PDF Presseinformation God Bless Baseball . Toshiki Okada
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Toshiki Okada . Japan ゴッド・ブレス・ベースボール GOD BLESS BASEBALL DO 09.06. 19.30 Uhr FR 10.06. 19.30 Uhr Festival Theaterformen . Staatstheater Kleines Haus Eintritt VVK 18 Euro . AK 20 Euro . Ermäßigt VVK 9 Euro . AK 20 Euro Einführung 10.06. 19.00 Uhr . Foyer Kleines Haus Dauer 1h35 . keine Pause Sprache Japanisch und Koreanisch mit deutschen und englischen Übertiteln Europa-Premiere Uraufführung: September 2015, Asian Arts Theatre, Gwangju, Südkorea Toshiki Okada, geboren 1973 in Yokohama, ist Theatermacher und Autor. 1997 gründete Okada die Theatergruppe chelfitsch. Der Name der Compagnie ist eine Wortschöpfung, die das englische selfish (selbstsüchtig) babysprachlich nachahmen und damit die sozialen und kulturellen Besonderheiten japanischer Wohlstandsgesellschaft spiegeln will. In seinen Arbeiten beschäftigen Okada kulturelle Umbrüche und ihre gesellschaftlichen Auswirkungen, insbesondere in dem von Konsum und ökonomischen Zwängen geprägten Japan. Mit seiner Compagnie chelfitsch wurde er für seine Produktionen mit mehreren Preisen ausgezeichnet, u.a. für Five Days in March (2005) mit dem renommierten 49th Kishida Drama Award. Mit Air Conditioner (2005) erfuhr er beim Toyota Choreography Award große Aufmerksamkeit. Von 2006 bis 2007 arbeitete er als Leiter für Summit, ein Theaterfestival, das vom Komaba Agora Theater in Tokio ausgerichtet wird. Die jüngsten Produktionen von chelfitsch, Hot Pepper, Air Conditioner and the Farewell Speech (2009), Current Location (2012) und Ground and Floor (2013) waren regelmäßig in Europa zu sehen, wie zuletzt auch Super Premium Soft Double Vanilla Rich (2014) beim Festival Theater der Welt in Mannheim. Okada präsentiert seine Arbeiten zudem in zahlreichen Kunstzentren und Museen. Als Autor schreibt Toshiki Okada nicht nur die Texte seiner eigenen Inszenierungen, sondern auch Prosa. Sein Erzählband The End of the Special Time We Were Allowed wurde 2007 herausgegeben, gewann den Kenzaburo Oe-Preis und wurde 2012 unter dem Titel Die Zeit, die uns bleibt auch ins Deutsche übersetzt. 2010 gastierte Okada mit Hot Pepper, Air Condition und die Abschiedsrede beim Festival Theaterformen in Braunschweig, 2011 mit Das Leben der Riesenschildkröten in Schallgeschwindigkeit in Hannover. 2016 eröffnet Toshiki Okada das Festival Theaterformen mit seiner neuesten Produktion God Bless Baseball. Siehe auch Theaterformen-Broschüre S. 83 ff. Trailer God Bless Baseball https://vimeo.com/161490895 Text . Regie Toshiki Okada Übersetzung . Dolmetschen Hongyie Lee Mit Yoon Jae Lee . Pijin Neji . Sung Hee Wi . Aoi Nozu Bühne Tadasu Takamine Kostüme Kyoko Fujitani (FAIFAI) Dramaturgie Sugatsu Kanayama (Tokatsu Sports) . Hongyie Lee Bühnenregie Koro Suzuki Bühnenassistent Kazuhiko Nakahara Lichtregie Ayumi Kito Licht Yukie Shibata Ton Yuji Tsutsumida (WHITELIGHT) Video Takaki Sudo Videoassistent Yoshitaka Shimada Übersetzung Japanisch-Englisch Aya Ogawa Übersetzung Japanisch-Deutsch Andreas Regelsberger Übertitel Kaku Nagashima Einrichtung Übertitel Tsukasa Yajima Stimme Jerome Young Produktionsmanagement Tamiko Ouki (precog) Tourmanagement Mai Hyodo (precog) Eine Produktion im Auftrag von Asian Culture Complex ­ Asian Arts Theatre Produktion chelfitsch in Zusammenarbeit mit precog Koproduktion Asian Culture Complex ­ Asian Arts Theatre . Festival/Tokyo . Taipei Arts Festival mit Unterstützung von FringeArts Philadelphia . Japan Society New York . Museum of Contemporary Art Chicago . The Clarice Smith Performing Arts Center at the University of Maryland . Wexner Center for the Arts at The Ohio State University Unterstützung Recherche Doosan Art Center in Zusammenarbeit mit Kinosaki International Arts Center . Steep Slope Studio . Sample Im Rahmen von Our Common Futures gefördert durch die Kulturstiftung des Bundes Pressematerial der Compagnie Toshiki Okada "God Bless Baseball" press materials Premiere : Sep. 2015 @Asian Arts Theatre (Gwangju, Korea) Duration : 1hour and 35minutes (No intermission) Language : Japanese and Korean Subtitle : Japanese, Korean and English Playwright/Director : Toshiki Okada Performer : Yoon Jae Lee, Pijin Neji, Sung Hee Wi, Aoi Nozu (Male 2, Female2) [Concept by Toshiki Okada ] The game of baseball was reportedly introduced into Japan in 1873 and Korea in 1904. Over the last more than 100 years, it has solidly taken root in both countries, and is deeply intertwined with society and people's lives. The play proceeds through a sequence of various baseball-related scenes. We meet women who do not know the rules of the game very well, and a man who came to hate baseball because of a traumatic experience in his childhood. Then there is a baseball-loving woman who, by some twist of fate, ended up marrying that man. A pseudo-Ichiro Suzuki (the Japanese outfielder who went on to break the long-standing record for the most singleseason hits in the U.S. big leagues) and other baseball-related characters make an appearance along with personal and national memories bound up with baseball. The work also portrays exploits of and anecdotes about Korean and Japanese baseball players who made their mark in the U.S. major leagues. Eventually, the story inevitably turns to squarely face the larger issue of the United States, which has had a tremendous influence on both Japan and Korea, and continues to exert its influence on us. America is at once above us, behind us, inside us, and with us. Can't we somehow build a relationship with this huge power of influence which differs from that of the present? Toshiki Okada [Description] Contemporary theatre playwright Toshiki Okada has continued to build ties with counterparts in the Republic of Korea through activities including participation in Festival Bo:m, an art festival held annually in Seoul and other cities. Through this interaction, he gradually acquired an interest in creating a production with Korean actors, and his new piece will rest on such collaboration. Its conception blossomed from a casual comment by one of the technical staff after the 2013 performance of Current Location at the Doosan Arts Center in Seoul, to the effect that Japan and Korea are like brothers. Its central concern is everyday life in Japan and Korea against the background of dealings with the United States in their modern history. It focuses on baseball as being symbolic of the States. The actors will be chosen through auditions held in both Japan and Korea, and the piece will be put together with new members who are not part of the theatrical company chelfitsch. [Summary] The game of baseball was reportedly introduced into Japan in 1873 and Korea in 1904. Over the last more than 100 years, it has solidly taken root in both countries, and is deeply intertwined with society and people's lives. The play proceeds through a sequence of various baseball-related scenes. We meet women who do not know the rules of the game very well, and a man who came to hate baseball because of a traumatic experience in his childhood. Then there is a baseball-loving woman who, by some twist of fate, ended up marrying that man. A pseudo-Ichiro Suzuki (the Japanese outfielder who went on to break the long-standing record for the most single-season hits in the U.S. big leagues) and other baseball-related characters make an appearance along with personal and national memories bound up with baseball. The work also portrays exploits of and anecdotes about Korean and Japanese baseball players who made their mark in the U.S. major leagues. Eventually, the story inevitably turns to squarely face the larger issue of the United States, which has had a tremendous influence on both Japan and Korea, and continues to exert its influence on us. America is at once above us, behind us, inside us, and with us. Can't we somehow build a relationship with this huge power of influence which differs from that of the present?
