Final Thoughts

            And so, here it is, my last blog for this class. There is so much to say and not much to say all at the say time. I feel like I have said most of it, through my other blogs and my time spent in class. I took this class because I wanted to, having taken Southeast Asian Folklore Performance last semester. Through this class, I was able to expand my knowledge of Asian theater forms even further through lecture and practice. Basically, this semester I learned a lot, and connected me to a part of theater that I had never been able to see before. As a planned Asian and Middle Eastern Studies major focusing on East Asia I was absolutely mesmerized by Noh and Kabuki Theater. Never before have I seen such expressive dancing. Though I have to admit that the Noh masks absolutely terrify me, especially the one with painted lips and a blank stare, they are ridiculously beautiful when used. The Kabuki play we watched was one of the most beautiful things I have ever seen, the one where the crane was mourning the lost love of a past life. I really wish we had been able to finish it. Still, that is for another day and another time.

            I would really just like to thank Guru and Professor Palmer for being such wonderful teachers. I would like to thank the class for putting up with my dancing antics, and for being so open and sharing not only their dances but their thoughts and feelings. I hope to see you all again sometime in the future!

            Thank you!

Disappearance

            Honestly, when I heard about Disappearance I had absolutely no idea what to expect. At the time I barely understood what a Noh play was, and from that I could tell that it was a theater form sticking to a very strict tradition. So the idea that the form could be modernized was a complete shock for me. If I did not know what to expect from a Noh play, a modernized Noh play was even further into the field of the unknown. When I heard people talking about it they called it a “play on crack.” That threw me even further off. I could not tell if the play was going to be a comedy or not. When I walked into the theater to see the performance, all I truly knew about the performance was about how upset Guru was about this quote from the Flat Hat: “I can say without reservation that “Disappearance” is the worst theatrical production I have ever seen on this campus.” That quote made me very upset, simply because no matter what a play is like, it does not deserve such harsh criticism. That, and I knew that the reviewer had fallen asleep during the performance so he had no right to say such harsh things about a play he had not even watched the entirety of. Being miffed, I have to admit I walked into Disappearance absolutely determined to like it. And I did not even have to be determined.

            Disappearance was a beautiful play that brought forth elements from Noh Theater and allowed them to be modernized. Set around Christmas, the play follows several characters, including two brothers, who move about in and out of a single flat. Set in an unknown country all the audience truly knows is that there was recently a war that displaced many people. Also, the government built a second moon that was a failed project, and chances are most of the people on the colony have starved to death. The play takes time to explore the back stories of each of the characters you are introduced to, each holding their own importance to the story. Knowing so much about the characters, when things begin to go wrong you can be attached enough to them to feel sad as their lives go downhill. The play brings the audience to the peak of emotion, only to leave it without a release, something Noh plays do often. I myself was brought to the point of tears, but I did not end up crying, because the play pulled back away from the sad pieces of the story just before a single tear could fall. The story was deeply beautiful, and actually had you think about each of the characters and relationships between friends, family, and those you love. Though I missed the point that the little brother was a robot, I thought for the entire play that he was a reanimated corpse, the meaning of the relationship between him and his brother were very real. The setting of the play, with entrances and exits, four winds, chorus, and pine tree in the background encompass the basics of a Noh play. It was a beautifully written and well-performed piece. I would definitely enjoy seeing another Noh play performed at the College in the future.

Final Evaluation of the Course

I decided to take this course on a recommendation of a friend who was also going to take this course.  I had heard that it was a unique course in which was very different from the regular courses William and Mary provided.  So, I went ahead and took the class for some GER requirements.  Little did I know how much I would actually be learning about in this course. 

I was taken away since the first class and by the last class, I was so grateful that I had taken this course.  This class helped me gain a new perspective on theatre in general.  The course took me out of my comfort zone, and immersed me in a plethora of traditions and history.  The learning space was different than any other I had been in and provided a time for me to relax and move my body than the standard sitting for the entire lecture.  Everything about this course was new to me and I will definitely take away more than I imagined to.

I will go away from this class with knowledge that no other class here could provide and also a banjar who will be there for me whenever and wherever. 

Thank you Professors! 

What Theatre means to me

There are many forms of theatres across the universe. Yet, they all have a single purpose of portraying a message or expressing a certain quality.  With the little theatre experience I had from working backstage on certain middle school plays, I certainly did not know what this class had in store for me.  Theatre to me, consisted of rehearsed lines, set design, and rehearsed emotions.  I did not want to pursue anything theatre-related after participating in some back-stage productions during middle school.

I am so glad a friend recommended this course to me.  The course has taught me true Asian theatre in depths that no other teacher managed to delve into.  As I learned about the oral tradition through the teaching of the Ramayana, to when we learned about Chinese opera through the screening of “Farewell my Concubine,” each and every course had something new and exciting to provide for me to learn about.  There was a culture shock but it was a good one in that it literally opened up my eyes to the wide variety and traditions of Asian theatre.  

Dissapearance provided a new play to me that was different than any other play I had attended and fallen asleep at.   It helped me take my mindset out of the ordinary school plays that I had worked on and opened up a whole new world in which theatre resonated. 

I would have never known the different qualities of Asian theatre had I not decided to take this course.  Nor would I have learned the importance of banjar and the affects of banjar.   Theatre to me will be the opportunity and chance to participate in banjar as we learn to open our minds on the rewards that all types of theatre has to offer.  

On Death

Out of all the classes that this semester had to share, the one that has imprinted itself onto my memory is the class in which Guru informed us about a death of a fellow member of the Tribe.  I had already known this since the dorm of the freshman was neighbors with my dorm.  My first reaction to this was one of astonishment.  I could not believe that this had actually happened.  The first thought that ran through my mind was “Didn’t anyone see signs and why didn’t any one help” also, “how helpless and alone must the student have felt?”

As I went through all my classes of the day, I finally got to my last class which was Asian Theatre.  Guru took the time to set aside class time to discuss what had happened.  This was very new to me seeing as how every other class I had continued like nothing had happened.  As we discussed the different traditions that follow a death, I felt as though our banjar had reached the next level.  We were finally able to talk freely without worry that someone might judge another.  As the class continued the discussion and shared personal stories, I was amazed and proud of our class.  We had just practiced the  one of the most important lessons the class had taught us which was the importance of communication and the theme of orality.  Our open discussion helped us make some sense of what had happened. 

We have come so far since the first class.  I hope that each and everyone of us will be able to find a community as special as this one was during the future.  

Hello, Banjar.

In this community, I did not feel the competition that oozes from my other courses. I realize the importance of having banjar in a class.  In the world today, you rarely see people taking the time to sit down and get to know each other.  This in turn creates a very apathetic society in which there is no hope. 

Through this course, I have realized that you will always find hope in your banjar.  From this you can bring out power, strength, and confidence you thought you never had.   As a community, we all strived to learn as much about Asian theatre as we properly could.  Though the information will probably not have a permanent space in our memory, the little lessons that Guru always reiterated will always cross my mind whenever I am met with a challenge or problem. 

Banjar provided the perfect place for everyone to succeed and fail without the worry of judgment from others.  This helped relieve the pressure from taking a college course.  This also helped us open up our minds and receive any knowledge or gifts that the banjar had to teach us. 

I will be forever grateful to our classes’ banjar as it has taught me that it is important to have a group you can rely on and that you don't have to go through anything alone. I hope you all have a wonderful summer break!

The Banjar Continues...

Oh it's an amazing thought really...

With the production that Guru and Prof. Palmer are planning to put on in the spring, it makes me so excited that the banjar is expanding. Last semester in 333, this semester in Asian theatres, and on into the summer with a knew 333 class I believe. With so many people learning about this wonderful art that banjar shall be full of knowledge and love which makes for a happy, prosperous, and energized banjar.

I hope that with this know set of skills we can all expands the Arts of Asia here in America in order to show just how much wonder the world has to offer. In this class I found that the Banjar developed right underneath my nose. It felt so sudden and yet so natural at the same time and each time we learned something new we all seemed to take it in a different way until we developed this communal understanding in the Banjar and the energy was just There.

When I think back to last semester and then try to compare it to this semester I have to stop myself. In this semester we developed things in an entirely different light. The first difference being the incorporation of prof. Palmer, which was an absolute delight. His lectures contained so many hidden treasures about his knowledge of the world. But you can't count Guru out, while I enjoy his lecture, forever and ever my favorite aspect of his teaching will be his story telling. For those of you who only really got to experience a synopsis of the Ramayana I encourage you to take 333 just to here his stories of the Hindi legends. It is truly and amazing gift he has. Another thing that was different were the actual lectures. There was much more "meat" to this class where 333 contain an expressionistic point of view.

Overall Banjar I shall miss you all dearly and I hope to see all of you in or around the production of the Sitayana next spring. A happy summer break to all and my your finals go amazing.

~LayLay~