These Violent Delights - Act 2 and 3

'These Violent Delights Acts 2 and 3,' by lyan De Jesus, is a fitting continuation and eventual conclusion to Act 1, which she exhibited in Malaysia.

Through her detailed paintings, lyan de Jesus relates life to theatre after introducing her characters, setting up the mood and ambiance where subsequent phases take off. Now she trains the spotlight on expressing action and development with corresponding conflicts, climaxes and plot twists, with her characters having more movement and taking on their own lives, seemingly set free from control of the artist's hand and the confines of the canvas.

In 'A Session of Dances', three ballerinas appear to be on a stage rehearsal for Swan Lake, one of them recreating the "lake" with her own little iron kettle. As the viewer gets a notion of the ballerinas steeling themselves towards the judgment of their performance, one cannot mistake the conviction in their attitudes and their determination to give a good show, perhaps as a reminder that though we may rigidly rehearse the roles we play in life, it is still our passion for mundane routines that makes a difference.

'Another Fight with the Wrong Windmill' is a humorous take on the continuing adventures of Don Quixote as he finds himself unexplainably lost in the Moulin Rouge in Paris instead of near Toledo, Spain where the famous windmills of La Mancha are located. The chivalrous knight errant, finding himself in the company of mademoiselles, apparently decides to get drunk instead of sallying forth, making tequila out of the lemons handed out by life (or, "happy accidents" a la Bob Ross) after having found himself in the wrong place at the wrong time.

An imagined scene behind the scene is depicted in 'To Be or Not To Be But She'd Really Rather Not', as an actor receives a script for Hamlet and ponders on the complexity of her character, Ophelia. She knowingly stares into the audience while ruminating on the challenges of playing the famed poster child for delusional disorders who pines for a prince who has mental health issues of his own. Surrounded by a garden setting as her bath is prepared, the figure finds herself in an environment where creativity blooms.

For Act 3, De Jesus presents a diptych: It Was An Old Trick Even Then, But This Time It Was Guileless and Checkmate. For these pieces, the artist dwells on resolutions and denouement, or even just letting things be as cliffhangers, without discernible endings. Her characters, seemingly found after a hard day's end dining or lounging in parties now don flamboyant costumes, some wearing masks, others fashioning themselves after chess pieces. The underlying theme seems to be acceptance of each character and the scenarios that ensue, for at the end of the day, no one really knows what each individual is going through.

While lyan De Jesus lets the curtain fall on this stage after three acts, she reinforces the love for theater, and life, amidst all its pomp, pageantry and even paucity. As William Shakespeare in Romeo and Juliet wrote, as quoted by Friar Laurence after Romeo enthuses to him about the lovely Juliet:

"These violent delights have violent ends

And in their triumph die, like fire and powder,

Which as they kiss consume: the sweetest honey

ls loathsome in his own deliciousness

And in the taste confounds the appetite:

Therefore love moderately; long love doth so;

Too swift arrives as tardy as too slow."

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