Kyoto performance reviews

http://hirotafutakuchi.blog.jp Futaguchi Daigaku and Hirota Yuumi are the Richard Burton/Elizabeth Taylor of the Kyoto shogekijo movement. Appearing together in Chekhov’s The Bear and Kishida Kunio and Betsuyaku Minoru’s short plays, they perform couples in distress as a subtle dance of sidelong looks, pauses, confrontations, and hesitating backtracks. The empty space is instantly transformed into a time-machine ride to a believable tale, which frequently grows increasingly absurd, terrifying and comic in turns.  What an asset to Kyoto! Futakuchi’s range is wide: on his own in others’ productions he plays it straight, with a formidable physical dexterity and dancerly presence. He has performed in Noho Theatre Group productions I’ve directed for over twenty years, always bringing a fresh, professional attitude to the roles. On the other hand, every time I see Hirota—who teaches at my university alongside Futakuchi--she seems to be playing some sort of hysteric woman, y

--> 　 How close is too close? An urgent appeal ( 駆け込み訴え Kakekomi utae) by Dazai Osamu Adapted, acted and directed by Kodama Ta 　 chi 児玉泰地 （役者でない） No actors https://www.facebook.com/events/283142869026661/ On April 8 2019 at the small Cafe Figaro near the University of the Arts in northeast Kyoto, a former student of mine Kodama Taichi performed a new play from his one-person series, “No actors.” I had seen a video of his earlier, absurdist actor’s nightmare play and liked its physicality and precision. I looked forward to his live performance, one that had already toured four cities and is on its way to Tokyo in the Fall. I hastily read Dazai Osamu’s short story (helpfully online in translation) before the performance. With the one drink served as part of the reasonable 1500 yen admission price, I had a ginger ale. As the dozen or so spectators entered the chandeliered, mirrored café with beautiful porcelain cups and saucers lined up, I was surpris

Yamamoto Noh Theatre English leaflet Mar 25 2019 Yamamoto Noh Theatre, Osaka Japanese theatre in English Sponsored by the Japanese Foundation for Osaka Culture, this is part of a series of English-language events at the YamamotoNoh Theatre in downtown Osaka. The small, two story theatre—perhaps 200 could squish in if necessary—held about 60 persons, including a whole row of suited men—Osaka city officials?—and middle-age or younger women. There were 12 foreigners, including myself and a few friends. Piano benches/low benches were placed instead of floor cushions (zabuton), with backrests for the last seats. My friend arrived first and chose seats directy facing the central pillar, the stage seen from an angle—a new perspective! The program included three versions of oft-told tales based on the Heike Monogtari (Tale of Heike), as Yoshitsune.  After a brief introduction, a kodan storytelling version of X was performed in English. The melodramatic tale depicts the child Emperor A