• Research :

 
  • Selection :

 
    • Mahabharata - Nalacharitam

    • Theatre / Shows

All you need to know

  • Direction SATOSHI MIYAGI

    Shizuoka

  • > Carrière de Boulbon

    2014 re-creation


    Representation in Japanese with French surtitles

    Running time 1h50

  • Prices : from €38 to €10

    Light meals and beverages available at the venue.

 

F

4

S

5

S

6

M

7

22h

T

8

22h

W

9

T

10

22h

F

11

22h

S

12

22h

S

13

22h

M

14

22h

T

15

22h

W

16

T

17

22h

F

18

22h

S

19

22h

S

20

M

21

T

22

W

23

T

24

F

25

S

26

S

27

Images

Mahabharata-Nalacharitam © Miuria

© LA COMPAGNIE DES INDES

© LA COMPAGNIE DES INDES

Directed by secondary-school pupils from Avignon Festival d'Avignon

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

Mahabharata-Nalacharitam © Christophe Raynaud de Lage

 

Presentation

  • Satoshi Miyagi calls on the splendours of Japanese theatre to serve a mythical text come from the dawn of Indian culture, a founding text for an entire civilisation, a text he hopes to make his without betraying the beauty of the historical legend. The director tasks twenty-five dancer-actors and musicians with relating one particular episode of this vast epic: the love story of star-crossed lovers king Nala and his wife the beautiful princess Damayanti, and of the ordeals they face, their encounters with the monsters of the forests, but also with the genies that will help them to find each other. Miyagi tells this story through a series of tableaux punctuated by the narration of a reciter, and the bodies of the actors, clad in splendid paper kimonos, a nod to the Heian period (9th-12th centuries), are directed with an enthralling precision. Those bodies tell of the battles, the intrigue, the wandering, the desire, the love, the fear, and the stories of men harried by gods. Driven by the power of the poem, those living figures relay, sometimes with a lot of humour and distance, the emotion of an epic that still seems as marvelous and rich in lessons today. In the Boulbon Quarry, where Peter Brook first directed a version of the poem in 1985, Satoshi Miyagi, halfway between tradition and modernity, gives us to hear the universality of a work that remains as spellbinding as ever.

    After studying aesthetics at the University of Tokyo, Satoshi Miyagi chose to dedicate himself to theatre. His teachers were Yushi Odajima, Moriaki Watanabe, or Hachiro Hidaka. He founded his first company in 1980, but continued to work on his own projects and solo performances. In 1990, he founded a second company, Ku Na'uka, with which he developed what would become a work method, based on eastern gymnastics and on the idea of actors taking turns playing the same role—when the same character is portrayed by two actors, he has the first one explain what is going on while the second one moves but remains silent. Beyond this distance between bodies and words, he inherited several techniques from traditional Japanese theatrical forms, like bunraku and kabuki, the latter inspired by the former. Satoshi Miyagi has adapted Greek tragedies—Sophocles's Antigone, Euripides's Medea—but also Shakespeare's Othello and modern English and American plays, such as Wilde's Salome or Tennessee Williams's A Streetcar Named Desire, as well as the texts of Japanese authors. Since 2007, he has been the director of the Shizuoka Performing Arts Center, founded in 1997 by Tadashi Suzuki, a Japanese platform for creation open to foreign directors. Satoshi Miyagi is regarded today as a major innovator in Japanese theatre, and recognised as such in the entire world.

    Mahabharata
    This text belongs to the Itihasa literature, a Sanskrit word that can be translated as “so indeed it was.” This mythical, historical, heroic, and folkloric saga, made up of eighteen books, 81,936 stanzas, and over 200,000 verses, dates back to 2,200 BC, at the time of the transition, in India, from oral tradition to written texts. “Like the Bible and Shakespeare put together,” Peter Brook used to say. The Mahabharata is the eventful story of two branches of a royal family. This epic has been a huge influence on Indian society and gave it moral, ethical, and religious frameworks that are still relevant in India today.

    Jean-François Perrier, April 2014

  • Distribution

    Mise en scène Satoshi Miyagi
    Adaptation Satoshi Miyagi et Azumi Kubota
    Musique Hiroko Tanakawa
    Paysagiste Junpei Kiz
    Dramaturgie Yoshiji Yokoyama
    Lumière Koji Osako, Hiroya Kobayakawa, Eiji Yamamori
    Son Ryo Mizumura, Hisanao Kato, Koji Makishima
    Accessoires Eri Fukasawa
    Directeur technique Mahito Horiuchi
    Assistanat à la mise en scène Masaki Nakano
    Collaboration Keita Mishima
    Administration Takako Oishi, Sakiko Nakano

    With
    Kazunori Abe
    Narrator
    Micari Damayanti
    Kouichi Ohtaka Nala
    Yoneji Ouchi Varshuneya
    Naomi Akamatsu Kesini
    Yudai Makiyama Pushkar
    Hisashi Yokoyama Kali
    Takahiko Watanabe Bhima et Chasseur
    Maki Honda Impératrice douairière
    Moemi Ishii Sunanda
    Yuya Daidomumon Rituparna
    Ryuji Makino Sudeva
    Yuumi Sakakibara and Momoyo Tateno Indra
    Yu Sakurauchi and Maki Honda Agni
    Miyuki Yamamoto and Mari Suzuki Varuna
    Kotoko Kiuchi and Sachiko Kataoka Yama
    Mari Suzuki and Yuumi Sakakibara Karkotaka

    And the musicians
    Ayako Terauchi
    (conductor), Moemi Ishii, Yukio Kato, Yu Sakurauchi, Yuzu Sato, Yuki Nakamura, Fuyuko Moriyama, Miyuki Yamamoto, Ryo Yoshimi, Yoichi Wakamiya


    Production

    Production SPAC-Shizuoka Performing Arts Center
    Coproduction Kanagawa Arts Theatre
    With the support of Agency for Cultural Affairs Government of Japan in the fiscal year 2014

more