Alnara Tleugazinova put on "I Used to Have a Fantasy," which urged the crowd to seek after their fantasies and interests.

Graduate Understudy Performs One-lady Proposition Project

Alnara Tleugazinova, a second-year graduate understudy concentrating on theater, played out her one-lady show in Binghamton College's Studio B as a feature of her alumni proposal. Named "I Used to Have a Fantasy," the satire show creation occurred from April 19-20 at 8 p.m. What's more, April 21 at 2 p.m.

Participants started showing up at the studio a half hour before kickoff. They sunk into their seats — noticing the stage supervisory group's last-minute arrangements. The shades rose — uncovering Tleugazinova battling with the draw of a rope tied around her midsection. Detecting the crowd's disarray concerning where the story is going, Tleugazinova's personality Alnara — whom she named after herself — returns to the story's start.

The space the crowd sees her in is designated "blankness," where the neglected dreams of the dreamkeepers dwell. Alnara makes sense of that she is the fantasy of Medina, her dream keeper who yearns to turn into an entertainer but doesn't seek after she longs, as she comments, "There are no certifications, huh?"

While Medina — who shows up over a voiceover for a large portion of her exhibition — turns into a mechanical specialist in feeling dread toward turning into a disappointment in acting, Alnara imparts her enthusiasm for human expressions to the crowd. Various prizes dissipated behind the scenes show exactly the way that serious she is tied in with prevailing with regards to acting, however, she can't do so except if Medina seeks after her calling. "I have something else altogether that is not attached to artistic expressions by any means. I used to be an architect. I have a few degrees in that field. I'm a mechanical specialist. Whenever I first showed up here and imparted that data to individuals here, they continued to ask me … 

'What compelled you to adjust your perspective and come here and change your concentration?' … I was attempting to answer that inquiry legitimately."

Tleugazinova made sense of that however she has consistently had an interest in human expression, and it was all the more a side interest. Be that as it may, her adoration for human expressions kept on developing consistently, and when she got a proposal from BU, she concluded the time had come to investigate it.

"Fundamentally, it's about a fantasy," Tleugazinova said. "[Alnara] addresses a fantasy about being an entertainer. She's unloaded in a spot that is limbo, and she's caught there, and she can't leave [… ] it's her excursion — the stuff of her to get out there."

Elizabeth Mozer, Tleugazinova's postulation guide and an academic administrator in the theater division, explained the task's motivation.

"It's a chance for an understudy to apply all of their discovery that they've earned during their time here," Mozer said. "Not all acting alumni understudies make their shows. What [Tleugazinova]'s done is twofold — she's acting in a play, yet she composed it … She invested a ton of energy in the studio alone. The reason for it is to figure out how to be independent, how to apply every one of the lessons, how to try them, have execution opportunity [and] execution experience."

Tleugazinova shared how she at first didn't anticipate playing out a one-lady represent her alumni proposal.

The stage lighting adds to Alnara's feelings, becoming yellow-gold when she's blissful, red for something evil, and purple when she's tangled. Alnara summons the crowd's comical inclination by snapping into a light dream grouping when she moves to music that beginnings and stops with the applause of her hands.

The whole exhibition is finished through a progression of speeches from Alnara — some of them intelligent with the crowd. Things reach a crucial stage when Alnara understands that by empowering Medina to harp on her fantasies, she can't live cheerfully. Alnara makes do with being only a fantasy rather than Medina's existence, saying she can keep on living by making workmanship in her "obscurity."

Similarly, as Alnara acknowledges this, an unexpected development has Medina getting back to Alnara as she chooses to try out — going with this choice is the initial step to pursuing her fantasies. Alnara decisively voices her disappointments, procuring an ensemble of giggling from the crowd. This takes the crowd back to the initial scene where Alnara battles the draw of the rope — uncovering that it was Medina getting back to her to return.

After a scene change, the crowd meets Medina wearing a denim coat, dark shirt, and red jeans. Grinning splendidly, she acquaints herself with the projecting specialist, who is interested in her design foundation. Medina plays out a short melody in Kazakh about her country. She is braver and hopeful about her fantasy now, and the shades close as she finishes up the creation with the mantra — "there are no certifications, huh?" — empowering the crowd to follow their fantasies as opposed to clutching their feelings of trepidation.