Its all about PROPS

Description:

During class, on Monday we scheduled the timetable for the rehearsals. On Wednesday, we had our proposal decision regarding the title and poster design of our school play. We reached to the conclusion “Los hilos del destino” a concept that is present through our whole adaptation of the Ramayana. On Thursday, we discussed on the scene 5 and 6 proposals and Anita did makeup tryouts. As usual, on Tuesday, Thursday and Saturday after classes, we had our school rehearsals where we focused on the creation of scene 5 and 6. Whilst, on Friday we went to Yuyachkani and watched “cartas de Chimbote” based on the life of Jose Maria Arguedas.  

Analysis:

Yuyachkani establishes a deep connection with the legendary Peruvian indigenous writer Jose Maria Arguedas by representing the stages of his life throughout the use of props to evoke his presence in scenes. The actors by reading his letters, they interpret his intentions, giving the actual letter form and shape. But especially, by giving the letter shape, the letter comes to life and revives the spirit of Jose Maria Arguedas. In “Cartas de Chimbote”; Yuyachkani actors quote Arguedas but at the same time connect with him emotionally throughout the use of the letter. This is shown when the actors read out loud all his letters and re-act them. An example is when the actors portray Arguedas’ first attempt or consideration of suicide which occurred in April 1966. This depressed mentality and episode of his difficult life is highlighted in “el zorro de arriba y el zorro de abajo”, one of his novel. Augusto Casafranca and Julian Vargas performed Jose Maria Argueda’s novel “el zorro de arriba y el zorro de abajo” by using colorful masks that contained attached on the top, the corpse of a dissected fox while Rebeca Ralli sat down in the chair mimicking the letter of Arguedas she had in her hand. Yuyachkani by representing, literally the novel “El zorro de arriba y el zorro de abajo” they highlight the writing style of Arguedas that includes his autobiographic reflections and intimate confesions regarding his attempt of fighting against the approximating death he will soon encounter.  Both male actors personifying the foxes were saying the identical words of Jose Maria Arguedas’ regarding his suicidal thought by saying “Hoy tengo no tengo miedo a la muerte misma, sino a la manera de encontrarla” Throughout the use of this letter, the audience is able to presence the depressed spirit of Jose Maria Arguedas who has been severely shocked and affected by his childhood. Moreover, by also stating “Soy cobarde para el dolor fisico y seguramente para sentir la muerte” reinforces his fear of feeling the pain death gives, however, he never mentions he is scared of the death itself.

Towards reaching the end of the play, interesting props were used such as a white powder to perhaps represent the ashes of Jose Maria Arguedas; the table filled with candles litted, a picture of Jose Maria Arguedas, plates filled with avocados and corns and more. At the end, Teresa Ralli by pouring a white powder on Augusto Casafranca, whom at that moment represented Jose Maria Arguedas presence made the audience assume and also transmitted the idea that the powder perhaps could have been his ashes since the play was finally concluding with his death. Finally, by placing avocados, corns and a picture of Jose Maria Arguedas it caused an empathic effect on the audience since they lament the death of jose maria Arguedas. However, it caused a feeling of happiness since now they know that although a life was lost, “un demonio feliz, que habla en castellano y en indio” died happily ever after. As a result, these props accompanied with a happy quechua chanson, payed tribute to the life of the indigenous Jose Maria Arguedas who wished to have finish with his life due to the constant feeling of marginalization among the indigenous and the mistis world, the early loss of his mother, the absence of his father and the failure of his previous marriages.  

In terms of our play, with the used of distinct props we want to connote the diverse intentions of the characters. With reference to the locket used by Ravenna, it is considered as the source of infinite supremacy which makes her a terrifying and strong enemy every creature or human being is afraid of. Moreover, without the locket the demon queen loses her power; becoming useful, weak and vulnerable. To give significance to the locket, in parallel, it previously belonged to the divinity Kali, the goddess of destruction. Due to the power imposed by this locket itself, Kali lived in a constant state of cruelty, malice and unkindness.  A current example is that throughout the entire play, Ravenna will be using this huge worshiped locket to symbolize a sense of seniority and supremacy among others since she has the respected reliquary of Kali. However, when she is defeated by Rama, Rama will take away the locket from her to portray the idea of defeat. As a result, the locket wasn’t only a representative of the power of Ravenna but also a symbolization of the divinity Kali, the goddess of devastation and destruction. Therefore, by placing this prop we aren’t only reinforcing the power of Kali that Ravenna begotten as well, but, by using it, we are paying tribute to the goddess Kali, who is highly respected in Hindu religion and culture. Thus, meaning the incorporation of the locket fits perfectly in the standards of Kathakali theatre since the presence of gods were important features in Indian culture, which were transmitted in theatre.

 In addition, another powerful symbol that is used in scene 5 is the stick of Hanuman; it portrays his power over his monkey army. This is used when Hanuman talks to Jatayu, a mystical talking bird that leads him to the location of the imprisoned Sita. To direct himself towards Jatayu, he taps the stick to show respect and also power towards Jatayu in order to capture his attention. Then when hanuman gives his powerful stick to his two companions, he becomes slightly less powerful. Therefore this is shown in the wakening of the demons and the warning of Ravenna. Since he didn’t have his stick present in that moment, the demons controlled him and burned his tail.

Connections:

As well as our school play, “Cartas de Chimbote” also used minimal props. They decided to have specific choices such as the letters or the table with tributes towards Jose Maria Arguedas. Also, in the school play uses a locket and “cartas de Chimbote” uses a table with tributes. Although these propos are extremely different, they reach a common purpose which is to pay tribute. Moreover, both plays “Cartas de Chimbote” and “Edith Piaf” were autobiographical and reflected on the lifes of famous and highly recognized persons such as Jose Maria Arguedas, an indigenous Peruvian writer and Edith Piaf, a legendary French cabaret singer. After watching both plays, I noticed an interesting connection between these two unfortunate lifestyles which was that although they

reached the level of fame, depression and agony they suffered in their life were the key influences that encapsulated them, leading them to their deaths.

Reflection:

In terms of our school play and “Cartas de Chimbote”, both used minimal props which transmit different meanings. However, props still concern since most portray a similar concept: power. This made me reach to different questions regarding props. Since according to Kathakali, minimal props are used. To not break the convention and include more props to transmit different concepts that transcend in the play; how could I give a wider range of meanings to a single prop in order to avoid repetition of ideas?