| Description |
Like Beckett, Ota Shogo strips away what most see as theatrical essentials such as speech, normal human movement, plot, and, unlike Beckett, humour. Ota's basic concern is 'the portrayal of the species level of human existence' and to do this he demands 'silence, stillness and open space'. He does allow music (Satie and Albinoni underscore the scenes superbly) and while we are alienated from the people who travel to the water station, and observe them dispassionately like scientists watching animals at a watering hole, we are mesmerised by the slow dance of the death of human life. |
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