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SOPRO - Interview for Londrina Festival
Interview for Londrina Festival
1.) CONCEPT 1 SOPRO
   
 

The basic for the concept are the following thesis:
Jo – Ha – Kyu ; Begin -  middle -  end.
Jo = slowly, Ha = faster, Kyu = more faster
Emotion and composition are very important elements but more imortant is the resistance.

My first idea was to have everything in white: stage, light costume, and white breath.
White – nothing – simple this was the intention to reach. How to do ?
Breath becomes visible, for example when you make a break and relax and breath out like exhalation.
But in this piece SOPRO it is the opposite: it the waiting with more and more tension untill the releasing exhalation comes.
If you breath out in the cold dark the contrast is quite strong but in a white landscape this white exhalation is like warm living.

On this white stage nothing happens, but happens a lot. It depends on how you watch and you see, how you feel and what you feel. SOPRO asks for a enormous concentration from both the actor and the audience. It is like a ritual or like a ceremony, like a religious sacrificing.
The movement is neither butoh dance nor Japanese traditional Nô theater nor contemporary modern dance nor a very new kind of dance. I don’t want to say it is a new style but I want to say that this dance form is a New form of dance and movement.

 

   
2.)
SOPRO is the meeting between MA and the new Simioni’s technique .......    
 

Fudô no Dô -  you move to not to move.
Dô shitchi bun shin - 70 % movement with your body
Dô jû bun shin - 100 % movement with your soul.

This means not to show all what happens in your inside. You have to keep 30 % space between outside and inside movement. These 30 % are the most tensious area, which means MA. MA in between.

Simioni’s voicetechnique:Voice and  music you can hear or voice in the body, which will be heard. From where comes the voice, where is the origin of the voice? When do we hear the voice? That is the same with the movement. 100 % inside voice, which we only can realize acustically 70 %.
Why do we move? What is movement? That is the question. SOPRO  is not our try to find new movement out of special training or to find a new way of acting, but we wanted to recognize each smallest movement and learn what kind of different feelings these movements are develop.If you are young your are taining constantly to become more and more perfect. But in our age you discover in each movement so many different nuances and feelings.

 

   
3.)
Audience touch ...    
 

I cannot say yet.

 

   
4.)
This is your second work. Is it another experience?    
 

SHI ZEN is a spectacle, all people can enjoy and be amused and fascinated, because there are so many different elements and aspects, music and rhythm, visible and hearable. But SOPRO is antoher drama of mankind. I think only Simioni can perform this piece because this piece is his own personal story and culture, which we did not want to set into great scenery and rhythm but in detailled work. Basically I always work very individual and intim with the dancers that is why it is important for me with whom I work. In this aspect this means a continuing of my work with LUME. SHI ZEN  can only be performed by the whole company LUME, but SOPRO can only be performed by Simioni.

 

   
5.)
Music
   
 

To hear music or to listen to the music. Listening to music causes visual perceptions. When I hear Simioni’s voice sometimes I see images and when I hear noises of the nature like wind or water, it is as if they sound inside the body. This means you can hear inner noises not with your ears but with your eyes or hands or feet. In the compositions of Denise sometimes you cannot recognize the sound of nature or computersounds. This is the same with Simioni’s real voice, which was so .strange...... that you cannot recognize it as a human voice but still sounds humane. This synthesis was very imortant for this work.

 

   
6.)
Work with LUME and Occidental theater ...    

 

I think it is better not to think about Japanese or European traditions when we create something. Scenery, dramaturgy and directing should be as free as possible and should not depend on any traditions. For me there is always one important difference between occidental and Japanese theater: the difference in the feeling of time or timing itself. Sometimes the European theater seems to be too fast or short winded comparing to the Japanese traditional theater. May be in former times even in Europe the feeling of time was different to now, but in Japan it always remains the same. And this feeling of time is the only thing I am thinking of during the work.

 

   
7.)  Male or Female ....
   
 

In Life there is always death, like Ying only can exist because of Yang. Men exist because women exist. In dance there is always both or neither nor, dance is neutral like material.

 

   
8.)  Festival’s promoters meeting .....
   
 

This is phantastic. I feel a little bit afraid or shy to show SOPRO, this production is different to SHI ZEN, which is a piece everybody likes and can be amused. But SOPRO demands an enormous quiet concentration from the actor as well as from the audience. This piece is not a commercial one. The festival producer must be very open, brave and tolerant. But when I think of Brazil, it is such a big country with so many different people and nationalities and they are so open and tolerant. So it does not surprise me so much that all the festivals „bought“ SOPRO.

 

   
9.)
Brasilian Theater    
 

Till now I could not see many brasilian theater. I only can talk about LUME’s poductions. They are always humorous and with music. Till now I never saw in Brazil something like psychodrama or academic and intellectual pieces full of dialogues like in Europe.

 

   
10.)  Reference in Occidental Theater ...
   
 

I came to theater not to study or research. I wanted to discover something I was fascinated from as a child. Theater, circus, fair and events like these. I cannot explain by words. In Europe theater and dance etc. have high  intellectual conceptional style, statement and pretension which very often blocks the creativity and liveliness. You cannot be free or emotional clear and inense. Sometimes it is an advantage to have clear thoughts but sometimes it is realy embarrassing if you want to do great art.