Author Archives: Cynthia Wang

About Cynthia Wang

Sophomore Public Policy Major, theatre enthusiast and budding food critic

Weathered Wood and floorboard nostalgia

All the work I did in the shop ended up involving wood. First David instructed Sam and I to move carts of what he referred to as “weathered wood”. It was the same weathered wood that would be used to line the inside of the map room and Yelena’s room. To me the phrase “weathered wood” implies that the wood has been weathered by the outdoors, most likely by rain and wind. However, our weathered wood was to go in the inside of the house. The thought struck my mind that wood could still be “weathered” from the inside of the house. I imagined the rooms of the house worn down by years of boring conversations and the petty squabbles of its inhabitants. This newfound meaning for the description of “weathered wood” helped me to see how the choice of wood physicalized the atmosphere of the estate and characterized the house as old and exhausted.

Then I helped Maddie with the process of nailing the wood panels into the floor by placing them and then staple-gunning. The work reminded me of when I had to perform the same task at home not long ago. This past summer my parents pimped me out for manual labor around the house. I was forced to construct the wood floors for the basement room with my bare hands and a power-saw. I recall after all the sawing and the click-locking was finished I was saddened by the fact that the beautiful puzzle I had put on place would now be trampled on by my family members. My attitude towards constructing the floors for Uncle Vanya was very different. As we nailed the wood down I imagined the scenes that would take place atop this very floor. Yelena giving in to Astrov. The beginning of Sonya and Yelena’s friendship. Sonya’s veiled plea to Astrov. It excited me to think that actors would perform upon the floor I was putting in place. Placing the wood for the Vanya set evoked a sense of pride and excitement for the magic that was soon to come.

-Cynthesizer (Cynthia)

A question and answer session with the audience: pre-show and comedy

I always try to talk to audience members after every show. I’m curious to see what parts of the performance they didn’t understand and if there is any confusion or lingering questions I can help clear up. Some questions from the audience were expected, others challenged my own preconceived notions of our Uncle Vanya. Through trying to answer these questions I’ve made new discoveries about our production and also reconsidered the audience’s reaction to our performances.

Audience Q1: So what was that part [the pre-show] in the beginning for?

I found it strange that the audience thought the pre-show was a separate part of the play. From our perspective it had been in the fabric of the performance since the beginning of the rehearsal process. I think at the time I answered this person by explaining that the pre-show was a way to introduce the audience to the idea of the doubling and the atmosphere of our world. But after thinking about this question I realized the pre-show did much more than just that. It was the initial wrecking ball for breaking the barrier between the audience and the stage. The choice to not hide our “process” for warming up and preparing for the show was part of creating an atmosphere of intimacy. To me, it seemed as if we were trying to let the audience feel as if they had been personally invited to watch a private rehearsal of Vanya where we would make no effort to “hide” our process. Thinking back, it reminds me very much of the setting and circumstances that inspired Vanya on 42^nd Street. As I recall, initially the only “audience” members of Vanya on 42^nd Street were friends of the cast who were personally invited to watch their experimental rehearsals. Besides the pre-show I began to see how other choices we made also contributed to creating an intimate atmosphere with the audience. Jaya’s presence as a stage manager, cast members sitting on stage with their scripts all added to the effect that it was a production in its “rehearsal process” and that the audience was invited to go “behind-the-curtain” to witness the performance in its truest form. The presentation of this concept of Vanya as “private rehearsals” for a small audience of close friends created a much more intimate theatre atmosphere rather than a typical “performance” where the wall between the audience and the stage is so concrete.

Audience Q2: I heard that Chekhov was supposed to be funny but this play was really serious.

I had to do everything in my power to keep from punching this person in the face.

Couldn’t they see how hilarious it was? From nanny’s bantering and Waffles first monologue to the professors goodbye there was comedy at every turn. Dark comedy, maybe but hilarious nonetheless. Vanya shot at the professor and missed three times! THREE TIMES!!! I tried to bring up examples to this person of how funny Uncle Vanya was, but they annoyingly changed the subject. Later as I mulled over this troublesome comment I considered the varied reactions from the audience that we had received each night. Some audiences were vocal with they’re reactions. I heard “awwws”, snorts of contempt, and hysterical laughter. Other nights they were silent. But just because they weren’t laughing or making noise didn’t mean they weren’t with us. Uncle Vanya poses some very serious questions and it takes a certain amount of consideration for an audience to fully appreciate the questions Chekhov poses. While Uncle Vanya does have its funny moments, it also presents some heavy themes. A silent audience likely indicates they are asking the right questions or at least thinking about what they’re seeing. So even if a particular audience only gave a few chuckles, my pestering of audience members after shows has proven that they’ve thought critically about our production- which is altogether a more valuable reaction.

Our version of Uncle Vanya was certainly an experiment. But the fact that I could hold interesting and controversial conversations with audience members after the show is a testament to the success of this experiment. During the performance I watched a mesmerized audience frown in sympathy, gape open-mouthed and lean on the edge of their seats. But even after the applause I imagine the enchantment will still linger. Perhaps in the form of a discussion with friends as they make their way back to Crowell Quad, or as a conversation topic that resurfaces over lunch at ABP…

Love,

Cyn-a-bun (Cynthia)

Letters to Vera Petrovna

I remember the sun was just right that day. The wide pink ribbon hanging off my tiny hat refused to stay out of my eyes. I squint to see the fluffy clouds dotted across the sky. My hand feels so small clutching yours as you lead us through the garden. Surreal. My memories of you belong to a different world where everything is brighter. Even the estate looks different somehow-welcoming. In the garden not a single blade of grass is out of place. Of course not. The garden’s upkeep was nothing less than perfect under your care. Not a tree untrimmed or a weed in sight. Beside the path something catches your eye. The rose bushes glistening with dew. You lean in to inhale the pink and red blossoms.

“What do you say we gather a few roses for Nanny?” you whispered. I clap my hands in agreement. After we delivered the roses to Nanny, Papa joined us for a walk through the forest.

My memories of you are few but I remember how different life was then. Breakfast at 8, lunch before 1, dinner at a reasonable hour. Tea, meals, housework and the affairs of everyday life ran like a clockwork fairytale. Uncle Vanya was young then and still hopeful. Papa even smiled- no sign of rheumatism or gout. Everyone was happy. Life on the estate seems like an entirely different world now. The farmwork is barely turning a profit and Papa eats and sleeps whenever he pleases. If you were here they’d all be ashamed of themselves. Nanny tells me how your love and strength were the foundation of the entire estate.

Papa’s new wife has come to stay with us. Everyone says how beautiful she is but she’s not beautiful like you. She does nothing all day. Besides her talents for the piano I’d say her spirit is quite unremarkable.

—————————-

I have a confession to make. I despise uncle vanya. Today he launched into another one of his rants about how old he is, how he hates the professor and blah blah blah. He sulks around the estate all day sniveling in that ridiculous bathrobe. Meanwhile I’m left to cut the hay, keep the accounts, sell the crops, do the housework and care for the estate by myself. I’m beyond exhausted. Uncle Vanya’s also drinking more and more frequently. It’s despicable. Soon he’ll be no better than the drunks in the taverns. What’s happened to him? Perhaps his behavior is not entirely unwarranted. Vanya’s clearly terribly depressed and I’m guessing the way Yelena treats him doesn’t help either. Still, the questions he struggles with, isn’t that something we all have to deal with at one point or another? The realization that our youth is over. The skepticism that our life and work has had any real purpose. The fundamental question of the meaning of our lives. . Sometimes I wonder if the reason I keep myself so busy with work is to avoid thinking about these things myself.

Today Uncle Vanya said something funny. He said I looked just like my mother. He must be hallucinating. Everyone knows how beautiful you were and that I was unfortunate enough to get Papa’s looks. It seemed like Uncle Vanya wanted to say something more though. He kept stuttering “if only she knew” but when I pressed him about it he wouldn’t explain. I bet I can finish his thoughts: ‘If only you knew how embarrassing the estate had become and how unhappy we all are’. If only you were still here to care for us…

Today I found out even Yelena is unhappy- just as I suspected. Stepmother is a strange word to me. You would have despised her and her laziness but I must admit I’m terribly fond of Yelena. I think she feels trapped by father and this estate. I sympathize with her. She said that the way she loved father at the time wasn’t “real love”. I can’t help wonder if that’s how I feel about the doctor. Still, even if it’s not “real love” the thought of him completely consumes me. Telling Yelena how I felt was like being able to breathe again. I really think that in a few months from now we’re going to be best friends. I think you’d be happy that I found a best friend.

—————————

Papa almost tried to sell your estate. It sounds like a nightmare when I say it now. I refuse to let it happen while I’m still alive. When I close my eyes I still see Vanya’s eyes looking back at me as I pry the morphine out of his hands. I think I understand him now. Of course he’s tired but its more than that. My new best friend is leaving forever because of Vanya’s silliness and I don’t blame her for it. I’ll miss Yelena but I really hope she finds happiness in Kharkov. As soon as Yelena walked out the door the spell was broken. Vanya and I are getting back to work. You would laugh if you saw how utterly behind we are on the accounts.

The doctor left too. It’s better this way I suppose. Still, I’ll miss being enchanted by his visits. I wonder if he knows that he is the most fascinating man I ever met and that I could never ever forget him- even if I tried.

For some reason I feel it’s my fault that everything has come to shambles. I wanted everything in your estate to stay perfect. How did you do it? Tiredness has overwhelmed my entire body but I continue to fight it. I feel so completely exhausted but that’s how I know God will have mercy. As I sit down to finish the accounts I think of you and find my strength. The thought of seeing you again and finally finding God’s rest in the end gives me comfort.

Your faithful daughter,

Sonya

(Cynthia)

Movers and Shakers and Validaters

A very misguided me

When I first heard that we were going to be engaging in a series of “movement workshops” I formed some misguided ideas of what that would look like. Based on some movement work I have done in the past in Intro Acting I thought we would construct the movements of our character based on their physical features, facts from the play and also their personalities. For example, I thought that we might be looking at a physical attribute like the professor’s gout or Vanya’s depression and analyze how these attributes could contribute to the character’s walk, or the way he sits and stands. However, the movement workshop that followed challenged my thinking about the realm of physical movement on the stage and introduced me to the range of possibilities for physical expression in Vanya.

Themes revealed in physicality

I was surprised to see so many of the themes from Vanya naturally presenting themselves when we played Kali’s physical warm-up games. Furthermore participation in the warm-up games lead me to better understand these themes and the “world” of Vanya. ‘Validate me’, ‘hold on waffles we’re talking about something’) showed me that physical theatre can be so much more than just a connection between emotion -> movement but that it can embody broad physical essences. It never ceased to amaze me how a physical essence could travel until it was felt by each and every one of us at the same time. I recall a moment like “clusterfuck”-everyone clawing to be near each other or a moment when we were all hysterically laughing and then crying and then laugh-crying. Throughout the various exercises Kali lead us through I observed that these ‘physical essences’ could also emerge from the moments between. When we started with the finger puppets and then gradually rose to full-body interpretive dance type movements I witnessed Jamie and Faye expressing the rollercoaster of emotions in between the words that were said. It was incredible to watch the essence of these feelings between the syllables of the words transform into movement on the stage. Only movement could express to the audience the sheer volume of the feelings and emotions of the characters and I can’t wait to see our Vanya fill up with the volume of movement and physical theatre.

…just the beginning of our physical journey

I can’t wait to continue exploring the physicality of these “moments between” with Fei and deconstruct the physical possibilities for Sonya. It is one thing to look into Sonya’s eyes and give a deep gaze of validation but another entirely to squeeze both her hands in mine and physically show Sonya that I am validating her.

-Cynth-bo-bynth

Linden Tea Musings

Hello!!!!

I’m Cynthia, a junior from Chicago, and I’m really excited to explore the role of Sonya with Faye as my theatre-lab partner. Tuesday’s read-through revealed that differences in interpretations of a character between acting-pairs were already starting to emerge. I’m curious to see how these differences will continue to develop (or maybe converge?).

After reading Vanya and watching Vanya on 42nd Street there was one theme that struck me as being completely and utterly relevant to Duke students: the overwhelming feeling of tiredness throughout the play that plagues almost every character.

Although the characters have many reasons to be tired: age, depression, boredom, gout etc. Vanya and Sonya seem to be tired mainly from burning that midnight oil working for the professor and managing the estate. The idea of working so incredibly hard without entirely knowing why is something that I think every Duke student can relate to- particularly those involved in research. (If your researching under a grouchy, glorified, egotistic professor, then Vanya is even more relatable). As students, we might study all night, read pointless articles, run PCR over and over in lab, or spend days locked in the library for a term paper but is it really worth it and what is it all for? Many students probably aren’t even sure of their post-grad plans for most of college. Yet I see many sleep-deprived-zombie-students (sometimes myself included) walking frantically about the quad, anxious, overworked and in need of a nap. Perhaps Duke students can look at the lives of the characters at the estate and connect it to their own robotic studying and day-to-day tiredness. Maybe seeing a reflection of their own exhaustion will also convey its absurdity.

Lurv,

Cynthia