Performances

Performance 2022

After the long, suffocating pause of COVID, when the stage had become a distant memory, I took a leap: I auditioned and enrolled in the Académie Art de la Parole in Auderghem, Brussels. The greatest challenge was pronunciation. I shared a classroom with native French speakers, and I knew the risk: every line of classic or contemporary text demanded double, sometimes triple effort, not only to articulate the words but to embody the subtle nuances embedded in them.

The first year rewarded that intensity. My teachers recognized my dedication, and the academy as a whole acknowledged the seriousness of my commitment. That year, I debuted with Perrine Le Querrec’s La Féminité, followed by Renée Vivien’s Devant le Couchant, the classical play On ne badine pas avec l'amour by Alfred de Musset, and concluded with a collaborative performance with the music department exploring the Beat Generation with live saxophone.

What made the performances singular was the integration of Javanese and Indonesian movement styles into the French texts. Through gesture, posture, and rhythm, the words took on an extra dimension, bridging continents and languages. That year, I demonstrated that behind every difficulty lies an opportunity: every challenge of language, culture, and form became a portal to a new expressive freedom.

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