“Nature ignores you,” Angelica Liddell actually said Anfastilsi More than ten years ago. Maybe that’s why He called us at dawn, at 5:45, to present his new show, Seppuku, Mishima’s funeral. Deep night at 4 degrees when we entered. He says the idea is to finish the interpretation by sunrise. It wasn’t even seven o’clock when we left Girona’s Salt Theater under a completely clear sky.
Between lethargy and alertness, he leaves us with a proposal that is sometimes strangely beautiful and sometimes provocative. The eventful premiere sold out – with tickets selling out within minutes of going on sale – despite the ungodly hours. A scene of blood – enough to make the audience dizzy – and roses.
It was November 1970, when Yukio Mishima implemented his idea Seppuku – Ritual decapitation – a painful act that required several attempts. Like the Japanese writer, who took four years to plan his book Harakiri,The playwright has never hidden her interest in death as an artistic artifact.
If it’s already in Voodoo: (3318) Blixen and Damon. Bergman’s funeral He organized his own funeral and the director’s funeral, and in his new proposal – premiered as part of Montana Alta’s programming – he evokes the spirit of the Japanese writer, The greatest post-war exponent of the Japanese languageCoinciding with the centenary of his birth.
“I ask for the end of life” The new winner of the National Theater Award recurs again and again throughout this work that begins with the writer’s hara-kiri acting. But it does not come out blood, as you say at one point, but rather comes out words. And not just any words, but the last words, the real words, the ones that, when freed from the weight of life, become real.
Art without borders
There are several moments where death brings a certain lightness to the ground. To do this, Liddell penetrates the skin of the dead and dresses them as he conjures their last notes, the last breath of men and women, young and old. Beautiful picture ending with I remember his dead parents, to whom he gave body and form by embracing smoke Which, according to him, emerges from the ashes of his parents.
“When will I die?” As he was asked on several occasions. Not suitable for very apprehensive people. Seppuku Sign this prayer for Mishima in blood with many living extractions – performed by two nurses – which, after several attempts – another impromptu reference to her beloved writer – and causing two people in the audience to suffer from dizziness, left the best Angelica on the stage.
Angelica Liddell, Kazan Tashimoto, and Ichiro Sugai in a “seppuku” moment.
Which, as the Moroccan writer Mohamed Choukri said, tells us that “truth” that cannot be regurgitated or swallowed, as when he pleads: ““I ask for delirium as an artistic system” or “I ask art to go beyond its limits, to go beyond itself.” “I am doing a disservice to society,” she asserts critically, although in a more reserved tone than on other occasions: “The aims of art and the aims of life have been greatly underestimated.” At the same time, he suggests a question when he says: “You can lie about anything except your age.”
Seppuku It is a tribute, along with the altarpiece, to one of his literary idols. “Golden wing It is the book I have read the most times in my life, nearly a hundred times. -Shares-. I have known since my adolescence that everything beautiful is my enemy, and that I will die tortured by roses,” he continues, who taught him “in an inextricable trinity: eroticism, beauty, and death.”
Die with beauty
There’s a lot of all three of these ingredients in this piece starring Kazan Tashimoto and Ichiro Sugai. Not in vain, The work is full of references to Japanese culture. Of course, Mishima’s texts are in their original language – performed practically by Tachimoto – but also in scenographic play – on a white stage, surrounded by a sea of sand dyed crimson red.
There is a small departure from Tokyo Trump Written by Seijun Suzuki and an ancient legend titled Hagoromo (feather cloak).), played by Tachimoto himselfI leave you a beautiful dance by Ichiro SugaiIn addition to the fixed elements of Noh (classical Japanese from the 14th century) theatre, especially in the movements of these two on stage.
However, Liddell says, we have time to die beautifully. And perhaps, as Begonia Mendes mentioned in her review of Tales associated with the lop clawOr, the just-released book of stories set in Malas Terras, what the playwright means with her writing “is to show a deep love of life and death, to remind the reader that there is no one without the other.” Something this new work achieves on a large scale.
About The Author
