C'est un homme que j'admire tellement. Comme chanteur, danseur , mannequin, musicien, compositeur, arts martiaux bien sur, acteur de théâtre de cinéma. Il est à fond dans tout ce qu'il entreprend. Charismatique à n'importe quel âge une vrai pépite. Quel dommage que cet homme n'a pas été assez valorisé pendant 20 ans et pourtant il a un talent fou.
@user-my3bi3oe8x
2 ай бұрын
Thank you so much✨I think so✨from for japan💝💝 いつもSANADAさんへのあたたかいcommentありがとうございます💝💝
Ninagawa is overrated. As a stage director, he let Sanada "think for himself " what to do. This is unheard of in countries with long theater tradition where the director must control the players in all what they say and do. The bitter medicine he got from the critics does not surprise me. He should have put up a Japanese play not Shakespeare. Neigel taught Sanada more than Ninagawa. Sanada was brave and hard working and he deserves the respect.
@@user-my3bi3oe8x Thank you for your reply. I do wish you experience a play put on stage with the direction of a genius director. The same play that you might have seen so many other times by so many productions. Only then you will see the difference. If it moves you to your core, and you live together with the actors and suffer the same tragedy and after it's finished you can barely come back to reality, then you have encountered greatness. If you watch a well written play acted by good or even average actors but directed by a genius, you will remember my comment here. Ninagawa is treated as a genius and everybody is amazed at the scale and beauty of his productions for which he is justly acknowledged, however, when it comes to directing the actors, he is just an average director. Theater is not just something you watch, it is more that that, it is something you feel. The approach to feelings is in total opposition when it comes to Japanese culture versus western. Both are good just different. A western audience would expect something different from what a Japanese director can deliver. He has a good eye for filling the space, enchanting the eye, there are so many reasons for which he is considered good and therefore he was asked to direct at RSC. (My opinion is that the Neigel who came up with the idea, just wanted the central role and he used a good strategy, in using Sanada and the best known Japanese theater director). But Ninagawa did not do wonders. Even though his plays are enchanting, he lacks a bit in cultural understanding, but with good reason, it is impossible to do it. Here it was an obvious delineation between the critics and public impression, wasn't it? Do you think it was because the critics are mean people? Or because this is their job and passion, and all they do, all day long, is study, think, watch and compare theater. These are the experts. For example, compare theater education in Japan versus western world. Are there theater schools in Japan, and if yes, since when and for how long do they train and what is the curriculum. You will be shocked. Compared that with traditional education like for example the Stanislavski School of Theater, in which he arranged a curriculum of four years of study that focused exclusively on technique and method-two years of the work detailed later in An Actor's Work on Himself and two of that in An Actor's Work on a Role. Now, as a director you study even much more that that! So, I based my humble comment on the words said, that he left Sanada figure it on his own. Sanada got very good direction and hints from his elder actor colleague, the King himself. Why? Because it was necessary and nobody else would do it. Ninagawa had no clue and no vision. I have no idea if he speaks English, but he did have the translated version. He was supposed to guide the actor into how to deliver and express, how to move on the stage and so on to the very small detail, yet, he couldn't, and I am happy he did not, because this forced Sanada to think and learn from others with greatness and as a result he became a great actor and director. Now, the truth is there are not many Japanese theater directors (actually none) that are really good at putting on stage a western play. But they are really good at putting on stage a Japanese play, be it traditional such as Noh and Kabuki or Bunraku or contemporary Japanese play. A foreign director would not be that good at directing traditional Japanese theater because it's just impossible to understand the finesse of the culture. So it works both ways. Or rather it doesn't work. You need proof? Sanada directed the TV series Shogun for Disney. There were foreign staff in all positions, yet, he wisely chose all his staff from Japan. Why? Because a foreigner has less clues about Japanese history and the way of life historically. So he chose Japanese specialists in each field to train the actors and teach the foreign staff how to walk properly for that period, how to eat, how to think, how to everything. Also the costumes, were all from Japan or with Japanese textiles. You cannot substitute even a fabric. May I invite you to imagine the result if Shogun was done by the American producers???? You would be up in arms criticizing it and with good reason. Now you might understand better why the foreign critics saw Ninagawa's play with sharp eyes. Ninagawa as a director could not have asked for help, because it must be his "signature", his "style". But if he did it better, I am sure the critics were less noisy. Neverheless, the best Shakespeare I ever watched, was in Noh performance. I sat on the edge of my seat from start to finish. All the Shakespeare plays I watched by director Kurita Yoshihiro were pure genius! But he did not try to imitate the English, instead he "Japanised" the play. No one would have thought the plays were not written by Japanese but by Shakespeare. And when you watch such well known plays in other forms, in this case Noh, only then you might understand the power and beauty of Noh. I say this as a foreigner. Of course, Japanese people know better than me the beauty and power of their own national forms of theater. I love everything Japanese, including Rakugo!
@@user-my3bi3oe8x I didn't know about the illness of Ninagawa san, I watched his plays and appreciate his talent. I hope you understand that. I wish him good health and I do think he is one of the greatest Japanese directors nevertheless. In my reply I was trying to explain why he got bad critical reviews. That is all. His work is huge and he was lucky to create many enchanting works. I also liked what you said about the traditional theater, that they are passed down from father to child. Well, that is directing it 100%. Whoever came to the final form, was based on thorough thinking, and best solution. When the perfect direction was concrete, it was decided to become the style. So it is direction made to the extreme. The perfect way to move, to talk , to walk, to dress, etc. There is not need to reinvent the traditional theater. Every director must imprint his own style. In the world of theater, we look at the originality of production. In musical world, the conductor of an orchestra will conduct the symphony in his own way, and even if for you it might look different, for specialists the sound is different. Hence why some conductors are famous and other are just not. The spectator will keep on going to watch the same play over and over because they want to see a new version, the version of that director. To make it simple to understand, since there are just a few operas in the world, we tend to go and watch the same operas over and over, just because the production is different. It's the same in theater. We want to see originality and we want to be amazed and feel strongly something about the play and the characters. The actors need to convey it, the director must make it happen. In Japan I have 2 favorite actors. One is Mifune Toshiro and the other one is Sanada Hiroyuki. I have been his fan for 35 years at least. He was so young and pretty face. I loved the way he looked and moved on screen. I don't know if I will ever have a third favorite actor. Their integrity is commendable. I have not an extensive knowledge in Japanese theater and film, just a bit, probably much more than other foreigners or even some young generation Japanese. I also worked in the theater field in Japan, and I understand a bit more than average person. I really enjoyed replying to you. It gave me much pleasure. Let's enjoy beautiful art. I did not watch the new TV series Shogun because I do not want to support Disney for moral reasons, especially not after the pedophilia scandals of lately. I do hope one day to watch it on other channels that are not morally compromised. I like to vote with my money. Japanese people might not know the scandals surrounding Disney company. So it is not my place to comment, who knows knows. But I did watch commentators dissecting each episode while showing in a small vignette the episode. There are many influencers doing it. Their comment is also interesting, I love to see their reaction to Japanese culture.
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