FITS 2012: Pretuieste fiecare intalnire, pentru ca ea nu se va repeta
(…si un guest post japonez, la final)
Cand eram adolescent, facusem intr-o vreme o pasiune pentru literatura japoneza si am citit (cred) tot ce se tradusese in romana.
Mi-a ramas in minte o scena dintr-un astfel de roman: intr-o dimineata, un razboinic, abia trezit din somn, a ramas asezat pe tatami-ul sau, privind ore intregi cum se ofileste o floare de zorea pe care servitorul sau i-o adusese.
Incerc de atunci sa descifrez secventa si nu reusesc.
O evidenta: este dificil pentru noi, europenii, sa intelegem filosofia japoneza.
Daca noi vedem, de pilda, o granita adanca intre viata si moarte, mintea japonezului functioneaza dupa conceptul Funi: doua lucruri care par diferite sunt, in fapt, unul si acelasi: omul si natura; sufletul si corpul; lumea de dincolo si lumea reala.
Am vazut la Festivalul International de Teatru de la Sibiu (FITS 2012) spectacolul japonez „Floare de Lotus”.
O scena goala, pe care a dansat timp de aproape o ora Kagaya Sanae, maestra a artei japoneze Butoh.
Sunetele de ploaie, de cascada, de ape curgatoare au acompaniat-o pe Kagaya Sanae, care a interpretat doua personaje: Buddha si Copilul de capcaun, simboluri japoneze ale sufletului uman (bunatate/iluminare versus rautate/limitare).
Este principiul Funi, de care vorbeam mai devreme: oare nu contempla japonezii, bucurosi ca niste copii, ciresii infloriti si nu sunt tot ei aceia care ucid cu cruzime, ritualic, sute de delfini in fiecare an?
Kagaya Sanae este actrita cea mai expresiva pe care am vazut-o vreodata: isi poate construi rapid o figura de copil, pentru ca peste cateva secunde sa fie o batrana pe moarte. Fantastic!
Spectacolul pare sa fie de fiecare data altfel, pentru ca la fiecare reprezentatie dansatoarea Butoh mai adauga o nuanta.
„Treasure every encounter, for it never recur” – spune ea.
Naoko Sakai, una dintre voluntarele japoneze sosite la Sibiu si care o ajuta pe Ruxandra Predescu (Community Managerul Festivalului International de Teatru de cativa ani), s-a oferit sa scrie un guest post despre spectacolul „Far from the Lotus”.
The theatre was packed. Tickets for the show were all sold out by noon. It shows how much people were interested in her performance. Butoh is not just like other dance performances. We can see full of expressions from the minimum and subtle movement of dancers and the strength of their body. For fifty minutes, Sanae Kagaya had the stage all herself emphatically.
22-year-old local student, Teodora found it was quite interesting. She said that she enjoyed the performance very much even there’re some parts that she couldn’t understand. The flyer of the show helped to get the idea, she mentioned. Of course, the oriental ideas are not the same as the European’s, however, she liked Sanae Kagaya’s facial expressions, the sound, the lighting, and mirrors’ which was using unexpectedly.
“It was very good and special.” 35-year-old, IT consultant, Cristian who came from Sibiu said. It’s the first time for him to see Butoh, but he enjoyed seeing the show and got the impression that the performance seemed international. He said that he’d like to see her performance again when he’d be getting the chance.
There is some point of view from artists. 27-year-old, Ondrej who came from the Czech Republic is a writer and also a musician. He’s learnt Butoh from one of the famous Japanese dancers and known a lot about it. “Seeing intense emotion is good.” He said. However, there’re some disappointments because he’s had lots of knowledge and experiences with Butoh. As a personal opinion, he said, wanted to see more connection between the stage and the performer, but in general, I had fun.
She played the two different characters, Buddha and an ogre’s child. It sounds there were totally different characters on stage. But my understanding of Butoh is like these characters…They seem different and totally disconnected, however, they are linking deeply somewhere underneath.
I could see she was transforming something not the ordinal human beings. We shared a really quiet and almost choking moment. Her slow but strong movement took us to the lyric world.
(Foto: Mihaela Marin)