Tây Phongから

 ベトナムの Tây Phong からの便りです。

Thank you very much for your sharing with the arts community!

The workshop was over but for me it was a beginning, a landmark to look back on the theater arts in general and the contemporary performance art in particular.

Art has many emotional elements but so are its own standards and contemporary art. Through this workshop, once again, the art was created from the authenticity(real,true ). This authenticity stems from inner self-sufficiency.

The first is to find a breath for me to be a living being, working with emotions.

Breathing is the foundation. It is very important it almost decides all and is the key to problems.

Breathing problems are said to be important for art forms and related subjects such as qigong, yoga, meditation ... But how to achieve the right breath is still ambiguous, now people will have a different way of feeling but the problem is that is it standard?

The consensus that contemporary art needs the flexibility of the whole body, the imposition of it into the deep part of the beginning is something to reconsider.

The introduction of Japanese traditional art forms is necessary for Workshop participants to have a concept of differentiation and its application, the use of silence in art developed from the Noh Drama is very effective. . Perhaps participants need more similar types of art for comparison.

The application of rhythm and body is also the strength of this workshop, the generalization of the smallest muscles such as the fingers of the wrist, shoulder, neck, hips, knees .... The combination, the change rhythm in movement combinations, it is necessary and fundamental to get the foundation for the performance.

I think that historical background knowledge can be sent to participants for preview, or suggestions for those who need to read the previous reference.

The planning for the performance is also quite attractive in the way to turn material elements into construction materials, but it will not be effective. When the actor does not have a practice environment or does not understand the value. its. The interaction between the object observer and the operator has yet to show the co-worker the full effect, perhaps it needs some more sessions to clarify the problem. Mokoto Matsushima's movement is a valuable draw because it harmonizes core values ​​but combines other elements gently. So the exploitation for the Workshop section is a bit more time consuming.

LiuXiaoyi's exploitation of Space and time is a little bit problem of the space. If it is not clear for young artist , it falls into a state of turning this subject into mysticism - and thus in the long run becomes a constraint and hinders the actor in the long run.

I can still make it softer between opening the possibilities of the pupils.

Once again, I would like to express my gratitude for the openness and clarification of artistic issues.

Looking forward to the basic sharing and deepening for the upcoming workshops. Its system and extensive training.

Develop both wide and deep, expand or plan participants.

Best regards

Tây Phong

WHARF workshop 2019

アジアの舞台芸術にかかわるあたらしい担い手 のための「波止場のワークショップ」 “The Wharf Workshop” for uprising figures who will lead the future of Asian Performing Arts 「码头工作坊」参与亚洲舞台艺术的人为对象


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