Survival and F**king (English)
The year end of 2015 is just around the corner.
Our new project, the drama-English workshop “PLAYGO”, passed the halfway and kicked off working on “12 Angry Men”.
It was challenging to edit the original to one third of the length, but we are sure the participants will have great experience through working on this as it is rare to read through an English-written play even for professional artists in Japan.
We are so thrilled with creation through the rest of 3 months and to see how we end with this project.
On the other day, we took part in the symposium on the world drama festivals. I do not want to offend anything and anyone, but I must say I just felt “F**k”…
I was quite surprised how poor the presentation was, the presentation by lecturers of so-called “high-level” universities.
Not only the way they talked, but the contents… Just poor.
You cannot admit they “researched”. What they presented was nothing but the information you can find by web search. The panelists did say “they experienced”, but that sounded very superficial like ordinary tourists. I have to say that was not professional at all. If those kind of people were professional for researches and studies of drama / theatre, Japanese theatre would die. For argument’s sake, let’s say “theatre undeveloped nation, Japan, only has this level of researchers…”
I just want to make it clear, considering ourselves as a theatre company having participated to the worldwide festival; “it is fine for you to bring superficial information only but DO NOT LIE!”
At least, from my real experiences, the Edinburgh Festival Fringe does not focus on standup comedy. (The number of shows itself has been increasing for reasons. The panelist did not mention the recent streams nor backgrounds. ) It is quite rare that the show you bought a ticket for is canceled on the day of performance. (One of the panelists said those cancellation happened often…). Even if that happens, the Fringe office or the venue box office must have the related information in advance. I think the “the panelists” should not talk as if they knew the Fringe with the obvious lack of knowledge and information.
I am so afraid that the audiences might have had the wrong impression about the Fringe.
That drives me mad…
I just cannot stand the fact those kind of “experts” present their thin knowledge, which I would say is “F**k”.
I was actually about to stop them during the symposium, but I knew it was not worth it. I do not need to share our precious experiences we gained through tons of struggles. We call ourselves professional and devote ourselves into presenting our works in Edinburgh. I am so sure that any companies challenging for the drama festivals in the world have the same attitude as us.
I strongly hope “the experts” play a role as a bridge connecting the artists like us and audiences, which I assume should be their objectives. Much deeper knowledge and information would lead more audiences to the festivals in the world, which expands the possibilities for drama festivals in Japan… The current situation could stop the growth of so-called “international” drama festivals in Japan.
I have much more things to tell about this but I should stop being depressed.
I have just started challenging a new play; “Shopping and F**king” written by a British playwright Mark Ravenhill. I do not think this play has rarely mentioned in Japan yet. I met this on my research about “In-yer-face Theatre” and had strong interests. This play is best for me to learn English and at the same time to try translating “freely”.
Wish I could present this somehow in the future.