“These violent delights have violent ends”
-William Shakespeare.
Inspired by Pyramus and Thisbe from Ovid’s Metamorphoses and various other stories and poetry, this show is an adaptation of William Shakespeare’s Romeo and Juliet.
Devised by: The Company
With original music by Christopher Hardy
Performed by: Philippe Aymard, Yoko Tani, Naomi Akamatsu, Honke Norihisa, Takashi Nomura, Takashi Tamura
Throughout the process we searched for ways to forget that we were in fact making a Shakespearean production and attempted to keep the spectator in contact with the actors. This asked us to steer away from what has gone before and to commit ourselves to endless trials and mistakes. The aim has been to get the play on the floor as quickly as possible and keep it there, attempting as quickly as possible to give it life and discover its meanings and nuances alongside the actors. Furthermore, I believe coming to the theatre for a kind of excitation is the chief thing, not to simply listen to the words. Therefore another task was not to seek out the complexities of the language or verse in a Japanese translation, but to search the text for images that could communicate a vision of tragedy. We have omitted scenes that involve any kind of word play because we have attempted to replace the musical score inherent in the text with a kind of visual musical score, and these scene indulge a kind of decadence that nurtures those who only come to the theatre to listen to the words. Juliet’s scene with Friar Lawrence has also been omitted as, by its omission the story is strengthened and suspense is hopefully being gained. Shakespeare as a more experienced dramatist would never have introduced this scene, since it gives away succeeding events. We have also tended to remove those passages whose formality jarred with our collective mental images of excitement. Another example of this being the end of the play, which is elongated and contains extremely clumsy writing. We had difficulty bringing this to life.
Romeo and Juliet:
Audience Feedback.
“ 本来は、既成のシナリオからではなく、演出家・出演者等の方々が 共同で作り上げていく形式の舞台を「ディバイジング（またはコラボレイティブ）」と呼ぶそうです。 今回のステージでは、シェイクスピアのオリジナルから、観客へ 心象イメージが強く伝わるポイントがピックアップされ、 身体表現・振り付け・音楽・舞台効果が効果的に融合され 素晴らしい作品に練り上げられている感じを受けました。” “かなり脳みそ活性化しました。表現って楽しい。そう思えるいいステージ。誰も試みない事に挑むのが本当の実験なんだな。” 感性の飛躍 ✭✭✭✭ ”フィジカルシアター”と言う、言葉を極力用いずに専ら俳優自身の肉体によって表現する、パリ発祥の演劇技法を用いた作品。 上演時間は８０分ほどでキャストが６人、セリフもわずか。なのでシェイクスピアの本家『ロミオとジュリエット』とは別物として観たほうが良いのかも。 アメリカとフランスの両演出家による作品なので、日本人の自分とは感覚の違いを感じるけど、”型破りで自由奔放”な表現＆パフォーマンスの数々はとても新鮮で面白かった。” “The show really moved me…my goosebumps were proof!” “Beautiful, funny, and very moving.” “Wish I could have seen it again!” “What a fantastic show it was! I was so impressed by all the ideas.” “The work you are doing is very important.” “It was MY pleasure that I could witness the most exciting theater experience!!!”