CASTLE OF DREAMS
A minuscule apartment in Tokyo. A TV set, mattresses on the floor. Eight young people eat, make love, sleep. Welcome to the dizzying hyperrealism of Daisuke Miura.
(Castle of Dreams)
As though at the zoo
Spectators observe eight young adults crammed into a tiny apartment in Tokyo. Mattresses on the floor, junk and clutter everywhere, the ridiculous colours of post-adolescent décor. They do not talk, abide each other’s presence with supreme indifference punctuated by the odd exchange of blows to resolve an issue – someone changing the TV channel, say – and engage in sexual intercourse that is as banal as it is impersonal. Attending to only basic, immediate needs (sexual release, eating, sleeping) they express no emotion. And yet a young girl sobs quietly at night, with no indication as to why.
Welcome to the hyperrealism of the “semi-documentary theatre” of Japanese director Daisuke Miura (a rising star on the international scene), featuring a lack of emphatic action, actors who do not aim to captivate the audience and a dizzying emptiness that masks lassitude and worthlessness.
POTUDO-RU / Be & Do, but Don't Act
Artistic heirs of the shogekijo (small-scale theatre) movement of the 1980s, Potudo-ru provoked a shock wave in Japan in 2000 with Knight Club, where the actors fought for real, frequently appeared naked and engaged in sexual activity onstage. In 2001 Make Love exacerbated that documentary approach with its reconstitution onstage of a love hotel featuring actors mixed in with real couples. These controlled happenings were followed by productions with a very precise physical component, pieces such as Ai no uzu (Love’s Whirlpool, 2005, a turning point in the evolution of the company), which portrayed a sex club with no-strings-attached hook-ups, and Yume no shiro (Castle of Dreams, 2006).
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Minimum Fiction, Maximum Reality
With his theatre of real interactions where intimacy and existential emptiness are intertwined, Daisuke Miura has established a reputation as a radical and significant figure on the contemporary arts scene. Born in 1975 in Hokkaido, this child of the sentimental-sexual soap operas of Japanese television founded the troupe Potudo-ru in 1996 with colleagues from the University of Waseda drama club. After initially presenting violent, highly theatrical works, he shifted toward a semi-documentary style whose raw material was the private lives of the actors in the troupe. This theatre of “fiction with reality” presents a raw portrait of basic human needs.
« Il y a trois ans, la France découvrait Toshiki Okada. Il est temps de s’intéresser à son contemporain Daisuke Miura. A l’«irréalisme» de l’un s’oppose l’«hyperréalisme» de l’autre, dont le théâtre semi-documentaire, centré sur le sexe, témoigne des désarrois d’une génération et de sa créativité. (…) Un titre antiphrase tant le «château» ne laisse aucune place au rêve, tant les personnages, leurs actions pèsent d’un incontestable poids de réel. (…) Daisuke Miura pratique la culture du cru. »
Jean-Louis Perrier, Mouvement, 10/12/2010
“A drama with some noises but no words that was based on those same type of young people at home in a shared apartment — complete with sex scenes and them sleeping, playing video games and eating.”
Nobuko Tanaka, The Japan Time, 07/05/2007
“We are presented with a group of young people for whom everything has become a hassle. They have rid themselves of values such as patience and shame and give free rein to their lust and appetites.”
The Daily Yomiuri, 03/08/2006
PRODUCED BY POTUDO-RU
PLAYWRIGHT AND DIRECTOR DAISUKE MIURA WITH RUNA ENDO + YUSUKE FURUSAWA + KOTARO INOUE + YOSHIKO MIYAJIMA + MEGUMI NITTA + KENTO OGURA + RYOTARO YONEMURA + HIDEAKI WASHIO LIGHTING DESIGN TAKASHI ITO SOUND DESIGN YOSHIHIRO NAKAMURA SET DESIGN TOSHIE TANAKA MOVIE NORIMICHI TOMITA PROPS MICHIYO OHASHI
PREMIERED IN TOKYO, MARCH 2006
WRITTEN BY PAUL LEFEBVRE TRANSLATED BY NEIL KROETSCH
TOUS DROITS RÉSERVÉS / FESTIVAL TRANSAMÉRIQUES
ALL RIGHTS RESERVED / FESTIVAL TRANSAMÉRIQUES