Yukio Ninagawa's Training Room - What is Yukio Ninagawa's humanity and work as seen from a young actor's point of view? A great book to learn about the battles in the field!
The book introduced here is "From Yukio Ninagawa's rehearsal hall" published by Poplar Publishing in 2010.
Let's take a quick look at the book.
Known as the "Ninagawa of the world," he continues to be active internationally,
Yukio Ninagawa has discovered, trained, and nurtured many young artists.What was the training area like?
From interviews with young stars,
Uncover the secrets of one of Japan's leading directors.An interview with Ninagawa himself is included at the end of the book.
Fat Matsuoka Kazuko "Yukio Ninagawa's rehearsal hall
AmazonProducts Page.
Fatty KIMATA Fuyu, "Interview Notes
16 color pages of stage and rehearsal photos
The first parent-child collaboration, with 12 pages of photogravure by Mika Ninagawa!
This book is about Yu Aoi, Shun Oguri, Kikunosuke Onoe, Ryo Katsuji, Anne Suzuki, Shinobu Terajima, Hiroki Narimiya, Hiroki Hasegawa, Tatsuya Fujiwara, and Takako Matsu (* titles omitted), who were still young actors in 2010, recalling their work with Yukio Ninagawa.
Even though they were still young in 2010, these ten had already made their mark, and it goes without saying that in 2023, these ten will have already made their mark.
And behind his success was Yukio Ninagawa's rehearsal space. This is interesting.
In the "Interview Notes" by Fuyu Kimata at the end of the book, he stated
Yukio Ninagawa throws ashtrays during rehearsals, doesn't he?"
That seems to be the first concern of young actors when they first appear on the stage of director Yukio Ninagawa. Over the course of several years of covering the rehearsal halls, I learned that the "Yukio Ninagawa ashtray" is as mythical as the fire of Prometheus, and that the actors who are handed this fire will undergo remarkable evolution.
Don't tolerate what you are now!
'You do fiction because you want to be more brilliant, don't you?'
Summer, 2005. In the rehearsal room for Shakespeare in the Year Tenpoh 12, Ninagawa said to the actors, "I've been working on a scene for a while now, and I've been working on a scene for a while now. It was a crowd scene, where the individual actors might have been buried under the mass of people. But Ninagawa encouraged each actor to express his or her individuality in a loud voice. Ninagawa's words move people's hearts.
The ten actors in this book are now "brilliant actors," but when they first joined Ninagawa on stage, they were in the midst of searching for their "more brilliant selves.
Ninagawa always strongly urged them to do so.
Don't tolerate what you are!" Eat what you are not good at."
The world is full of more chaos, obscenity, and maverick energy."
Let go of your petty pride. The world is so big.
The ideas that I have assumed on my own are very small in the eyes of the world at large. Isn't it a waste not to discover more possibilities? Ninagawa asks this question, and assigns the young actors roles that are far removed from their real-life counterparts.
Hamlet, for example, struggles with his identity, wondering whether he should live or die. Caligula, the Roman emperor who commits all kinds of atrocities. Jeanne d'Arc, who commanded the French army after receiving a revelation from an angel. Juliet, the young girl from Verona who loved so much that she took her own life. Electra, a daughter of ancient Greece who murdered her own mother. Viola, a daughter who dresses as a man and survives despite being alone in her whole life. The philosopher Stankevich, who looked at Russia during the revolutionary era. ......These seemingly endless and distant "roles," Ninagawa says, are "who I could have been.
Communication is hard work.
The first rehearsal is like going on a date for the first time, so I want them to bring out the best in me. That's why I don't give them all the bad parts. If I want to wait, I wait. I just want to get a clue that this actor can go this far. Rehearsals are like a love affair. Everyone loves each other (laughs), and I hope that the best parts of each actor come out. Ninagawa is kind to the young actors in their first rehearsal, who have a big goal in front of them (though he was tough on Shinobu Terajima from the start). The set, costumes, and props are all in place (and the hard work of the staff is wonderful), and they provide a tailwind that propels the actors to great heights.
Ninagawa's stories about the theater pioneers Stanislavsky, Peter Stein, Jerzy Grotowski Tadeusz Kantor, the thinker Bakhtin, the film directors Shohei Imamura and Akira Kurosawa, and anecdotes about famous actors from all ages and cultures, all of which the young people had never seen or heard of, were also inspiring. One day just before the start of rehearsals for "The Phantom of the Phantom," Ninagawa's words, "Look at Kim Ki-duk's 'Spring, Summer, Autumn, Winter, and Spring! Ninagawa's words, "Look at Kim Ki-duk's 'Spring, Summer, Autumn, Winter, and Spring'!
Ninagawa uses a variety of training methods to help the actors move forward. For example, there are many ways to say "no" to a performance. He says it on the spot. Or after a certain amount of time. In a voice that everyone can hear. Secretly. Solemnly. Include jokes. He leaves those who can come up with plenty of ideas free to work on their own, and for those who have already formed their own ideas, Ninagawa himself will sometimes show them how it's done. Using books, movies, stories from the past, and a variety of other examples, Ninagawa sincerely deals with each actor as he or she progresses through the rehearsals in a way that suits each individual.
As I continued my observation, it seemed to me that Ninagawa creates a "drama of the rehearsal hall" for each piece.
Poplar Publishing Company, From the rehearsal hall of Yukio Ninagawa, p. 301-303.
I first became interested in Yukio Ninagawa when I read a book by Kazuko MatsuokaShakespeare in Depth"was the catalyst.
The episodes of Shakespeare plays by Takako Matsu and Yu Aoi that I read in this book were so powerful that my respect for the actors was further heightened.
And when I learned that it was Ninagawa-san who had a deep and profound connection with these actors, I was intrigued. In this book, you will see Takako Matsu and Yu Aoi, who appeared in "Shakespeare in Depth," and you will also hear stories about Tatsuya Fujiwara, Shun Oguri, and other big stars from their younger days. This is interesting.
And the other day I saw a play in the Sai-No-Kuni Shakespeare series.King John"This was also big. This was also significant.
The Sainokuni Shakespeare series was originally directed by Yukio Ninagawa. Currently, the role has been taken over by Kotaro Yoshida.
I was very impressed with this Shakespeare series, following last year's production of "Henry VIII. I was so impressed with the Shakespeare series, following last year's production of "Henry VIII," I thought to myself, "How amazing the people who create these wonderful plays are! I want to know more and more about the stage! I want to know more about the stage!
For me, this work was the best gem of Ninagawa's work in guiding this Shakespeare series.
In "Shakespeare in Depth" we were able to learn about the actors as seen by Kazuko Matsuoka, and now we can learn about Ninagawa, backstage, and Shakespeare's works from the actors' point of view.
It was so exciting to read that I was thrilled to have found another tremendous book.
Well, it's very interesting! This is a great book that I highly recommend! Why don't you pick it up?
The above is "From the Training Room of Yukio Ninagawa" - What is Yukio Ninagawa's humanity and work as seen from a young actor. A great book to learn about first-class on-the-job battles! This was "From the Training Rooms of Yukio Ninagawa".
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