Water Station | Mediateca de EducaMadrid

The body of Ota Shogo's work is quite extraordinary, actually, 00:00:00

and three of the plays that he created 00:00:05

were non-verbal physical scores or psychophysical scores 00:00:06

for his company of actors. 00:00:10

Ota talks about his work sometimes as a drama, 00:00:14

these particular plays, as a drama of silence, 00:00:17

which is first and foremost a process of divestiture 00:00:21

or divesting oneself of anything unnecessary, 00:00:25

necessary, a process of stripping away, in other words, dramaturgically of language, 00:00:29

so that these plays kind of render the essence of action stripped of words. 00:00:36

And so the actors have to be able to speak without speaking. 00:00:45

Ota has said of these plays, the actors are speaking, you just can't hear them. 00:00:49

So that the plays demand a kind of relationship, an interior relationship to the qualitative 00:00:59

dimensions of sound, of the auditory awareness, of tactile touch, whether that's of the feet 00:01:08

to the floor or to the surface they're moving in, the feel of the water, the feel of skin, 00:01:15

feel of an umbrella, of a property. There's a kind of a sense in which Ota talks about 00:01:25

these plays as living silence, which is not the absence of any sound per se, but a process 00:01:32

of turning down, so to speak, the volume of everyday life by abandoning the noise and 00:01:41

clutter of constant conversation. 00:01:47

So Ota's theatrical silence is equally created by slowing the actors down so that every movement, 00:01:54

every action performed is divested of anything unnecessary. 00:02:02

It's interesting, Mel Gossa, the New York Times critic, well-known critic, commented 00:02:09

on Oat's own production of The Water Station. 00:02:16

With a really interesting kind of comment, 00:02:22

he said it was slowed down almost to a standstill 00:02:25

so that every second seems like a minute, 00:02:29

and sometimes the movement is so minimal 00:02:32

that it's imperceptible. 00:02:35

During those rare moments 00:02:40

when there's a quick gesture by one of the actors, 00:02:41

one is startled out of what has become 00:02:44

an almost trance-like state for the audience. 00:02:46

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