Kyoto performance reviews

Tea and house: 117    Kyoto townhouse             April 29 2013 Two plays were presented by a small company and visiting Hungarian actress at a townhouse near Mibu in Kyoto. The Hungarian Lady Macbeth from Mtensk solo was interesting, but in Hungarian, so it was Greek to me. I concentrate here on the first piece, a   “post-dramatic” deconstruction by a trio of amateur actors. When do personal memories become interesting to outsiders? When does an interviewer’s raw material serve as building blocks for a theatre piece? Intuitively, I would think three possibilities: ·       1 when speaker is famous enough that even minor incident in their life have meaning towards their known oeuvre; ·       2 when the stories add up to a whole portrait, revealing new perspectives on an era or personality; ·       3 when there is a disjuncture between what the speaker says and what we know (ala Aunt Lemon by Wallace), so that there is a built-in dramatic tension as we assess the

Oct 21 2012   Talk , Hirata Oriza, Kichijoji Theatre Three sisters: Irene (Ikumi), a hikkimori shut-in from 17 years old, has pretended suicide and replaced herself with an android in a wheelchair. It has the same memories and reactions as Ikumi, but the other sisters notice a difference when talking with her. The robot assures them it is capable of human-like maturation: “That’s the me I’ve grown into; you didn’t know that me,” says the living one, who unexpectedly appears to have tea with them. The story Akira, the son hasn't made up his mind where to go to study overseas. The older sister plans dinner with 2 nd , fish or meat, decide on Saba, sending the robot, who is late when chatting with other robots at the supermarket. “ tsugitsugi to hanashi shimasu ”. The robot doesn't like aimaisa , so they have to specify who is eating and where they sit. (Actually, the robot merely rolls in, speaks (an offstage actor on a speaker), and rolls off. It looks