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Guest
Guest
Amici: I read an article with remarks by several directors on their productions of “Hamlet”. One in particular caused me to think further on something important to me—self identity. It is the thing I particularly look for in Shakespeare and nearly all the art works I love. I think it is the most elusive aspect of being a human person; sometimes I even think self-identity is an illusion.
So I quote the director below (my emphases) and wonder what some of you think. Not so much about his comments, but about your own identity—do you feel you have a grasp on it? how do you come about defining it? how important is it to you? how real is it to you?
Perdita
Yukio Ninagawa: This is my sixth Hamlet. I directed it first in the late 1970s when most Japanese productions were copies of English ones. I thought it was wrong to copy. I wanted to look at Hamlet as a universal text, and to make something that was visually different. The question the play asks is: "Who am I?" In Japanese theatre there is no drama to pursue that question, but a month ago, directing Oedipus Rex in Athens, I was sitting in the auditorium and thinking that all European theatre is about logical questioning, asking: "Where do I come from?"
The idea of defining your whole identity through logic doesn't exist in Japanese theatre; we're always too worried about confrontation.
…
Japanese actors don't debate things fiercely but British actors talk all the time. I've learned a lot from working with the British, things I'll take home as a souvenir. It is very scary for directors to direct Hamlet in England. But because I have a small disadvantage, that I can't speak English, other senses become sharper, I hope. I might want to do the play again. I think I will. full article
So I quote the director below (my emphases) and wonder what some of you think. Not so much about his comments, but about your own identity—do you feel you have a grasp on it? how do you come about defining it? how important is it to you? how real is it to you?
Perdita
Yukio Ninagawa: This is my sixth Hamlet. I directed it first in the late 1970s when most Japanese productions were copies of English ones. I thought it was wrong to copy. I wanted to look at Hamlet as a universal text, and to make something that was visually different. The question the play asks is: "Who am I?" In Japanese theatre there is no drama to pursue that question, but a month ago, directing Oedipus Rex in Athens, I was sitting in the auditorium and thinking that all European theatre is about logical questioning, asking: "Where do I come from?"
The idea of defining your whole identity through logic doesn't exist in Japanese theatre; we're always too worried about confrontation.
…
Japanese actors don't debate things fiercely but British actors talk all the time. I've learned a lot from working with the British, things I'll take home as a souvenir. It is very scary for directors to direct Hamlet in England. But because I have a small disadvantage, that I can't speak English, other senses become sharper, I hope. I might want to do the play again. I think I will. full article