Ausrine Stundyte's voice trembles slightly as she declares, "I am totally not a feminist." At first glance, it seems like a provocative statement, one that might suggest a lack of understanding or empathy for the women's rights movement. However, upon closer inspection, her words reveal a more nuanced and introspective person.
Stundyte admits that she isn't against women's rights, but she takes issue with what she perceives as a victim mentality among some feminist circles. She believes that when women see men as the problem and themselves as victims, they give away their own power. This sentiment rings true for those who have experienced patriarchal oppression and are working to reclaim their agency.
In her upcoming production of Leoš Janáček's The Makropulos Case, Stundyte will play the role of Emilia Marty, a woman who has lived multiple lives due to an elixir of immortality. Despite being over 300 years old, Stundyte is unfazed by the prospect of playing such an age-defying character. She confesses that she experienced crisis anxiety around her 30s and 40s, but now that she's approaching 50, she's feeling empty – a sense of melancholy that comes with having fulfilled all her dreams.
This existential optimism provides a stark contrast to the dark, complex characters Stundyte typically portrays. From Elektra to Salome, Janáček's Kát'a Kabanová and beyond, Stundyte has made a career out of singing the most heavy-duty, grim soprano roles. Her past is marked by depression and unhappiness, particularly during her teenage years. This pain still lingers within her, and she acknowledges that it can be cathartic.
Stundyte's words on theatre therapy are telling: while there should be more widespread recognition of its value, her own experiences have forced her to confront her demons. By doing so, she believes she has cleansed herself of baggage – a process that is both therapeutic and artistic.
In the end, Stundyte's views on feminism and pain might seem contradictory at first glance, but they reveal a person who is deeply invested in exploring the human condition through opera. Her characters are not just roles to be played; they're an extension of herself, a way to process her own experiences of joy and sorrow.
As she prepares for her role as Emilia Marty, Stundyte's words offer a glimpse into the complex mind of a woman who has lived multiple lives – both on and off stage.
Stundyte admits that she isn't against women's rights, but she takes issue with what she perceives as a victim mentality among some feminist circles. She believes that when women see men as the problem and themselves as victims, they give away their own power. This sentiment rings true for those who have experienced patriarchal oppression and are working to reclaim their agency.
In her upcoming production of Leoš Janáček's The Makropulos Case, Stundyte will play the role of Emilia Marty, a woman who has lived multiple lives due to an elixir of immortality. Despite being over 300 years old, Stundyte is unfazed by the prospect of playing such an age-defying character. She confesses that she experienced crisis anxiety around her 30s and 40s, but now that she's approaching 50, she's feeling empty – a sense of melancholy that comes with having fulfilled all her dreams.
This existential optimism provides a stark contrast to the dark, complex characters Stundyte typically portrays. From Elektra to Salome, Janáček's Kát'a Kabanová and beyond, Stundyte has made a career out of singing the most heavy-duty, grim soprano roles. Her past is marked by depression and unhappiness, particularly during her teenage years. This pain still lingers within her, and she acknowledges that it can be cathartic.
Stundyte's words on theatre therapy are telling: while there should be more widespread recognition of its value, her own experiences have forced her to confront her demons. By doing so, she believes she has cleansed herself of baggage – a process that is both therapeutic and artistic.
In the end, Stundyte's views on feminism and pain might seem contradictory at first glance, but they reveal a person who is deeply invested in exploring the human condition through opera. Her characters are not just roles to be played; they're an extension of herself, a way to process her own experiences of joy and sorrow.
As she prepares for her role as Emilia Marty, Stundyte's words offer a glimpse into the complex mind of a woman who has lived multiple lives – both on and off stage.
... I mean, I get it, women's rights are super important, but some of these strong feminist vibes can come across as kinda... entitled, ya know? Like, not every woman's experience is the same, and you can't just lump everyone into one category. And don't even get me started on how much I love opera - Stundyte's been singing these heavy roles for years and it's like she's channeling her own demons onto stage... it's so intense 
. It's like she's taking ownership of her emotions and using them as fuel for her art. I mean, she's got a lot of pain in her past, but it sounds like theatre therapy has been super helpful for her 
. Her words about feminism are also so valid – I think we need more people talking about the importance of self-empowerment and not just victimhood 
. And can we talk about how cool it is that she's playing a character who's lived multiple lives? It sounds like a total wild ride, and I'm here for it 
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I'm kinda feeling this article is trying to say that being all emotional and victimized isn't really feminist? Like, I get it, some people might take that route and just give up power and stuff, but can't we just talk about our problems without beating ourselves up over it? 
It's like Stundyte is saying, "Hey, I've got demons to deal with, but I'm working through 'em." 
And honestly, I think that's really beautiful. 
it's so inspiring that she's using theatre therapy to work through all her stuff. at the same time, I can see why she'd be frustrated with the victim mentality in feminism - it does sound like a bunch of unnecessary negativity 
but I think what's really interesting is how Stundyte is trying to find empowerment from within herself. she's like, "I've lived multiple lives, but now I'm feeling empty" 
I think it's beautiful that you're using your experiences to help others, even if it's just through the lens of opera. Your vulnerability is really inspiring and I'm sure your character in The Makropulos Case will be hauntingly real 
And theatre therapy is all about confronting those demons, not avoiding them.
. It's not always easy to confront your pain, but it sounds like Stundyte is using her experiences as fuel for her craft.
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#AgeIsJustANumber. It shows us that even in our 50s, we can still find ourselves and explore our own complexities 
. Theatre therapy has definitely helped Austine heal from her past struggles 
but stundyte's willingness to confront her demons and use it as fuel for her art is honestly super inspiring 
. But she's using it as fuel for her art and therapy? That's amazing! 
It's like, we don't have to be defined by our struggles, but rather use them to grow and create something beautiful out of the darkness.
. And Stundyte's commitment to exploring her own experiences through opera? That's what it's all about, right? 
SHE SEEMS TO BE TALKING ABOUT HOW WE NEED TO MOVE AWAY FROM VICTIM MENTALITY AND TAKE OWNERSHIP OF OUR POWER INSTEAD. IT'S LIKE, WE'RE NOT ALL JUST VICTIMS OF SOCIETY, WE CAN ALSO BE THE AGENTS OF CHANGE! 
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but what about the victim mentality thing? doesnt sound too positive 