I’m thrilled to announce the two
up-coming workshops I’m leading. Both deal with the themes that have been at
the core of my artistic life: connection and presence. I believe and know that
they transform the way we communicate with one another in a theatrical space.
So, let’s practice together, shall we? 😊 The details are below. Register early. Hope to see you there!
1. The Body That Speaks
Dates and times: August 5-8, Mon, Wed-Thu, August 12 & 14, Mon & Wed, 10:00-15:00
Objective and content: In this course, the student will learn the basics of a few physical training methods: Suzuki Method of Actor Training, Viewpoints, and Hino Method (a method based in classic Japanese martial arts) to build the corporeal foundation for greater expressivity and connectivity on stage. The key words in learning are Listening, Focus, Stillness, Sensitivity, Drive and Attitude. Through careful, diligent practice, the student will develop an invaluable asset as a performing artist, the body of presence.
Credits: 2 ECTS given by Taideyliopiston Teatterikorkeakoulu (Theatre Academy, University of the Arts Helsinki)
DESCRIPTION “Presence” is necessary for a performer on the stage. It is something that gives substance and depth to the experience of the audience. And yet, presence is one of the most elusive, hard-to-grasp concepts if we try to define exactly what it is. And it is often mixed with the natural talent and ability of the performer; it’s a matter of having it or not having it.
In this workshop, however, we approach
presence as a practicable element in physical training. Is there any
corporeal focal point(s) that contributes to stronger presence? If so, how can
we improve or develop them with our bodies? We will be using two methods
(Suzuki Method and Viewpoints) as the main tool to investigate what it takes
for a performer to be present on the stage. Also Hino Method will be used as
a supplementary tool to investigate the body itself. The
participants will gain personalized embodied knowledge about presence that is
applicable to their respective fields.
Previous experience in those methods
is recommended but not necessary. Wear movable clothing. Bring water
Brief description of the methods
Viewpoints is an improvisational technique of movement originated by an
American choreographer Mary Overlie and later adapted to theatre by Anne
Bogart, Tina Landau, and SITI Company. The technique provides inspiring and yet
practical vocabulary to investigate and explore time and space in a
performative setting and allows ensemble performing to happen quickly and
Suzuki Method of Actor Training is a
physical training system for actors founded and developed by a Japanese theatre
director Tadashi Suzuki (1939- ) and his company Suzuki Company of Toga (SCOT).
This rigorous method brings better concentration, breath control, and energy
production to those who practice it. Its ultimate purpose is to restore the
innate expressivity in the performer’s body.
Hino Method is a physical training method developed by a Japanese martial arts master Akira Hino (1948- ). The method is rooted in in Hino’s study of the essence of Japanese classic martial arts. It is about developing the body to its full potential without relying on muscle strength and refining bodily intelligence.
autumn, I will be performing in a dance theatre project called “Kunnioitus-
Respect.” We’ve had several workshops in May to explore the concept and try out
some choreography and improvisation. Now we’re on summer break and will resume
working in August.
matter “respect” fascinates me in its complexity and political, cultural weight
in the current Finnish society and the world at large. As an immigrant artist
who moved from Japan to Finland, I often struggle with the ideal of respect
that everyone should have his or her own place in the world to be who he or she
is without being disregarded, humiliated or mocked by others. It’s just not
enough to demand respect from others and push one’s own identity or ideology
forward. To me, that’s like building an ivory tower for oneself where no one
can visit. Respect is a relational word, which means that we cannot talk about
it or do something about it without reaching out to the other side. At the very
least, respect plays a key role in human relationship of any kind.
excited to ponder deeper on it with other artists through our bodies on the
stage. No idea how it will turn out to be as a performance. But it will surely
be a whole new experience for me on many levels!
There will be only 5 performances. Mark your calendar now and book your tickets soon!
Back in June, I had an opportunity to be a model for the beautiful jewelry designed by a talented artist Irene Sema. (Please visit her stunning website: https://www.irene-sema.com/ ) One was a set of titanium earrings and the other one was a two-sided pendant with titanium and diamond. Her elegant design evoked a calm, simple, deep feeling in me.
I’d never modeled for jewelry before. So, the shooting session was exciting but nerve-wracking. Irene was very patient to get good shots. She kept talking to me to make me feel relaxed and reveal a part of me that is not easily seen. We tried many different postures and situations.
At some point, she asked me to hold a ceramic tea cup as if I was drinking tea. Feeling a little self-conscious, I told her that I’d never imagined that I would be modeling for jewelry.
“Why?” she asked.
“… well, because I’ve never thought that I was feminine enough to do this kind of thing,” I replied.
Irene laughed amusingly and said, “You are one of the most feminine people I’ve ever met!”
I looked at her incredulously. She continued, “Believe me, I’ve photographed many people. You seriously need to change how you think about yourself.” She smiled and continued taking pictures. Her remark about my femininity threw me off guard but made me ponder on the nature of femininity.
Maybe it has nothing to do with putting makeup on or wearing skirts and high heels. ‘Cause I hardly do those things in daily life. Maybe Irene was talking about the inner qualities of a person: gentleness, receptiveness, sensitiveness, etc.. I do appreciate those qualities in a person…
When Irene showed me some of her best shots, it finally dawned on me what she meant by being feminine. Hard to describe in words. So, I’ll just let you see the photos:
I graduated from the master’s program in theater pedagogy at TeaK (Theatre Academy in Helsinki, Finland) in June 2018.
One of my goals after graduation was to create an original musical about deep sea creatures with my colleagues from TeaK.
This goal might sound a little random to those who don’t know me. But, “Deep – the musical” project has its origin in a short demo performance I did with several other theatre pedagogy colleagues in the spring of 2017 at TeaK. It was for the course titled “Performance and Practice” where we were encouraged to explore various processes and practices for making a performance. So, my group tried quite a few things: Viewpoints, interacting with farm animals, automatic writing exercises, object exploration, etc.
The theme of the marine life emerged almost organically through those. Then, one day one of us wanted to sing something. So I brought a guitar to the rehearsal. And a while later, our piece became a short, weird musical about strange deep sea creatures called “Deep.”
(Demo of “Deep” at Teatterikorkeakoulu in the spring of 2017)
The demo was a surprising hit, and I started to dream about developing it into a full-production.
So, how did my dream turn into a reality?
I first tried to get some funding for the project, but all my grant applications got negative answers. By the time we were supposed to start rehearsing, I had 0€ in the budget. This was obviously frustrating and discouraging. But I did not and could not throw in the towel. I was determined to make it happen somehow.
The lack of financial support taught me one of the most important lessons in making “Deep- the musical.”
– Use everything you’ve got WELL.
I decided not to complain about the lack of money, but to optimize the resource I did have, which was great and priceless. I wanted to make the most of everything I’ve got.
So, let’s count the blessings.
Firstly, on a pragmatic level, I was very lucky to be able to use Vapaan taiteen tila for free. There was some technical stuff already there for us the working group to use freely, such as basic lighting equipment, movable walls, curtains, etc. We had the total of 14 days in the space: 8 days for rehearsal and the rest was for 4 performances and off-days.
The space is truly unique and endlessly inspiring for a creative project like Deep. Once my working group entered it, our imagination exploded; the stories and imageries emerged one after the other as we got to know the space. We even managed to do the set and light designs on our own.
(Vapaan taiteen tila. Before the rehearsal began.)
Second, my artist friend Tikke Tuura lent me a part of her plastic artwork and materials for it. We used them for the set pieces and even for a costume. Tikke’s art really inspired us and helped tremendously to set up the atmosphere of the space. Her plastic artwork also went well with the theme of our project, the deep sea, due to the detrimental impact of our careless usage of plastic on the marine life.
(Tikke Tuura’s plastic artwork)
And last but not least, I was extremely fortunate to have a working group that was willing to work with me even without salary. They were my ex-classmates from the pedagogy program, whom I admire and trust: Tanja, Elina, Goergie and Liisa. Tanja works in a theatre field primarily as an educator for young people and she’s a great visual artist as well. Elina is very experienced in object theatre and puppetry. Georgie and Liisa are from the dance pedagogy. Not only can they move amazingly but also they have so much experience in choreography. And all of them are incredibly open-minded and have a great sense of humor. Collaborating with them felt like the best roller-coaster ride.. fast, smooth, exciting, exhilarating, unstoppable, and full of laughter. They are my dream team.
(Deep-the musical working group. From left, Tanja, Georgie, Elina, Liisa and me.)
This leads me to a few other important lessons I learned in the project as a director and musician.
– Have enough trust in the group to let an overall vision and a story develop in the process.
– Discover more, control less for collective storytelling.
Although I had a general direction where I wanted the production to go artistically, at the beginning of the process, I had very few specific ideas. I was not sure if I could make a dozen songs on my own and play them, too, for different scenes and characters… in 8 days. But once the rehearsal began, all I had to do was take the ideas given by the working group, edit them and let them transform into something wonderful before my eyes. Tanja, Georgie and Liisa kept on giving their all to the process (Elina was absent for the first 6 days due to her pregnancy). Their movements, voices, texts and personalities made my song writing process effortless and fun. (In fact, all the songs got made in 6 days.) The songs helped them develop their characters and stories in return. I even had them sing some of the songs ? As the characters became richer, I started to “see” the overall arch of the piece dramaturgically.
And when Elina finally joined us two days before the premiere, I knew where she could fit in the show; I asked her to manipulate a small fish puppet in one spot, as the anchor of the whole piece. At the same time, she was given freedom to do whatever she likes with the puppet’s movement. It was not exactly what I had planned for Elina originally, but somehow it was “a discovery” made in the process that felt right.
At the final stage of the process, I felt that the piece had its own life and didn’t need my detailed directions or control to do well. Each performer was taking charge of her own character(s). I just played and sang the songs as I listened to and watched how my fellow performers moved and lived the collective story we were telling together. And they listened to me, too.
Here are some photos from the production (Photographer: Teresa Nurmioja):
After the miraculously efficient, inspiring process, the production of “Deep – the musical” turned out to be a miraculous success. We only had four shows, but all of them had made a strong, lasting impact on the audience. I was truly surprised and touched by how they responded to the show. Here are a few excerpts from the audience feedback. *English translations follow the Finnish feedback:
“Deep images, touching different chords of the soul, arising memories. It felt like walking in an art gallery, underwater, with paintings from different authors. Each painting, in its simplicity, was complete and yet open. Also the music and the use of voice and action provided an incredible variety of colors. These art pieces came together through special creatures of the sea, whose special journeys resonated in me and mirrored my fundamental questions of life.”
“Tunnelma oli maaginen. Tuntui kuin tila olisi rakennettu näytelmän ympärille. Tykkäsin, että tunteet heittelivät kromisen ja syvän kosketuksen välillä. Olisin voinut helposti katsella vielä toisenkin tunnin. Piditte minua otteessa koko esityksen ajan. I LOVED IT❤️ (The atmosphere was magical. It was as if the space was built for the show. I liked that feelings fluctuated between the deep and the light. I could have easily watched the show for another hour. You enthrall me the whole time. I loved it!)”
“Äärettömän kaunista tilan käyttöä ja äänimaisemien luomista. Esitys oli kiehtovalla tavalla hauras sekä ainutkertainen. Näyttelijöiden välinen luottamus näkyi. Kiitos kovasti. (The extremely beautiful use of space and the creation of soundscapes. The show was delicate and unique in an enchanting way. The trust among the performers showed. Thank you very much.)”
“Sanoja, joilla kuvaisin esitystä:
Sydäntäsärkevä. Kaunis. Herkkä. Niin koskettava laulua. Kaikki ne kielet. Kaikki se, ajankohtaisuus. Niin hauska! Niin läsnäoleva. Kiitos <3 Ja tilan käyttö!!! (Words to describe the show: Heart-wrenching. Beautiful. Delicate. So touching singing. Those languages. That timeliness. So fun! So present. Thank you <3 And the usage of the space!!!)”
“Esitys oli ilahduttava. Sen rytmi, rehellisyys ja läsnäolo oli koskettavaa. Muistutitte tärkeistä asioista, miten kaikki elämän sävyt on koko ajan läsnä; arvaamattomuus, riemu, unelmat, pelko, antautuminen ja voi vain elää! (The show was delightful. Its rhythm, honesty and presence were touching. You reminded me of important things, which is how all the life’s nuances are all the time present: unpredictability, joy, dreams, fear, surrender and oh just to live!)”
“Katsoin esitystä yhdessä 2-vuotiaan lapsen kanssa. Työskentelen myös lastenkulttuurin parissa ja usein katson esitykset näkökulmasta miten ne toimisi pienelle yleisölle. Deep toimii! Rytmitys, visualisointi, musiikki – pitävät pienen katsojan mielenkiinnon yllä. Jos lasten esitys ei toimi aikuiselle, ei se toimi lapsillekkaan sen syvemmin. Parhaimmillaan esitys on kaikille, kaikissa tasoissa ja jokainen löytää siitä jotain itselleen. KIITOS <3 (I watched the show with a 2-year-old child. I also work in a children’s culture field and often see performances from a viewpoint of how they would work for small audience members. Deep works! Timing, visualization, music– they kept the tiny viewer’s interest. If the children’s show does not work for the adult, it does not affect children any deeper. A show at its best is for everyone, on every level, and everyone finds something for him or herself from the show. Thank you <3)”
“Your performance was such a heart-touching and eye-wetting piece of art! It really took you to the deep end of life and into so many levels of humanity. To the dawn of the womankind! Back to the birthplace of us — to animalcule.
So, that we wouldn’t forget. That we are not the master of nature or universe! It told me how we have lost our innocence, the importance of life itself. We have the ultimate responsibility, cos we got the gift of conscience.
We have to go deep, deep down to realize, what we have done to mother earth. Human being is destroying all the living. We have created an artificial world with plastic people.
What have we done to each other? Nothing is anymore connecting people! Where is all the playfulness, friendship, love and caring of neighbour. We are just seeking the right one in our despair.
Of the ancient myths of life and death there is only destruction left!
And now – in the moment of emergency – we are longing back into the mother earth’s womb.
I am so proud of you girls of what you have achieved!”
“Istuin alas.Odotin hetken. Ajatukset ja tunteet lipuvat. Ehkä saan nyt puettua sanoiksi fiiliksiä. Ensinnäkin WAU! Mahtavaa nähdä joukko lahjakkaita ihmisiä tekemässä taidetta. Musiikki oli hienoa, upeat laulut, tila oli käytetty loistavasti. Tarina kosketti. Upeaa oli myös käytetyt eri kielet.
Esitys oli yksinkertainen ja samaan aikaan runsas, monia hienoja oivalluksia ja upea ryhmä toteuttamassa sitä.
Ah, niin paljon jää sanomatta, kun on sanaton. Tällä hetkellä: tunsin, inspiroiduin, heräsin, liikutuin ja ennen kaikkea rakastin esitystä. Aivan mahtava!
Kiitos koko ryhmälle ihanasta kokemuksesta. Tällaista olisi upeaa nähdä lisää, useammin.. ja uskaltaiskohan nähdä vielä syvemmälle. (I sat down. I waited for a moment. Thoughts and feelings are floating. Maybe now I can put words to my feelings.
(First of all, WOW! Wonderful to see a group of talented people make art.
The music was fine, great songs, the space was used superbly. The story touched me. It was also great to hear different languages being spoken.
The show was simple, but at the same time rich, many wonderful insights and the great group realizes it.
Oh, so many things are left unsaid when one is speechless. At this moment: I felt, got inspired, awakened and moved. And above all, I loved the show. So magnificent!
Thank you to the working group for the great experience. This kind of performance would be awesome to see more often, and I would dare to see even deeper.)”
The audience feedback leads me to the last lesson I learned.
– A performance is ultimately for the audience.
This is something, of which I’ve been constantly convinced every time I perform. But each time it gets deeper and more profound. It’s not about pleasing the audience or catering to their wishes about what they want to experience. It’s about reaching out to them and sharing the time and space so that they could experience something that is greater than what they could imagine individually. I often see and feel it as a connection between the performer and the audience. Through this connection, theatre becomes a transformative art of time and space.
When the last performance was done on 22.8.2018, every single working group member was talking about how we could continue developing Deep and bring it to more people. I’m, of course, excited about the possibilities and future of Deep. We are ready to move on to the next phase.
So, the journey continues!
“Deep- the musical”
17.-22.8.2018 Vapaan taiteen tila
Ohjaus ja musiikki/ Direction and music: Yuko Takeda
Teksti, äänimaisema ja esiintyminen/ Text, soundscape and performing:
Georgie Goater, Liisa Heikkinen, Tanja Männistö, Elina Sarno and Yuko Takeda
Muovitaide/ Plastic artwork: Tikke Tuura
Valokuvaus/ Photography: Teresa Nurmioja
Kiitokset/ Special thanks: Olga Potapova, Leandro Lefa, Veli-Matti Saarinen
I had two great opportunities to collaborate with two distinguished musicians in July and August.
In July, I worked with accordionist Timo Kinnunen and saxophonist and flutist Biggi Vinkeloe. They invited me to join in their opening concert for their tour titled Ave, Mare Boreale! as a guest performer.
It happened in a beautiful wooden house in Pikisaari, Oulu in the warm evening of July 8. Timo and Biggie played composed and improvised numbers. I recited Japanese and English poems about the sea and moved along with Timo and Biggi’s playing most of the time. I even had a few solos where I sang a traditional Japanese song and a tongue twister text, while Timo and Biggie supported me musically in the background.
Nerve-wracking it was because I didn’t know their music well and what I would do with it exactly before the concert. But improvising with musicians who knew what they were doing was liberating and fun. They listened to me and my movement so well that they could go with whatever I did or said. In return I got inspired by their playing on the spot and started to do something totally unplanned, but still suited the flow of the music.
Also, I need to mention the beautiful bottle installation by visual artists Helena Kaikkonen, Leena Kangas & Päivi Pussila at the concert place. I performed with it in many moments during the concert. With powerful music, it felt natural for me to include the installation as part of the whole show. Yet another delightful inspiration!
Thank you, Timo, Biggie, Helena, Leena and Päivi for an unforgettable evening!
Here are some pictures from the concert:
And my collaboration with musicians continued. In the beginning of August, I traveled to Kalajoki, Finland to perform with four musicians: accordionist Timo Kinnunen, harpist Anne-Marie O’Farrell, cellist Adrian Mantu, conductor, recorder and Baroque flute player Janos Bali. Timo organized a 3-day monimusic festival titled Camus Calla 2018 where different genres and forms of art and music are mixed to create new music. I participated in two performances: one concert at the Kalajoki church and an experimental concert at Santa’s Resort & Spa Hotel Sani.
The first concert was mostly about classical music with some improvisational, experimental twists. The concert at the hotel incorporated films into musical improvisation. For both concerts, I had to jump in as an actor without any substantial rehearsal time with the musicians beforehand. So, what I did was almost completely improvised on the spot. But somehow it worked, thanks to the skilled musicians. And I had a lot of fun performing with them.
Here are a few photos from the concerts:
I learned tremendously from how the musicians worked together and improvised with others. I was used to working in theatre projects, where we take a lot of time to build and create a story together. But my collaboration with musicians was very different from that. They trust each other’s ability to improvise as a given and play their instruments based in feeling, backed by solid skills. They often bypass logic and work instinctively, so the speed of working is quite fast. So, I also had to trust my ability to improvise with them and tried my best to feel “the flow” they were feeling.