maya kisyova

theatre and literature

The Haigin as an actor. The Actor as a haigin. – my first paper on the Science Conference

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Haiku Club “Sofia” and department “Philosophy and Political Science” at SWU
VIII Conference “Haiku: open door that looks closed”
Text & Translation © Maya Kisyova

The Haigin as an actor. The Actor as a haigin.
Report, June 7, 2014, Sofia

Ladies and gentlemen, Professor Lanyu, doctors, haigins,

I am honored to be here and to reason publicly on the positioning of haiku in the theatrical space and involve you in the rotation reflectiveness of the figures of Haigin and Actor. This paper turned out to be linked to two Doc. Antoaneta Nikolova’s unexpected proposals. The first was in June 2010 – to interpret haiku. Never before I had done it and stumbled – I thought it rude human voice to break this 17-syllable “tracery”. I had done performances of poetic texts, I knew that poetry is vain self-sufficiency – to all this – haiku! … (I had accidentally came across of reading of haiku poets in a club “Ah, Mary”, the author was Prof. David Lanoue.) The second proposal of Doc. Nikolova is from yesterday – to be presented at this Conference as a theorist.

Nothing accidental – and both times I ended up in the right creative context to be “open this door, which seems closed.” In my monograph “Historical aspects of the relation actor – playwright” (2009), I analyze and proved rotary dual shamanism – acting and writing, and three years I worked in pedagogical standard “The Writer as an Actor. ”

All, however, began when on 19 August the same year 2010, call me Petar Tchouhov and asked me to participate in the performance of his bilingual book, “Safety pins”. Again haiku! … Do not suspect that next autumn we will show in the official program for the Day of Sofia the first of its kind in Bulgaria haiku multimedia spectacle in three languages, including 23 Japanese translation of the vision. How the show was created is described in my book “eMOrpheus. Five plays and an actor’s diary. ” (2013). Including via one of my haiku harmony motto of the Conference:
she is ready
he opens the door
true saga

For three years has played eight times for various scenes. We presented Bulgaria in the festivities “Japan Autumn” and the gala evening of the V International Haiku Contest in Russian in Moscow in 2012, to the satisfaction of the translator of Russian in our poster Natalie Levy, known in Bulgaria as haigin. The show has a chance to present in the Italian capital, where live his artist Raphail Georgiev, Master of the Academy of Fine Arts in Rome as well as in international festivals of chamber theater forms. From the creative team only sensei Ban’ya Natsuishi not yet have seen the show live.
During the past four years Tchouhov Petar and I are the roles of Haigin and Actor, who quite often – also unexpectedly – are exchanged. Head to Head – modernist who kills thieving salesgirls, brazen peeping into the temple – as I am; and post-modernist that filters everything and make transfers on the edge of ethics – as Petar. Rock musician and violinist; writer-performer who goes by the stage name and his biography, and professional actress who manipulate psychophysics in the name of the personage. (I open bracket dramatic ritual of shaving my head for a project in which I currently work with Chamber Orchestra “Sofia Soloists” – Shakespeare’s Sonnets in Seasons. I have to master the entire range between the swarthy Lady”” and adolescent.’s Not the other.)

For me, as a writer, director and actress, “Safety Pins” is unique because for the first time I’m working with contemporary author, from my generation of the 60th. Peter became a better actor, as evidenced in his other projects. For me it unlock reflex to writing haiku, which finished in a brand new dramatic text – haiku mystery “Feather on the Fence” – constructed by 300 haiku in 5 acts for 5 personages. This innovative text is combinatorics of meanings and techniques of expression and I believe that another director – not me – will open this door.

“Safety pins” change our personality. K.S. Stanislavsky once again proved that his system is alive – not theory, not the academic – and with the dictum of the “An Actor’s Prepares…”: “No” system “does not exist – the system is nature itself.” The “Levers”of the theater art opened many doors and released blockades, frustrated by these resistant 105 “haiku Pieces.” Dedicated and ruthless partners to one another – that required the performance, our child.

On the stage haiku “lives” in two spaces. The author’s – most neutral, detached from the text focused entirely clear diction and rhythm. The recorded voice of Peter Chuhov combined with images, text on which is mounted the other languages. A challenge to perception of the viewer, which proved very useful. In Moscow this kind of theatricality was called “linguistic celebration” from the Russian audience of the “Safety Pins”. Parallel space is the actor’s who handled with “haiku – replica”. Presentation of the same text sounds different in Bulgarian, English and Russian languages. Directorial concept took advantage of this discovery and enrich the atmosphere of the show with a deep and sometimes unexpected associativity – in English “smells” like Dickens and the next minute the same text, spoken in Russian, refers to film with Lyudmila Gurchenko.

Philosophy of Ivan Metodiev
“The Things are silent different.
Do they speak
They saying the same thing. “- in the theater is the opposite perspective – haiku is silent in the same way, when it uttered – is always different.

I do not know for what reason I am theorist now, I prefer to play in front of you “Safety Pins”, spontaneously haiku for this is something like:
on the stage
actress read paper
all the hall with masks

I wish at once to be on the movie set of a film based on a Prof. Lanoue haiku novels, directly into the role of Mrs. Plum Blossoms, which, in his opinion, is suitable for me. May be this movie set will be in Sofia, one day? … I leaf through his new book – and I’m going to position comfortably in the complete lack of logic of the world. This evanescent world. To experience the full pleasure of a lack of responsibility, that no one has never let me load, but I imagined her. And give myself to my play and shine – like a child. God, Buddha, Christ – no one wants more from me. Now I am suitable for dreaming.
Maybe Mrs. Plum Blossoms was a theorist – who knows? but what the challenge for me is to play moments of geisha art; position of her fingers while making a tea ceremony. To happen even teacher The cup of tea. Her cruelty when the master in love Kaga brings a bad haiku, which dared devote it to her … Even with cut hair, she is legendary because the art to live can not be cliche.

The characters of David’s serial novels are my close friends, they entertain me, they are dedicated for dreaming of their author. The professor is a true traveler who is able to involve you even in your own journey to which only you have the knowledge and hunches. In my previous life I met him in Japan. But I still wonder – when David Lanoue noticed invisible links between Pushkin and Issa, or when I was fascinated by the invisible energies between Basho and Vivaldi …

“Matter” of characters Mido, Umi, Proprietor Kaga, The Samurai with katana – contains everything – ink, rice, water and dust. I don’t even ask myself which one is more perfect – the poet, which IS haiku and do not record anything (we expect new novel about that character) or Kobayashi Issa – with both ingenious:
***
I have everything –
cuckoo,
pine and moon.
***
I have nothing.
Only spiritual rest,
only this silence.

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