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"Oida, Yoshi."
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Dreary direction makes for a slow Progress
The history of ENO's production of Vaughan Williams's The Pilgrim's Progress reflects a multiple triumph. This is the first full professional British staging since its premiere was overseen by the 79-year-old composer at the Festival of Britain in 1951 - and 79 is the age of this production's Japanese director, Yoshi Oida. Bunyan's morality tale reflects a triumph of a higher order, since he wrote it while in prison for \"unlicensed preaching\". Oida wants us to see his drama as taking place within a prison, \"but not a very solid one\"; he follows Bunyan's cue that it's all a dream. And if his aesthetic has its roots in Noh, that fits neatly with what the composer himself described as \"more a ceremony than a drama\"...
Newspaper Article
Review: Opera: Magnificent score but this Pilgrim doesn't progress: The Pilgrim's Progress Coliseum, London 3/5
It has become an article of faith for the English-music lobby that The Pilgrim's Progress had to be seen again as [Vaughan Williams] intended; though he carefully called it a \"morality\" and not an opera, he always insisted it belonged in the theatre. But [Yoshi Oida]'s staging raises more questions than it answers about the work's dramatic viability. The story of the Pilgrim's journey to the Celestial City is presented as a series of tableaux in which none of the characters emerges identifiably in three dimensions; even the Pilgrim is more significant for what he represents than for who he is. A two-and-a-half-hour opera whose action is symbolic and whose purpose is loftily didactic, in which the dramatic pulse beats rather slowly and sometimes vanishes altogether, can be tough going at times.
Newspaper Article
The Opera The Pilgrim's Progress Coliseum, London
\"[Yoshi Oida]'s direction... has a blandness which becomes numbing. It's a full hour before we get some real drama... [Roland Wood] apart, the plaudits must go to conductor [Martyn Brabbins] and his wonderful brass, to the chorus, and to the protean Timothy Robinson.\" MICHAEL CHURCH
Newspaper Article
08 Culture Diary: Festival success led by Japanese pioneer
\"We are sharing movement together, or exchanging openness to transmit what I've studied in my past.\" [Yoshi Oida] continued: \"I hadn't done workshops for two yea rs, and my main aim is not a theatre degree, but happiness. It has helped me as a human being, in how to approach life. \"People from all around Europe are coming to workshops, and practitioners are taking part from all over the world . . . It is for everyone who is interested in movement, acting and performance art, and I'm really happy it is taking place in Liverpool as it is a city that is thirsty for that.\"
Newspaper Article
Review: Dance: The Maids: Pit, London 4/5
During the rest of this 70-minute work, Genet's action is reduced to similarly intense metaphors. Ismael Ivo and Koffi Koko, as the maids, are mesmerising; Ivo dances as if in a ritual trance, his moves fraught with refined emotion; when he dresses up as his mistress, preening infront of Koko, he embodies a sexualised longing and grandeur that are painful to watch. Koko, puckish and louche, uses Ivo's pretensions to feed his mockery. They are dangerous physical opposites and, as Koki flickers around Ivo, it seems as if the space can barely contain them.
Newspaper Article
Extended play
Gener reviews a performance by Yoshi Oida in \"Interrogations: Words of the Zen Masters\" at the Japan Society in New York City.
Newspaper Article
Review: Opera: Aldeburgh takes on ENO - and triumphs: Death in Venice Snape Maltings, Aldeburgh: 4/5
With an Italian theme running through the Aldeburgh programme this year, the choice of a work to launch the festival was easily made, and so Benjamin Britten's last opera returns to the hall in which it was first seen in 1973. Coming so soon after ENO's production of Death in Venice, comparisons between the two are inescapable, and in almost every respect they emerge in favour of the Aldeburgh staging, which is directed by Yoshi Oida and conducted by Paul Daniel.
Newspaper Article
An unforgettable, magical Death in Venice
Although this adaptation of Thomas Mann's 1912 novella by British composer [Benjamin Britten] (1913-1976) and librettist [Myfanwy Piper] (1911-1997) doesn't come with hummable arias, it packs a wallop. The music and words are so inextricably intertwined in their depiction of a middle-aged writer's breakdown, and the dramatic pacing so well measured, that they immediately conjure the magic of great theatre. It's hard to imagine anything better than what we get at the hands of conductor [Steuart Bedford] - chosen by Britten to lead the opera's premiere in 1973 - fellow Briton, tenor Alan Oke in the lead role of Gustav von Aschenbach, and a strong, beautifully prepared cast and chorus. Alan Oke, left, as Gustav von Aschenbach, with members of the chorus in a scene from the 2010 Canadian Opera Company production of Death in Venice. This is the COC's first presentation of the work in 26 years. Alan Oke, front, as Gustav von Aschenbach in the 2010 Canadian Opera Company production of Death in Venice. MICHAEL COOPER PHOTO MICHAEL COOPER PHOTO
Newspaper Article
Saturday Review: Arts: No pain, no gain: Samantha Ellis asked Yoshi Oida to tell her the secret of acting. He gave her a Chinese burn
This week [Yoshi Oida] was running a masterclass with 20 actors at the Brighton festival, on the theme of ihow an actor preparesi. It sounds a bit Stanislavsky but, unlike Marlon Brando, currently filming his own masterclass in Hollywood, Oida Born in 1933 in Osaka, Oida started his career with rigorous noh and kabuki training, and eventually moved to Paris where he met someone as keen on invisibility as he is: Peter Brook, whose itheatre of the invisible-made-visiblei seeks out sacredness in a world in which most of us have trouble believing what we cannot see. As one of the only non-white actors in Brook's embryonic International Centre for Theatre Research, Oida made a huge contribution to Brook's theatre. He is a truly international performer, a movie actor, opera director and reinterpreter of classic texts. This autumn his ritualistic version of Jean Genet's The Maids comes to London as part of Dance Umbrella and Bite. He has worked with choreographers Koffi Koko and Ismael Ivo to splice Genet's claustrophobic play with Un Chant d'Amour, his film about lovestruck prisoners, and the production is as multicultural as you like n drawing on African ritual, Brazilian carnival, and bursts of text in Benin, Portuguese and Turkish. But Oida still clings
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