Bunraku at last

Finally. After twelve years of living in the Kanto plains I take myself to the National Theatre of Japan. It is a building I do not like. Like many government buildings in Tokyo it is not friendly to visitors. We are kept outside in freezing conditions while the attendants inside busy themselves with minor work which requires no eye contact with the folks who have paid at least ¥5000 stuck outside. Once inside there is a helpful desk to hire an English translation of the performance. This is helpful and vital. It is not free. However the accompanying guide is in English too. But little else.One would have thought that with an 18% drop in tourists more could be done to welcome non-speakers of Japanese. As I looked around I saw no other foreign person. Of course you wonder. Twelve years in Japan. He has not learnt the language? I know. I know. I am ashamed. I am not a linguist. But to the show. We were lucky to get a guided tour backstage. The puppet was revealed. The master explained the manipulations. We stood where they stand. And saw the gully. And the high shoes for the master so that his two assistants can duck below him. The play was a good one. The Love Suicides at Sonezaki. The Osaka company did not disappoint. The tension was exhausting. Would they do it? The title suggested so. But the final scene stretched the chord of tension tight. What did I learn? The singers change and spin in on a turn table. The main puppeter is visible but the rest wear KKK style black headgear. The story is shared with Kabuki. Japanese audience members require subtitles to understand it. The company is male. It held me. I was captivtaed by the manipulation of each puppet. The tragedy and the prolonged death wish. At one point I found that I had not put my ear piece back in and I was still visually held. I liked it.

Complicite in Tokyo

We were at the first night.  Complicite did not disappoint.  The cast enters in a line.  A brief introduction. Then things start happening. Curtains rise.  Birds flutter.  Actors rapidly change in the dusk.

Butoh, Bunraku, Kabuki elements were there.

Physical and ensemble theatre too. 

Tanizaki presents this impossible girl to us. A blind bitch.  And an unctuous servant/lover Sasuke.

A Brechtian narrator.  But mainly magical moments and visual splendour.  Do Complicite just illuminate but not inhabit?

At the end the curtain rises again to reveal white light, a line of actors and the cinematic display of crowds in modern Tokyo.  We are back to earth.

Physical Theatre?

Click on the title above and you will be there.  The music is called 'Dreamer,' by Toni Childs.   

The actors use one prop; a book.  This book allows them to dream of: crossing streams, being pirates, bullying a friend.  Pages get ripped, fences get peeped over and flowers are strewn.

One of the lines in the lyrics is: I sometimes run and chase the view. 

This kept repeating in my mind.  I thought that the use of the book was a way into dreaming and views.  They stand on it and peep over fences.  They dream.  Good and bad.

Starring: Resa, Michelle, Ceci, Andrea, Alyssa, Alisa, Namita and Sofia. Dream.  

Tina! meets Comus

I FELL in love with a band 30 years ago. Comus.  They were unlike anything I had ever heard.  I saw them 5 times in London.  Then they disappeared.  Over the years I caught scraps of news about them but no sighting.  They were another lost band. Dead.

Out of the Scandinavian mists this year came a festival called Meloboat 08.  And Comus were going to play.  I could NOT believe it.  Impossible. They did though.  It is on YouTube. 

MySpace too. Click the title.  Suddenly they are alive again. You can hear them in a third way.  We have chosen their music to be in Tina! the play about Faust.  They are both dark and scary.   It is wonderful that people have waited and discovered them these last 30 years.  Enjoy.

Tina meets Comus

This LP, as it then was, is the first album of this extraordinary band. They played at my college in London in 1972. I was totally taken with them. I went to as many concerts as possible. They were a combination of English folk, Richie Havens, classical music, punk, gothic and something never heard before. They disappeared. Occassional sighting on forums and Amazon. People asking what happened to them; bowing in my dorection when they heard that I had seen them live. Then in 2008 they surfaces on a boat in Sweden. All together but one. And they sang the whole of the first album. You can hear it on Youtube. And now there is a page on MySpace. And then there music went into Tina! Scary music for a scary scene. Enjoy.

At the cliff's edge

There is something perfect about this photo. The light, the perspective, the sense of emptiness. Where did the driver go? What is the significance of the split in the white line? And for the first time since taking this photograph in April, I see myself in the mirror. What else is there full of symbolic menace? It is the start of an Antonioni movie [The Passenger?]. It is the image at the start of my next play, Tina! It is the end of my memoirs! It is ...well? What do you think?

Finding the next Play

The next school play is one of those exciting and excrutiating tasks a drama teacher has to do. It can be a great freedom. No one tells you what to pick. No one insists on a musical. No worries. Well that is what has happened to me. There are 3 questions. How many kids want to be in it? What play has something for everyone and a new genre to challenge us? Is anyone going to be offended? The kids worry about the first. The teacher worries about the second. And the Principal always asks the third. For this coming year the favourite is a pastiche of Marlowe's FAUST. We found it on a Times web page of resources. Someone calling himself Mad Dog [ no it can't be a woman] is the author. That is all we know. Attempts to find Mad Dog have not been a success. Whoever he is, he writes well. It is a joy to read. So 'Tina!' by Mad Dog. It has something doesn't it? [painting = Vision of Faust by Falero]

Out of Africa

We are approaching African Theatre. We have identified elements of common use: dance, music and mask. Two years ago we were fortunate to see a version of the Oresteia set in a South African township. It had chant, dance, singing and musical instruments. But most memorable; the throat singing. The play is called Molora and I have written about it here, a year or so ago. I enjoy the connections that slowly emerge. South Africa, throat singing, Mongolia, Korea, mask. Then a parent asks, "Can a student create a puppet theatre?' We look at puppet making and African stories. Something is beginning to connect. [ the photo above is from Tatyana Baganova's troupe ]

Stefan Sagmeister

I stumbled across this designer when Amazon sent me details of his latest book. Then I watched a 15 minute lecture he gave. Then I was hooked. He talks about happiness and design. Read and be happy:- STEFAN SAGMEISTER (born 1962 in Bregenz, Austria) is a graphic designer. Designed album covers for Lou Reed, the Rolling Stones, David Byrne, Aerosmith and Pat Metheny. THINGS I HAVE LEARNED IN MY LIFE SO FAR Complaining is silly. Either act or forget. Being not truthful works against me. Helping others people helps me. Everything I do always comes back to me. Money does not make me happy. Travelling alone is helpful for a new perspective on life. Assuming is stifling. Keeping a diary supports my personal development. Trying to look good limits my life. Worry solves nothing. Material luxuries are best enjoyed in small does.

H + G

This show opens on Thursday 20th March at 5.30 p.m. in the Black Box at YIS. Erika Bleyl has taken a well-known children's story and politicised it. She mixes agit-prop and song into an original script.. She is inspired by the work of Dario Fo, the Italian playwright and Nobel Prize winner for Literature. This is another original show at YIS and furthers her experience of IBT. It is 20 minutes of Theatre. Reviews and thoughts after the show. Break a leg. [ The photo was taken as the sun fell low in the sky at 5 p.m. Perfect.]

Mt Fuji

The nicest spring I had was a winter in Japan. On a clear day one can see Fuji-san from school. And yet we have ignored it in IB work.

The IB syllabus

Good day. After a silence of many months it seems a bit risky to start again with a piece of writing about the IB syllabus. Apologies. But for the 3 or 4 of you who want to know more; here it is. I have tried to put some examples of what it all means, in practice. IB THEATRE • We began a new syllabus in 2007. • There are a number of changes. • We investigate three areas: Theatre in the Making = how do I make a set design, costume, stage flat.....???? Theatre in Performance = come to my 10 minute show about Amnesty International on the roof. Theatre in the World = I am researching Mime performance in Paraguay. It is about witchcraft. Assessment is in four areas: External Assessment 1 Research Investigation : How does vaudeville entertain old folks in up-state New York? SL 1500-1750 words HL 2000-2500 words With supporting visual material 2 Practical Performance Proposal - I am making a play based on the painting of Hiroshige [see pic. above] IBO offers a variety of stimuli HL/SL 1000-1200 words Internal Assessment 3 Theatre Performance & Production Presentation - I am doing a mini TPPP ; 10 minute talk about my first three months. Oral presentation of the 2 years, with visuals SL 20 minutes HL 30 minutes 4 Independent Project Portfolio - I am devising a 20 minute play based on the first scene of Macbeth; now set in IZU. Investigating something not taught in class SL 2000 words HL 3000 words. SL = standard HL = higher

Happy Christmas

In the spirit of the season christmas season I have decided to write again. Watch this space please.

Street theatre?

I made it into my local newpaper in Cornwall, England. Read all about it. Click on the title please.

Fell among thieves

I was directing a play in Tokyo when one night a reliable actor never appeared. He rang me later and apologised with, 'I fell among thieves.' It is an excuse I have used often myself since that night. However, I have found a formidable web site. The British Library has an archive as you can see. Within it are collections of interviews with a host of theatre people. A wondrous source for research material. Please take a look. Everyone from playwrights to back stage people are questioned. Just click on Fell among Thieves. I found it via a Chinese British playwright. www.benjaminyeoh.com

Places seen and been

create your own visited countries map Just click on the title above the atlas to set your map up. Can you beat me? I think I have been to over 50 countries. But I still have not visited Greece, the very birthplace of THEATRE. Shame on me.

Hidden faces

Today the 9th grade were putting the finishing touches to their Mask work. This week is the last for some of them. They may never have a drama class again. In 10th grade it is an option at IGCSE. Anyway, these four calm girls are quietly getting on with it. And it is looking impressive. They begin with the mask under their chair. They put it on but we do not see a lot. We are left to wonder. Then they pull out a sketch book and look at a church? One of them does not. She seems to be furiously finishing her drawing. What does it all mean? It is simple, harmonious, still and mysterious. I like it.

From the Tanner

These are the five IB students who keep me going on Monday and Wednesday. They had been out in the park and on the roof assessing the potential for Promenade theatre. They came up with some good plans and locations. But when I suggested a real performance they remembered something about Chatroom [http://www.nationaltheatre.org.uk/?lid=12951] which I do not think is a vehicle for promenading. And then I talked about a performance of Roger Salmon Cornish Detective; Site - Specific, Geevor Tin Mine by Kneehigh Theatre [www.kneehigh.co.uk] that I saw in 2001. All this of course prevents me from progressing from the last entry about my Malaysian play.

Remain Standing

Before I came to live in Japan I lived in Malaysia. It allowed me to do a lot of theatre. The main product of this was a Trilogy of plays which I called, 'Bending towards the East'. The photo shows four of the women in the first play, 'Remain Standing'. It was a great success and sold out for three weeks. Last week I read parts of it to a Japanese audience and it lived again. I will say more about its origins and outcomes in the next entry.

I bought a painting

Some fifteen years ago I saw a painting in a gallery in Manila. It was an acrylic image of a native women and I fell in love with it. However, the thought of transporting her and paying so much for it stopped me committing a life time to her. But every time I went to Manila we met; it seemed that no one else wanted her either. Then upon one visit she was gone. And I wanted her more than ever. I have never seen her again. But I did discover other paintings by Mario de Rivera. I now own five to make up for my silly mistake. As my mother once said, 'Silly idiot. Let so many women slip though his fingers.' This painting is the fifth and is called Bosque Marurugi. I was fortunate, this Christmas, in dining at Mario's house with him & his family. Bosque [forest] was one of his new works on the wall. And I am now used to carrying paintings on planes. It has everything I like about Mario's work: textiles, weaving, women seen before, colonial faces, gold foliage, distant hills, butterflies and one or two annoying rocks to remind us that nature is not all beauty. It is so crowded that one can discover things later. I still search for her. And don't you see a piece of theatre here about lost love and weaving?