Keiko Miyata To Mark Departure From The New National Theatre, Tokyo, With Piece By Up-And-Coming Playwright
After eight years as artistic director for drama at the New National Theatre, Tokyo, Keiko Miyata,...Read More
Following the premiere of Vassily Grossman’s Life And Fate at the Theatre Royal Haymarket on May...Read More
My aesthetic as a stage director is built first on a desire to create an experience that captures the poetic nature of the human condition. It’s a desire to connect with something larger than our sense of self, something sacred. And that’s what I see as the beauty of the theatre. In terms of the expression of that desire, my process is to bring to life a very visual, theatrical, and specific life on stage that illuminates increments of thought as components of physical action, which is how I articulate the methodology of One-Thought-One-Action.
The beauty of OTOA is that if you want to, you can use it almost like the cinematic process of editing film where one can compose one frame of action at a time. It’s how the text supports the physical actions on stage so that even if you could turn off the sound of the actors, the viewer would still get the story being told through the visual embodiment of thought as physical action.Read More
Kasia Lech (KL): How could we introduce Klątwa [The Curse] and its context to someone for whom the...Read More
South Korean director Yang Jung-ung’s career has spanned several continents. From his theater...Read More