm of the imagination, and shadows. It also investigates the pre-history of man; the primordial, and philosophical questions from the Zen koan of what you face after death.

What I noticed

My personal impressions of Butoh at first of it giving me a sense of danger, and evil forces arriving. I think this feeling in me could have been conveyed due to the grotesque facial expressions used by the dancers and the white powder make up that gave a sense of sickness. Form the video I noticed that it takes a lot of body discipline to control the muscle movements required and to stay concentrated for the whole piece, and this is something that made me really curios. Also, more questions came up to my mind which I would like to explore further, being :

·      What is the actors motif for the pieces?

·      What are the emotions, inner feeling that are felt or needed to convey a powerful Butoh performance?

·      What are the pieces inspired by?

·      What is the fundamental element of Butoh?

External experience of Butoh : IASAS Cultural Convenction 2012

For Iasas, I got the opportunity of watching a original butoh show performed by children my age called “We are lucky to have a Turkey”.

Personal Memories: I remember that when the actors first appeared on stage, with their bodies covered in white and with bold heads,  my first impressions where of SHOCK, and FRIGHTT. The performance I saw of Butoh was of an apocalypses interpretation, of a group of people living in the ending of the world. The atmosphere created by the heavy breathing and the “possessed like” facial expressions was very dark and creepy, and I didn’t understand what was going on as the script was structured unexpectedly with people suddenly bursting in laughter and in tears. After, what I earned from my teacher is that Butoh, isn’t a performance in which you have to ook for a meaning, and you are wrong in doing so. Butoh is a performance to appreciate its confidingness and above all its body control, coordination and movement, which looking back at is something that did catch my attention, as I observed the dances were very mysterious, with contractions of the body and grips of the hands, in no apparent direction but to cause discomfort, as it is normally negative feelings and emotions what the actors are trying to feel and convey.


Videos:
Kabuki
http://www.youtube.com/watch?v=67-bgSFJiKc


Kecak
http://www.youtube.com/watch?v=S-b895UdLzc&feature=related


Kathakali
http://www.youtube.com/watch?v=BfRmHuflBb0


Butoh
http://www.youtube.com/watch?v=ZxT-v9cxf7g


Noh
http://www.youtube.com/watch?v=Dxd8wPGazJ4&feature=related

KABIKI - LESSON 1, NARRATION

Narration – Juliana & Paula

* -ACTOR SAY OR DO THIS

P - Yothitszune travels with his mistress Shizuka in search of 3 Taira generals who escapes justice at the end of the war and he considers a threa.

J- (ACT1 SCENE 1) – Yotshizune desires the Hatsun drum that is made out of his parents skin, and the retired emperor bestows it on him. However, the real reason is to create discord between Yotshitsune and his brother.

J- (ACT 1 SCENE 2) – wakaba noi naishi, her son and her retainor Kokingo sets out to find her husband, who she found out was alive.

P – (ACT 3 – 4) – Yothshitune is waiting for his brother the military leader yoritomo to convince him of his loyalty .

*(and his brother questions why he accepted the gift of the drum. As he thought that it had an implied message being “strike the drum, strike yokitomo”. Yotiksune said he accepted it in politeness )

YOSHITZUNES WIFE KILLS HERSELF TO PROVE INNOCENSE.

J- (ACT 2 SCENE1) – Yoshitzune and some of his followers have fled to inari shime in fushimi .Yoshitszune refuses his beautiful mistress to go with him.

(DIALOGUE DIALOGUE)

At this point, no one is aware that THE fox disguised himself as the tandonobu, in order to be close to the drum.

P- (ACT 2 SCENE 2,3,4)
The fist two scenes are set at the tokaya house. Haiki warrior, who is supposed to be dear is disguising himself as a proprietor, and he is waiting for a change to revenge himself form gengi, by killing the general, Yoshitszune.

J- (ACT 3 SCENE 1 AND 2)

 Wakaba no naishi, the wife of the heikei survivor taira no koremochi, travels with her son and their retainor in search of her husbans.

(SCENE 3) – This scene takes place in a ya sai mon sushi shop.

(DIALOGUE DIALOGUE)

gONTA HAS BEEN BANNED FROM THE HOUSE BY HIS FATHER BUT HE KNOWS THAT HIS MOTHER IS A SOFT TOUCH.

P-To pretend to cry and make his mother feel bad for him, he dabs tea on his face.

She finally gives in and says : “DIALOGUE”

J-Yazaemon returns to the shop with a bundle which turns out to be Kokingo’s decapitated head. “ACTION”
Ashort time later, Koremori’s wife and child arrive at the door looking for a place to spend the ight and Koremori lets them in. “Action”
P-Noristzune is easily captures, but Yoritzune orders his release with one condition”

ACT 5 SCENE 1
J- Tadanobu awaits the arrival or Noritsune in front of Zaodo temple in the Yoshino mountains, under the blossoming cherry trees. “DIALOGUE”

P- Just as Tadanobu is about to make the final thrust to finish Noritzune off, Yoshitsune arrives accompanied by the child- emperor Antoku.

Introduction to KABUKI

 For our first lesson on Kabuki, our task was to reduce a Katubi play (Yoshitzune) which is 3 hours long, to a 5 minute summary.

In groups of 6, we had each to take care of a specialty on order to bring the play together:
Mike= Music
Katy= Make up
Daniel= choreographer and actor (Ypshitzune’s wife)
Cheo Wan= choreographer and actress (Yoshitzune’s brother)
Juliana =costume designer  and actress (Yoshitzune)
Paula= Narration

Narration

As the narrator, I was in charge of introducing all the scenes and their plot, as typically in Kabuki plays, the scenery changes drastically from the top pf a mountain to a Sushi shop, and because we didn’t use a lot of English vocabulary in the acting and sounds and voice were used to express feelings and emotions (e.g. a grunt and wale when Yoshitzunes wife kills herself), and therefore my narration was essential to keep the audience understanding what was happening.

I worked with the choreographer, to link my narration to the movements he incorporated, as I personally chose not to interfere with my narration some typical aspects of Kabuki, such as the Mie, where the movement to describe a character should be self explanatory.

At first, my narration was very convectional, as I stood a side of the actors and talked about what was happening in each scene, who was entering( as because girls played male parts and vice versa this could confuse the audience understanding), my tone was monotonous and I acted as a secondary actor on stage. After talking to my teacher she explained a concept of Kabuki that I as a narrator could apply as well  “Kabuki is all about feeling, and one of the spectacular and most curious aspect of its form of acting is the way the actors are not afraid of exaggerating their emotions along with their movements, to make it more natural and raw, and the narrations were more of a chant”.

Reflection on my acting and outcome

After this, I decided to adapt my old concept and understanding of narration to a more “Kabuki style” form. I did some research on the background of the play and its origins, and added some of my knowledge at the start, for example when the lights came on, I stood on the middle of “our stage” and bowed like the Japanese style of greeting, to transmit a more original and colloquial feel. I welcomed the audience with my hands in a praying position (also typical) and introduced the play, “Yoshitzune in a Japanese play, first performed in Osaka, after the war, in the year 1740. It is a play about the journey of the famous hero and military Yoshitzune, who along with his wife and son, went in the search of the 3 Tani enemies of war. It is a original Kabuki play, however artistic liberties have been adapted to this performance, thank you and enjoy”.

For then rest of the narration, I tried to exaggerate my movements when speaking, specially in scenes such as when Yoshitzune’s wife is killing herself, using my hands to point at her with surprise and fear of her actions ( choice used to also attract the audiences attention towards her) and to really make the moment climatic. Also, I found out that an effective way to really express feelings and things in a Kabuki play as A NARRATOR was to let the emotions and actions of the actors really affect you, so that you are able to feel like they do and that way impregnate the audience with it. For example, in the scene where they confess that the “Hatzume drum” was made out of the skin of the parents, I remember Juliana (Yoshitzune) held the drum with tenderness and love, and with her facial expressions conveyed a sense of sadness and regret. By her, I let my words come out in a much more lower and saddened tone, making my body smaller and more vulnerable by arching my back and letting my arms flop, to relate to the feeling that Yoshitzsune himself was going through.

I realized that a narrator in general, should be the person that makes the audience realize that what the actors are going through is both real and important, as he/she is the one person that the audience recognizes as “Real” in a way, and so I feel that is he/she is able to show that she is being envolved in the story by FEELING what the actors are, then it will make the audience believe that the story is not only powerful because it managed to penetrate people, but also real in a sense that it is no longer just a show, and that is the power of acting.

Narration on the form of chanting was a more challenging and difficult task for me, as I wasn’t sure where the borderline of chanting and talking was right to use. For this, I tried to PROLONGUE some words in my narration, to give rhythm and importance, for example the word “kill” which I said with much more power and strength from my voice, turning it into a “KKKIILLLLLL”, or when the situation was happy or exciting I talked quicker and with a higher pitch, to go with the mood created, however  for next time I need to start including and adopting a more chanting voice when working with Kabuki plays, to find out also for myself what the effect would be, however for sure it I know it will be more interesting!

Evaluation

This task helped me realize how unaware we were about the style and the play making of Kabuki, and so at the end of the lesson, after watching the other groups performance as well  all I wanted to do was to learn more and more. I liked how Natalia’s group chose to accentuate more the use of movements, as the way they all walked was more comical to us yet stylized, with big steps and the arms swaying from side to side, letting the body guide the head, as I realized how there are a lot of concepts that could be changed and worked on in order to really produce a good and faithful Kabuki style performance. As a narrator as well, there was a point in the show, when I saw Daniel coming in the scene dressed as a woman, with a tight skirt that enabled him to walk properly and with the Kabuki style make up of the red cheeks and lips that really caused an impact on me, and I burst with laugher, which was difficult for me to control. I think aspects such as this tell me that we have to be a lot more opened minded about drama and its different conventions!!!!

 

 

INDULTO IASAS 2012

             Indulto

Being part of the play Indulto has been a life changing experience for me as an inspiring actress, student and person. It was a 45 minute play that captured its audience with a an explosion of vivid emotions, such as laughter, love, pain and passion, and as the lead role, I found myself as a person captured in he body and mind of Lidia, and with the help of acting techniques, my team and my inner passion that drove me forwards, I think I managed to bring myself as an actor somewhere where I hadn’t been before.

Some interesting facts about the play that made it unique:

·      The play showed influences of he Spanish culture through its staging teqniques and elements such as dance and music, both diegetic and non diegetic, as “Sevillanas” were incorporated, by me and Nacho to convey a sense of similarity and complicity by the sinquinct movements, intimate look and proxemics.

Stanislavski once said that “The inner motives and real emotions were the key to successful acting”. For the “Sevillanas” scene as well as the kissing scene between Lidia (me) and Miguelito, I found that the “blocking instructions” that my teacher gave to me were just a structure e.g. the steps, the positions/ the hand placement in the face when kissing, the motion of the kiss…. used, as Tortsov (Building a character) said: “Without an external form, neither your inner characterization nor the spirit of your image will reach the public”. Those steps were given to us to look good I thought, however if I just based my feelings on those moves it would have been false, as they are unthinking.

For these scenes, I used techniques from the book of Uta Hagen “Respect for Acting” such as “substitution”  and “Emotional  memory” (relying on past experiences to convey feeling) as well as own instinct to take my position and move from the heart, which I think is the most essential part when acting, and so did my partners.

Memories: I can still recall the last time I did the kissing scene in Bangkok, where after he kissed me and when he looked at me with surprise (as he just realized what he had done) I felt a very powerful cathartic moment, as the kiss made me forget that we were actually in a scene as it was so real and truthful, and there was one second in which I didn’t know what to do, as I was overwhelmed by the emotions we transmitted, and I finally understood how Lidia felt, and what it was like to “Be in the moment” which was what the nature of the kiss and the Toreros was about, lining the present.

‘Emotional memory’ and ‘Sense memory’ used in Indulto

This is a method designed to help actors present truthful and more realistic emotions for me, and I believe it’s the same for the audience, as its as if they can understand whet you are feeling because they have also felt it, and it is a recognizable situation or response.

Memories: In the play, in the scene called “Hands”, ToNo and Lidia lives a very moving scene, as it was when he, for the first time opened himself to her by telling her how his mother was beaten to death by his father. Every time I act, I do it coming from my own instincts and emotions at the time, however at some points, help from some techniques are useful. I remembered a very similar situation to that story that happened to me, and how I reacted to comfort my friend. I remember I was young, but still I wanted to act strong and helpful, so that she would feel safer, and so although the emotions going though me at that time where driving me to the border of tears, I tried my best to control myself, which was also a strategic move to make the audience sympathize with both of us, and as my teacher said” to give attention to him”!

                         

Sense memory is an alternative used by Uta Hagen, which I learned from her book “Respect for Acting”, a method of realistically portraying physical senses  and states of being in a scene or moment. For example:

§  Being cold = when you got locked out of your house in a winter night

§  Being dizzy = when I played quash one morning intensely without having breakfast before

Applications and Memories: When Lidia was hit by the horns of the bull, it was a feeling it was nearly impossible to portray, as I had never been infron of a huge bull before, therefore I didn’t know what that “fear” felt like. I remember my dad, when he use to watch bullfights said “when you go to see a big bullfight, you will know what fear really is”. I used this quote as it made an impact on me coming from him, to imagine something so scary that has frightened him as well. To make the acting truthfull I :

 

Ø  Used “emotional memory” to remember the situation when I was tackled in rugby by a friend, and how she hit me in the esophagus and I stoped breathing for a while, to help portray the movement of “momentum” of the hit

Ø  I used “sense memory” to reflect the pain it had caused on me, and how my contraction looked like

Ø  I used the quote of my dad to reflect the fear in my face when facing it, however I also relied on my own instincts as I thought “As a Torera, I have to be used to facing a bull, however Miura, was established in the play that was a fear to all toreros, and under the pressure of the audience in the plaza, that didn’t want me there and the nervous feeling I felt as it was a decisive fight”, I managed to portray a beast in my head that frightened me.

Ø  The atmosphere and feelings of energy flowing and admiration I sensed when I watched a small bullfight

Ø  I also used hard noises from my voice such as “ahhh, vamos, venga, toro!” to suggest that im trying to call a big, heavy and tempting animal, and by following him with my eves as I move, I made the audience see how it moves quickly and fiercely.

·      The position of the actors on stage mimiqued the arrangements of a Flamenco dance performance, having all the actors remain on stage and involved for the whole durance of the play and sitting in a semicircle.

Uta Hagen also uses Stanislavski’s “inner motives” approach as she explains in a resource I used of  “A Challenge for an Actor” where she proposes a set of questions high in psychological and analytical nature to establish a “backbone” to a character, to help know my character better in depth, know her passions, her dreams, her aspirations, her fears, her objectives to find truth from within:

1.     WHO AM I?

I am Lidia, a young Spanish female

I perceive myself as strong, boy like, daring, girl, that is able to over take any situation, alike any boy.

2.     WHAT ARE MY CIRCUMBSTANCES?

It is 1930, before the war, In Andalucia. Spain was very religious, conservative and the citizens where very cautious, following strict rules of discipline and status. The immediate landscape in the “pueblo” I loved in, and the immediate circumstances how I want to become a “Torera” with all my heart.

3.     WHAT ARE MY RELATIONSHIPS?

                           I start by only having my mother, as my father died in a bull fight

                           I meet new people, lovers, advisors and idols as I go along

4.     WHAT DO I WANT?

I want to become a torera

5.     WHAT IS MY OBSTACLE?

I am a woman
I am young and poor
I am inexperienced

6.     WHAT DO I DO TO GET WHAT I WANT?

I will sneak into a bullfight to impress and win an audience, and make my way up, with out letting anything get in between

The play of Indulto is about the journey of Lidia, and therefore there has to be a sense of time passing by. This was a tricky aspect of the play for me, as I start of as being young and childish to later on become a woman. For this, I had to show a changing my personal and individual characterization of Lidia, and for that I had to master to change things about myself, as an actress:

o   My voice is of  a high pitch, however I wanted Lidia to have traits of a boy. I had to learn how to control my pitch as she was young, in order to show the audience that she spent a lot of time with boys and thus her boy like character and physicality traits. As she grew older, I also had to master her voice in order to not shout or loose it, as she is meant to be confident and trained.

o   Lidia’s physicality changes in the play from being playful and juvenile, as we can see in the way she runs to call for the toro, her happy, young facial expressions, her dance movements (gentle hand and arm gestures) and her smile, to later being more stiff, to show how she has mastered her body due to the intense training, how she is faster and her movements are more controlled to make justice to the”6 years, 6 days a week, 6 hours a day” training.

As time passes by, so does Lidias objectives change as she grows older, and therefore I had to construct a paradigm of priorities, to reflect the impact that people, such as ToNo had had on her, and how new experiences such as love and pain had changed her. I also wanted to show with physicality choices as mentioned above and attitudes, how Lidia, aspiring to be a man, grew into a true woman.

My favorite moment: For me, the decisive moment of the play was at the end, where Lidia kills ToNo. Its in the “dance of death” where Lidia I think show s the audience what she has become, and what her actual state of being, after her “journey” is. I like to think of her as someone that has grown up, and I wanted to make it apparent for the audience that she is divided between two world, and how she truggles when she sees ToNo coming in as she thinks, for the first time that she is unable to kill a bull, making. This for me was an intimate moment between myself and the audience as I confess to them how I have learned to love, and how something has been able to penetrate me and make me decide about what my new objective really is. For the first time, when I cry for him, I demonstrate my weakness to the audience, and they see me as vulnerable, as human, and are therefore able to sympathize with me.

For me to see members of the audience crying and sobbing helped me believe “wow, her story is actually sad” and I myself fell for Lidia so strongly that it affected me as a person. However I new that Lidia couldn’t change her nature, and that I had to stay truthful to her, and that is why I killed the bull, however, a part of her had died with it.


Indulto is a play about paying the price, living the moment and letting go. The character of Lidia has changed me profoundly, and has been a wonderful and amazing experience to get to meet her like I did, as I am proud of how I acted and how I made the audience feel.

After the show evaluations

Coming into the “criteria session” in Bangkok was amazing, as everyone clapped and cheered for us, and a lot of the people congratulated us, saying that they were mind blown by the play, the characters and the feelings. For me, one of the things that I appreciated the most as a student of drama was to be given the opportunity to perform a story that is so close to us, in front of a mature and welcoming audience that knows how to appreciated and share the same passions. Having people write you letters, and really express with their hearts and soul all those nice things about our talents was amazing, and it really made me want to act again and again. These are memories that I will cherish forever and I am so great full to have been part of this.