2022
Resultado de búsqueda
Japanese, English and French speaking actor. Born in Japan Live in Paris. Contact : Agence Djouhra 0033 6 03 79 38 99. agence@djouhra.fr. Award : Chevalier de l’Ordre des Arts et des Lettres, France (1992) Officier de l'Ordre des Arts et des Lettres, France (2007) Commandeur de l'Ordre des Arts et Lettres, France (2013)
- Movie Acting
Movie Acting . 1988 : Mahabarata, by Peter Brook: 1996 : The...
- Future Calendar
4 questions à Yoshi OIDA (Festival d'Automne) creation and...
- Theatre Acting
2010 : Shun-Kin Novel by Junichiro Tanizaki directed by...
- Theatre Direction
2010 . 2011 Idomeneo, by Mozart National Theatre Prague (...
- Portrait
Portrait . Actor, Director, Writer 笈田ヨシ . Japanese, English...
- Yoshi Oïda
Printable picture of the performance : click here ....
- Movie Acting
Esta trayectoria lo ha convertido en un personaje celebrado tanto en Oriente como en Occidente. Aunque nada más ajeno a Oida que las veleidades de la fama o el narcisismo del estrellato. Si algo llama la atención en su presencia, es la extrema simplicidad, de gestos y de palabras. O el respeto que expresa e infunde al hablar del propio trabajo.
21 de sept. de 2022 · Subscribed. 8. 263 views 1 year ago ACADEMIA SUPERIOR DE ARTES DE BOGOTÁ. En este video encontraras una breve conversación sobre el libro "el actor invisible" de Yoshi Oida, se tratara desde...
- Beginning
- Moving
- Performing
- Speaking
- Learning
- Some Final Words…
Cleaning:
One of the key things that can be taken away from this section is the importance of cleaning the space before rehearsing. It’s a Japanese tradition used in theatre, religion and martial arts which ritualistically prepares the mind and body for work. Clearing and cleaning the space prior to rehearsal should not be treated any differently. Treating your workspace with respect endows it as having the existence of ‘something more’ than just any old room. It can be an act as simple as clearing all...
The nine holes, the spine, the hara and the hands:
In Japanese tradition each orifice of the body requires attention. Yoshi gives you simple exercises to work into your practice that brings focus to the eyes, the nose, the mouth, the ears, the anus, the spine, the hara(our physical core and core of our entire self). He considers these our most powerful energy channels that need to be cleared and prepared in order to use your whole being effectively in your work. These exercises are great to work into your own rehearsal prep or pre-show warmup...
Standing and Practicing:
Yoshi wants you to see yourself as a puppet onstage “held up and manipulated by the strings of your mind”. He explains that if your concentration wavers, the strings become slack and the performance isn’t interesting anymore. But “when the ‘thread’ remains taut yet invisible, the performance will look truthful and unmechanical: completely alive”. In order to help this ‘tension of the thread’ on stage, Yoshi encourages you to keep the ‘tension of the soul’ through full consciousness of your wh...
Directions of Movement:
Keep your 360-degree awareness on at all times. This 360-degree awareness of your body in space will give the impression you are filling the space and you belong in it rather than the space feeling like it’s swallowing you up in its cavernous size.
Sitting:
In Japanese theatre, the floor is commonly used as a place to act from in a position of seated readiness as it creates a greater visual field for the audience. As an exercise, he encourages you simply to spend time exploring how your body functions in the act of moving between sitting and standing. Try it extremely fast, extremely slow, which leg takes more of the effort, thinking of your balance, where you shift your weight and importantly – where that string of tension is.
Jo, Ha, Kyu and Time:
Jo, Ha, Kyu literally translates to Jo – beginning or opening, Ha – Break of development and Kyu – the sense of fast or climax. Lorna Marshall explains that Jo, Ha, Kyu is a natural rhythm different to the western ‘beginning, middle and end’ as Jo, Ha, Kyu is a smooth acceleration to a climax rather than a set of three even steps. When you feel like the pace of a play is slowing down you tune back into the Jo, Ha, Kyu. The rhythm is always there and always present, it’s up to you as an actor...
Space:
In rehearsal, our physical choices can sometimes result in a complete lack of expression in order to keep it feeling grounded in truth or for lack of a better word, realistic. I am definitely guilty of this, and when it’s a bit off you know it immediately in your bones. But the following concept can really help you understand the effect your body has in the space onstage when you truly can’t see it for yourself.
Interior/Exterior:
Yoshi believes there are two elements in good acting: technical mastery, and the free and easy movement of the mind/inner self. Having these fully present in performance end up manifesting as your inner and outer expression. With attention and skill if you can find a creative contrast between your inner state and your outer expression, then we start to find the interesting, rough and frayed edges of a human’s presence. Yoshi explains:
Breathing:
A ballet dancer knows where they need to take in more breaths between movements before a mammoth variation, or an opera singer knows where to steal an extra snatch breath before a big final note. They map out exactly where they need to breathe to execute their work. An actor’s work should be no different, especially on text-heavy material. Once you know that text inside and out, and you’ve mapped it with breath, Yoshi suggests a focus technique to help make your breathwork appear invisible. H...
Sound:
In this section, Lorna and Yoshi run you through some simple and effective vocal exercises that help you to feel vowels and consonants on a vibrational level and to help map and understand where they resonate in your body. They’re what I call ‘pre-warm up warm-ups’ and are excellent for getting the engine going before your ride or die vocal warm-ups. As they’re very simple, and require you to feel more than listen, I find they also work as a sort of meditation (of which I’m feeling I need mor...
Text:
Yoshi doesn’t want you to focus on having a ‘nice’ voice. But rather to focus on the logic and sense of the line itself. As he’s usually performing in English or French these are not his first languages, and he doesn’t consider himself a strong linguist so he doesn’t usually get big parts – which is frustrating for him, naturally. But it means he has to focus so hard on the grammar and logic of the line that it gives his work a certain edge compared to actors who speak English or French as a...
Stay curious, try other skills and embrace your hana (we’ve all got one). Lorna Marshall explains the hana: Understand your unique hana, and then do everything in your power to not fall back on riding that charm alone. Don’t be seduced by it, constantly work on developing your technique physically and vocally. Keep a balance between the skills you ...
Like myself and every other performer/writer in this world who offers suggestions and advice to other performers, Yoshi finishes by giving you the freedom to go against what he says. And in some ways, I do. There are some stances he takes on the life span of an actor, at what age you ‘peak’ and when you should give up pursuing it as a career if it’...
Yoshi Oida. Actor teatral y cinematográfico, nació en Kōbe en 1933. Formado en Japón, se incorporó en 1969 al Centro Internacional de Investigación Teatral dirigido por Peter Brook. Oida ha publicado varios títulos de pedagogía teatral, traducidos a varios idiomas: en 1992 Un actor a la deriva, en 1998 El actor invisible (Alba, 2010) y ...
Yoshi Oida. Actor teatral y cinematográfico, nació en Kōbe en 1933. Formado en Japón, se incorporó en 1969 al Centro Internacional de Investigación Teatral dirigido por Peter Brook.
Sinopsis de EL ACTOR INVISIBLE. Yoshi Oida vierte sus enseñanzas teatrales en las que conjuga la tradición oriental junto a su experiencia occidental de más de treinta años como actor y director en Europa en El actor invisible. Se trata de un libro de referencia teatral, traducido a más de cinco idiomas, en el que Oida, ayudado en la ...
