Ay voz secreta del amor oscuro ¡ay balido sin lanas! ¡ay herida! ¡ay aguja de hiel, camelia hundida! ¡ay corriente sin mar, ciudad sin muro! ¡Ay noche inmensa de perfil seguro, montaña celestial de angustia erguida! ¡ay perro en corazón, voz perseguida! ¡silencio sin confín, lirio maduro! Huye de mí, caliente voz de hielo, no […]Read more "Ay voz secreta del amor oscuro"
I had the luck and privilege to attend the last full dress rehearsal of Theatre Practice’s Four Horse Road last night, March 24, 2020. I was free. Literally, freed, released, cut, or retrenched. There’s no other way to call it such when your entire industry goes dark. My rehearsals had been cancelled, because the show […]Read more "Day 0. Standing By."
In my thirty years of work with actors’ speaking voices I have focused on breath as the vital active ingredient for physical sound-making as well as for the expression of ideas. “Inspiration” denotes both the physical act of breathing in, and the mental act of creating a thought. The expiration (breathing out) or expression of […]Read more "Inspiration as Breath"
But the conductor doesn’t make a sound. He depends, for his power, on his ability to make other people powerful. And that changed everything for me. It was totally life-changing. People in my orchestra said, “Ben, what happened?” That’s what happened. I realized my job was to awaken possibility in other people. And of course, […]Read more "The Conductor doesn’t make a sound"
In this relation, the process by which Ōta and his group devised this theatre piece should be explained. Instead of writing a complete script, Ōta decided on the content of the scenes and their sequence and then chose artistic materials appropriate for those scenes to stimulate the imagination of the actors. These source materials were […]Read more "Process: Ota Shogo"