Activity/Archive

Archive

This page collects various materials not posted or published on our blogs. It is in chronological order from 2020-2022. 

CONTENTS 

Kazakh theatre warm-up exercises, led by director Dunay Yespaev Amandykovich. CA planning meeting, February 2020 

Archive

Profile and Links for the Stanislavsky Theatre, Karaganda, Kazakhstan (project participants from 2020-2022)

One of the original project participants was the Stanislavsky Theatre in Karaganda, Kazakhstan. While a production was in progress in 2022, geopolitical conflicts in the area made it impossible for the performances to proceed. With thanks to the company and director Dunay Yespaev, Cymbeline Anthropocene hopes to preserve the company's profile and blog articles in this archive.

Director: Dunay Yespaev Amandykovich

Translator: Togzhan Amandykov

The Theatre

The history of the theater is unique and dates back to 1930 when, on the basis of an amateur propaganda team in Semipalatinsk, the Mobile Theater for Propaganda and Cultural Work "Live Newspaper" was organized, which was transformed into a mobile theater in 1932 as part of the Turksib political train. 

"Tens of thousands of kilometers by rail, narrow gauge, in cars, on horses, traveled the theater over the years. Hundreds of thousands of spectators watched the theater's performances," wrote the first director, art director and part-time theater playwright, Vasily Portnov, in the Socialist Karaganda newspaper. Portnov's sketches were performed by a team traveling in three train cars, one of which housed the actors, and the other two in which props were transported and rehearsals were held. 

The theater was given its permanent home in the Miners' Palace of Culture in 1951, in Karaganda. In 1963, the theater was named after Konstantin S Stanislavsky.

Links

Director Interview: Dunay Yespaev Amandykovich 

Video Interview: Dunay Yespaev Amandykovich 

Dramaturgy Notes for Imogen in the Wild, by Dr Katherine Steele Brokaw, UC-Merced, January 2021  

Cymbeline, written late in Shakespeare’s career, combines many elements from earlier plays: star-crossed lovers, a spunky, cross-dressing heroine, a villain who makes a man doubt his wife’s fidelity. The plot’s twists and turns and the play’s sprawling locations stretch one’s belief, and the rapid series of revelations in the play’s final scene are almost comically improbable.

But at its core, Cymbeline is about a woman who follows her heart, and a man who errs grievously and then suffers for it. “Is it enough that I’m sorry?,” Posthumous asks when he gives himself up to Jailers. How bad do we have to feel, how much must we suffer in order to make up for the wrongs we have done to those we love most?

But the play is about forgiveness, not penitence. In that improbable ending are the reconciliations that mark most of Shakespeare’s late plays. Cymbeline, who has also hurt those he loves most, is reunited with his daughter and his old friend, as well as the children he thought he had lost. But instead of anger, as he says, “pardon’s the word to all.” The villainous Iachimo, at the last, repents for the sorrow he has caused. Instead of punishing him, Posthumous tells him to “live, and deal with others better.”

Our production, set in early 20th century America, begins with storytellers who bring the world of the play alive to entertain a group of children. The bluegrass music we have chosen comments on the play’s most important themes. Echoing Posthumous’s question of sufficiency, the storytellers sing at the start of our play, “throw your arms around each other and love one another for it’s only one life that we’ve got, and ain’t it enough?” Posthumous and Imogen end the play with their arms thrown around each other again: they’ve been hurt and betrayed, they’ve both thought the other dead, but here they are, reunited, and “ain’t it enough?”

Plot Summary

In Britain long ago, King Cymbeline’s daughter Imogen married her lowborn friend Posthumous, going against her father’s wishes. Posthumous was born an orphan and the King had taken him in as a child and raised him as Imogen’s playmate. Imogen’s mother has also passed, and her two older siblings were kidnapped when she was a baby. Cymbeline’s new wife married him for power; the pair of them wish for her oafish son Cloten to marry Imogen. As the play begins, Cymbeline banishes Posthumous from the kingdom and he leaves for Italy, a country that will soon be at war with Britain. Left at court, Imogen must fend off the advances of Cloten.

In Italy, Posthumous meets the smooth-talking Iachimo, who bets him that he can test Imogen’s loyalty, and wagers the ring Imogen gave him that Iachimo can seduce her, a bet that Posthumous takes on. Iachimo makes his way to the British court, where through trickery he is able to sneak into Imogen’s bedroom, take note of its looks and steal her bracelet. Returning to Rome, he makes Posthumous think Imogen was unfaithful. The furious Posthumous writes his former servant Pisanio, who now serves Imogen, and tells him to kill his wife for the misdeeds that she of course never committed. He sendsß Imogen a letter sending her to Milford Haven, a location in Wales where the Roman and British armies will soon be clashing, and where Posthumous is headed.

Imogen, not suspecting anything, takes off for Milford Haven with Pisanio, hoping for a joyous reunion wither her lord. Pisanio reveals to her that Posthumous suspects her of infidelity and wants her dead, but the two devise a plan to disguise Imogen as a boy named Fidele, who can get closer to the armies and keep watch on Posthumous, who they reason must have been misinformed by some villain. Imogen treks on but grows very hungry, and takes food from a cave that is, it turns out, inhabited by a man named Belarius and his children Guiderius and Arviraga, who quickly take to “Fidele,” and look after “him.”

In Belarius’s cave, Imogen takes a potion from the Queen that Pisanio has told her will make her healthy, but in fact it knocks her into a death-like state. Meanwhile, Cloten has come looking for Imogen and runs into the spunky Arviraga, who cuts off his head. When the three cave-dwellers return, they discover the dead-looking “Fidele” and bury “him” alongside Cloten.

Imogen awakes next to the decapitated Cloten, whom she mistakes for Posthumous. The Roman general, Caius Lucius, discovers this “boy” and asks him to join his army and serve him. Posthumous, meanwhile, thinks that he has had his Imogen killed and laments her death. While he came to Milford Haven in the Roman army, he switches uniforms and fights for Britain, joined by Belarius, Arviraga, and Guiderius. When Britain wins the day, Posthumous puts Roman gear back on in hopes of being taken prisoner and killed. Soldiers and prisoners are all brought to Cymbeline’s court for the play’s final scene, a scene featuring no fewer than 24 revelations of identity and plot! 

Song Lyrics from Imogen in the Wild 

Ain’t It Enough by Old Crow Medicine Show

 Storyteller 1: Show me a river, I'll show you an ocean

I'll show you a castle turn into sand

Oh we rise and we fall, we crash on the coastlines

And only our love could last til the end

 

Storyteller 2: Fortune is fleeting, time is deceiving

Our bodies are weak, and they turn into dust

I'll follow the wind blindly, but love is like lightning

Strikes only one time, but ain’t it enough

 

All: Ain’t it enough to live by the ways of the world

To be part of the picture, whatever its worth

Throw your arms round each other and love one another

For its only one life that we got, and ain't it enough?

 

Storyteller 3: Surely all people are made for each other

Join in together when the days turn to dust

So let the prison walls crumble, let the borders all tumble

There is a place for us all here, and ain't it enough

 

All: Ain't it enough to live by the ways of the world

To be part of the picture whatever its worth

Throw your arms round each other and love one another

For its only one life that we got, and ain't it enough?

 

Wagon Wheel/The Ballad of Cymbeline (OKMS, new lyrics by KSB)

Storyteller 1: The king of our tale is a stubborn man

His daughter’s married on and she’s taken a stand,

That made him so mad that he’s locked up his dear daughter.

She’d married a man who was poor but good

Her father said “no” but she thought she should

The boy’s been banished—who knows when he’ll next see her.

 

Storytellers: And tho’ it seems stra-ange, yet tis’ true-ue

Tho’ it seems stra-ange yes tis true

Oh Cymbeli-ine

It seems strange but it’s a true true tale

To learn from this you cannot fail

Oh Cymbeli-ine.

 

Storyteller 2: The girl and that boy grew up together

Born a poor orphan, his life got better

His dad died of grief, for his sisters and his mother.

The king took him in and he was raised at court

He proved to be of a noble sort

Just not the kind of man—he’d let his daughter marry.

 

Storytellers plus kids: And tho’ it seems stra-ange, yet tis’ true-ue

Tho’ it seems stra-ange yes tis true

Oh Posthumous

It seems strange but it’s a true true tale

To learn from this you cannot fail

Oh Posthumous.

 

Storyteller 3: And our princess has had her share of woes

Her siblings were kidnapped and no one knows

Where they both are, and now it’s been twenty years.

Her mom died at her birth, it’s sad but true

The king her father didn’t know what to do

He found a new gal—but she’ll just bring them new tears.

 

Storytellers plus kids: And tho’ it seems stra-ange, yet tis’ true-ue

Tho’ it seems stra-ange yes tis true

Oh Imoge-en

It seems strange but it’s a true true tale

To learn from this you cannot fail

Oh Imoge-en.

 

Storyteller 1: Oh that king of our tale he married that gal

An evil stepmom, she’s no one’s pal

Save for her dear son—she wants him to marry the king’s girl.

Our princess hates that guy plus he’s her stepbrother

And she knows not to trust her bad stepmother

The king’s got a bad gal—he threw away a pearl.

 

Storytellers plus kids: And tho’ it seems stra-ange, yet tis’ true-ue

Tho’ it seems stra-ange yes tis true

Oh Cymbeli-ine

It seems strange but it’s a true true tale

To learn from this you cannot fail

Oh Cymbeli-ine

 

Rye Whiskey by Pete Seeger

Band:

Rye whiskey, rye whiskey, rye whiskey I cry 
If I don't get rye whiskey I surely will die

Jack of diamonds, jack of diamonds, I know you of old 
You've robbed my poor pockets, Of silver and gold

Whiskey, you villian, you've been my downfall 
You've kicked me, you've cuffed me, But I love you for all

They say I drink whiskey, my money is my own 
And them that don't like me can leave me alone

I'll eat when I'm hungry, I'll drink when I'm dry 
And when I get thirsty I'll lay down and cry

It's beefsteak when I'm hungry and whiskey when I'm dry 
Greenbacks when I'm hard up and heaven when I die

Baby, oh baby, I've told you before 
You make me a pallet, I'll lay on the floor

If the ocean was whiskey and I was a duck 
I would dive to the bottom and never come up

But the ocean ain't whiskey, and I ain't no duck 
So I'll play the Jack of diamonds and trust to my luck

 

Afternoon Delight (Starland Vocal Band)

Cloten: Gonna find my baby, gonna hold her tight

Gonna grab some afternoon delight

My motto's always been; when it's right, it's right

Why wait until the middle of a cold dark night

When everything's a little clearer in the light of day

And we know the night is always gonna be there any way.

Cloten and Storytellers: Sky rockets in flight

Afternoon delight (x2)

Cloten: Started out this morning feeling so polite

I always thought a fish could not be caught who wouldn't bite

But you've got some bait a waitin' and I think

I might like having a little afternoon delight

Cloten and Storytellers: Sky rockets in flight

Afternoon delight (x5)

 

Farther Along (traditional)

Imogen: Tempted and tried, we’re oft made to wonder


Why it should be thus all the day long;


While there are others living about us,


Never molested, though in the wrong.

 

Storytellers join: Farther along we’ll know more about it,


Farther along we’ll understand why;


(without Imogen) Cheer up, my sister, live in the sunshine,


All: We’ll understand it all by and by.

 

Imogen?: Sometimes I wonder why I must suffer,


Go in the rain, the cold, and the snow,


When there are many living in comfort,


Giving no heed to all I can do.

  

Never Grow Old (by James C Moore)

Arviraga: When our work here is done and the life-crown is won,


And our troubles and trials are o’er;


All our sorrow will end, and our voices will blend,


With the loved ones who’ve gone on before.

 

Never grow old, never grow old,


In a land where we’ll never grow old;


Never grow old, never grow old,


In a land where we’ll never grow old.

 

Angel Band (traditional; new lyrics by KSB)
Parents:

Our latest sun has sunk and passed

Our trials now are done

But you, our boy, have much ahead

Your race as just begun

All:

Oh come angel band

Come and around him stand

Bear him away on a wave of love

He’s still so much to learn

Bear him away on a wave of love

He’s still so much to learn

Sisters:

Oh brother dear we knew you not

But live and you’ll be free

The love ahead is all you’ve got

And you’ll have victory

[Chorus]

 

High Sierra by Linda Ronstadt

Songleaders:

The way I feel, can't explain

So much passion turned to pain

The sun still shines most of the time

Did you know the sun shines when it rains

 

I've been higher than the high sierra

Lower than death valley must be

I've been right, mostly wrong

Wrong about you, right about me

 

La La Blues by Pokey LaFarge

Queen: I know that you’ve heard
this old song sung before,


but you ain’t heard it
while I was walking out the door

King: It’s goodbye baby,
honey your time has come,


I’ve turned the tables
and now you’re the one on the bum

All: It’s La La La, singing La La La
I’m so happy got me singing La La La

Iachimo: I’m wet and I’m wild,
 honey, I’m short and thin


so I can squeeze out of any position
you try and put me in

Cloten: I’ve got this old thing
called the laughing heart’s disease,


I’m gonna laugh my way to
any old place I please

All: It’s La La La, singing La La La
I’m so happy got me singing La La La

Posthumous: If I was a catfish
in the river down in St. Louie,


I’d be the biggest fish, honey
anyone had ever seen

Imogen: You know I’d never get caught
cause I never bite the hook and line,


all the folks would try and catch me
as I go swimming by

All: It’s La La La, singing La La La
I’m so happy got me singing La La La

Cimbelino en la Patagonia. Dossier of performance  details, including director, production, and cast biographies. In Spanish. 

View PDF

Abstract for "The Ecological Resonance of Imogen’s Journey in Montana’s Parks," New Theatre Quarterly 38.4 (October 2022), 299-318.  

In this article Gretchen Minton [dramtaturge] and Mikey Gray [Imogen] discuss an adaptation of Shakespeare’s tragicomedy Cymbeline that toured Montana and surrounding states in the summer of 2021. Minton’s sections describe the eco-feminist aims of this production, which was part of an international project called ‘Cymbeline in the Anthropocene’, showing how the costumes, set design, and especially the emphasis upon the female characters created generative ways of thinking about the relationship between the human and the more-than-human worlds. Gray’s first-person narrative at the end of each section reflects upon her role of Imogen as she participated in an extensive summer tour across the Intermountain West and engaged with audience members about their own relationship to both theatre and the natural world. This is a story of transformation through environmentally inflected Shakespeare performance during the time of a global pandemic.

[For full article, click here]

 

Collaborating Theatres: