YOSHI OIDA
INTERROGATIONS: WORDS OF THE ZEN MASTERS
Friday & Saturday, October 8 & 9,2010
Conceived, directed and performed by Yoshi Oida
Music by Dieter Trüstedt
Since its premiere in 1979 at the Avignon Festival, Interrogations: Words of the Zen Masters has become known as one of Yoshi Oida's classic masterworks. A constantly evolving piece, Interrogations was performed this summer in Padua (Italy), Ossiach (Austria) and Barcelona (Spain). Interrogations was last performed in New York City 12 years ago, at Japan Society, and has been re-staged for this 2010 performance.
JAPAN SOCIETY
New York
333 East 47th Street NY 10017
www.japansociety.org
ARTISTIC DIRECTOR'S NOTE
Since its premiere 31 years ago, Yoshi Oida's Interrogations has been presented
and performed numerous times throughout the world. Interrogations has had a
truly exceptional theatrical runreceiving attention worthy only of a true
masterpiece. New Yorkers have been particularly lucky to have had the opportunity
to witness this great piece three times before: first in 1981 at American Theatre
Laboratory, then in 1987 at LaMaMa E.T.C. and again at Japan Society in 1998
as part of the Society-wide season Japanese Theater in the World. With this
said, this performance of Interrogations marks Yoshi Oida's first New York acting
appearance in 12 yearsa long and much awaited return for New York audiences.
The reason behind such an extended absence has largely been due to the fact
that in the last decade Yoshi has become extremely popular (hence busy!), particularly
on the other side of the Atlantic as a director of opera. In fact, Yoshi's 2007
return to Japan Society was not as an actor, but as director for a French production
of Benjamin Britten's opera Curlew River. And behind-the-scenes, this 2010 engagement
was enabled by grabbing a small break in the rehearsal schedule for another
Oida-directed Britten opera, Death in Venice, due to open next weekend in Toronto,
Canada.
Trained in various Japanese traditional performance styles, including noh movement,
kyogen acting, kabuki dance and gidayu chanting in bunraku, in an amazing transformation,
Yoshi has made his international reputation as a director of Western classical
opera. His quest to find "the truth in art" has led him on a long
journey from East to Westprobably something to be found regardless of
the classification of East and West.
Thinking about Yoshi's transformation, it occurred to me: Isn't his journey
similar to the spiritual training in Zen? Yoshi wrote in his Notes on Interrogations;
"The 'words' themselves aren't logical, and there is no clear and coherent
answer to the questions they pose... To find a response to a question may take
several years, maybe even a lifetime..." Could the "words" in
his Notes be replaced with "art"...?! One may conclude that the eternal
power of Yoshi Oida's Interrogations can be attributed to his constant searching
within the arts.
Yoko Shioya, Artistic Director
PS: Tonight's performance is presented in conjunction with the Japan Society Gallery exhibition The Sound of One Hand: Paintings and Calligraphy by Zen Master Hakuin. This fall, Japan Society presents many Zen-related programs, including films, lectures and workshops, through our Here & Zen series. We hope that tonight's performance encourages you to explore our ongoing series of Zen-related programs.
DIRECTOR'S NOTE
In Zen Buddhism, the realization of the true nature of one's mind is attained
through meditation and self-training. In Japan today, Zen Buddhism continues,
manifesting in the traditions of two major sects: Soto and Rinzai. In both sects,
spiritual training involves the practice of meditation, but in the Rinzai sect,
such meditation may also utilize the koan.
A collection of "words" taught by Zen Masters and recorded in Chinese
anthologies dating from the 11th to the 13th centuries, the koan refers to a
question or statement posed by the teacher to provoke understanding from the
student. The student must strive to reply to each koan, which in turn becomes
the focus for meditation. The "words" themselves aren't logical, and
there is no clear and coherent answer to the questions they pose. The student's
search beneath the surface to find a response to a question may take several
years, maybe even a lifetime....
During the performance of Interrogations, I ask the audience questions from
the koan. In this case, there is no spiritual or philosophical objective, only
entertainment based on the gap between word and thought, as in the writings
of Beckett or lonesco. Obviously, there is no need for anyone to find the "right"
answer, but the questions act as a thread linking the audience with the two
performers. They join us together; they create a sense of involvement, and cooperation,
allowing us to move together toward a moment of shared delight, toward a living
theater, (edited from www.yoshioida.com)
ABOUT THE ARTISTS
Trained from early childhood in the traditional kyogen acting style of the Japanese
noh theater, actor, director, teacher and writer YOSHI OIDA is widely
recognized for his over 40-year collaboration with legendary British director
Peter Brook. In 1968, Oida appeared in Brook's production of Shakespeare's The
Tempest at The Roundhouse in London. Further collaborations included The Mahabharata
(on stage in 1985 and film in 1988) and Conference of Birds and The Man Who....
As part of Brook's Paris-based Centre Internationale de Creation Theatrale,
Oida's work led to appearances around the world. Brook observed Oida's gifts
as an actor, stating, "Yoshi Oida shows how the mysteries and secrets of
performance are inseparable from a precise, concrete and detailed science learned
in the heat of experience. The vital lessons he passes on to us are told with
such lightness and grace that typically the difficulties become invisible."
Discussing his style of theater Oida wrote, "I feel that there are two
types of theater. First, the circus. The players are fantastic, acrobatic creatures
employing all manner of effects. And then there is the type of theater which
is like a bus transporting the audience to a realm of their own imagination
which they would not reach otherwise. That's the sort of theater I do, a theater
of service." Oida has written three seminal books on the art of the actor
that have been translated into more than 15 languages: An Actor Adrift, The
Invisible Actor and An Actor's Tricks. Oida has also appeared in films, including
Cannes Film Festival's Official Selection The Pillow Talk (1996), directed by
Peter Greenaway. In recent years, Oida has garnered international acclaim as
a director of opera. In that role, his credits include productions at the National
Theatre Prague, Opera de Rouen and Festival d'Aix-En-Provence (France), Teatro
Comunale di Bologna (Italy) the Aldeburgh Festival (UK) and Opera National de
Lyon (France), to name a few. Among his many honors, Oida was named Chevalier
de I'Ordre des Arts et des Lettres, France (1992) and Officier de I'Ordre des
Arts et des Lettres, France (2007). Japan Society presented Benjamin Britten's
opera Curlew River, directed by Oida, in 2007 as part of the Society's icoth
anniversary celebrations.
DIETER TRÜSTEDT was born in Berlin in 1939. He received his PhD in Physics from the Technische Universität in Munich in 1969. In his research he focuses on the phenomenon of light and sound, and he has been a freelance sound and lighting artist since 1973. Trüstedt has developed a number of electronic and acoustic instruments and sound objects, including synthesizers, laser drawings, motion holograms, wind harps and a solar sculpture. Trüstedt's lightart creations have been exhibited throughout Germany. He has appeared in numerous international music festivals and competitions, including Experiments 4 in Frankfurt (1971), Europalia at the Stedelijk Museum in Amsterdam (1978), Experimented Musiknacht München (1984) and in Oida's Hannah at the Schauspielhaus Berlin (1997). He has worked on numerous productions with the Tanzprojekt München and has appeared with Oida in performances of Interrogations all over the world. Trüstedt is a frequent lecturer at symposia and conferences in Germany and Europe, and has been an Adjunct Professor at the University of Ulm's experimental music department since 1991. He has also published widely on experimental music and its use in theater, education and therapy. Since 2004 he has worked with open music-software, sonifications and virtual stage designs. He founded the Autorenmusik Ensemble at the University of Music and Performing Arts in Munich.
Foto: Yoshi Oida (Regie und Schauspiel) und Dieter Trüstedt (Musik) in
Interrogations,
9. Dez. 2001, Théatre du Rond-Point, Paris.