Enshutsuka 演出家

Mata Hari Workshop

2011-12-05T21:04:00.000-05:00

Between November 8th and 17th, We held our workshop for Mata Hari - The Great Imitator, at 3 Legged Dog Art and Technology Center, New York. It was wonderful to have a space to ourselves and dive into the piece with the instrumentalists and singers and our talented actor Tina Mitchell, who is playing the role of Mata Hari. Matt has composed some great music for the piece, although we have only three scenes written. Below are some photos from our work-shop. One our triumphs is that Tina and I held a 'Viewpoints' workshop with the singers and instrumentalists and we had them rolling around the floor, picking each other up, and creating beautiful tableaus. this is a dream for me as a stage director getting these talented artists to break out of the mold and explore other aspects of time and space.

Mata Hari Now has an IndieGoGo Campaign

2011-08-27T15:48:00.001-04:00

Now it's time to start really raising the funds for Mata Hari. Please click the link and support this amazing project about this extraordinary woman.

Awarded the Dame Joan Sutherland Fund

2011-08-24T09:22:00.000-04:00

Hi have been awarded the Dame Joan Sutherland Fund, through the American Australian Association. I am very excited to receive this award, which will help fund my residency at 3 Legged Dog Arts and Technology Center, where I will be learning the Isadora Graphic Programming Environment, and developing my new hybrid opera piece based on Mata Hari.

Thank you, La Stupenda, and The American Australian Association.

http://www.americanaustralian.org/djsf/

La Voix Humaine

2011-08-11T10:53:00.000-04:00

So, It's official. I will be directing Francis Poulenc's La Voix Humaine for Pocket Opera New York next spring on 'Secretaries Day'! Stay tuned for production details, meanwhile checkout Pocket Opera's up coming season by clicking on this link: http://www.pocketoperany.org/

Mata Hari Memoirs

2011-07-31T10:45:00.004-04:00

Yesterday, I ordered three books, which were memoirs of the men who were a part of putting together the evidence to execute Mata Hari. They were Captaine Georges Ladoux, the head of the French counter-espionage agency the Deuxième Bureau. Then there's Captaine Pierre Bouchardon, the prosecutor who worked for the 3e Conseil de guerre. These two men documented their thoughts as they were interrogating Mata Hari. It will be a great insight as to how they were thinking and why they were so zealous in bringing Mata Hari down. The third book by Phillipe Collas, who is the Great-Grandson of Bouchardon. From reading his Great-Grandfathers memoirs, Collas put together his own viewpoint as to why they executed her. He definitely leans toward exonerating Mata Hari, and there was a movie based on his book made for French television titled Mata-Hari sa vraie histoir. Le Parisien seemed to criticise Collas' point of view when the t.v. film was released by saying "Anyone expecting to find the sulphurous legend of the Mata Hari should avoid this...The film rehabilitates her." So, Even after all these years the mystery of whether she is guilty or innocent still is very much a part of France's collective consciousness, and people seem to be very divided on the truth.

I am not intending to go out there to tell the authentic truth, it is impossible to do so. I just want to tell a good story, using the very words of the people who were a part of history. Below are the links to the books if anyone is interested. They are all in French so a lot of translating will be needed. Matt Marks, the composer and I have decided that we will do the opera in English, it is the first language of our audience, and will save us dealing with super-titles!

Mata-Hari sa vraie histoire, Phillipe Collas
http://www.amazon.com/gp/product/2259198724

Souvenirs, Pierre Bouchardon
http://www.amazon.fr/gp/product/B003UAE2S8/ref=oss_product

Les chasseurs d'espions, Comment j'ai fait arrter Mata-Hari
Commandant Ladoux
http://www.amazon.fr/gp/product/B003WTQY1U/ref=oss_product

Fiscal Sponsorship

2011-07-26T20:47:00.003-04:00

The Mata Hari Project now has fiscal sponsorship! I have joined 'The Field', an arts organisation that helps artists like me take the necessary steps through their programming to produce our work. The fiscal sponsorship will enable us to accept tax deductible donations from individuals and organisations here in the United States. They also have programs on book keeping, grant writing, and artist retreats. I am really happy to be a member, and utilise their programs to build skills as a self-producing director. If anyone wishes to check them out, here is the link: http://www.thefield.org/

Now that I have done my plug for 'The Field', I find myself sitting at a desk at my friend's apartment looking after her cat while she is away overseas. I sit right in front of the air conditioner as New York suffers from a long heat wave. The cat curled up on the bed beside me. I see the flashes of lightning as a storm blows in, which I hope will blanket the city with cool air. I hear nothing from the streets, just the sound of the air passing through the air conditioner, it's quite peaceful. Tonight, the words for Mata Hari start to be put together. I will be working on the prelude. So, the journey begins.

Mata Hari Project

2011-07-18T16:47:00.003-04:00

This is the beginning of a journey in creating a new opera. I have always been fascinated with roles of strong women. Mata Hari who has been a mystery to all of us appeared before me while looking up the Goddess Ishtar, Femme Fatale and Dance. My curiosity urged me to dig deeper into Mata Hari's life who's real name is Margaretha Geertruida Zelle, a Dutch national, who had spent some of her life living in Indonesia. Mata Hari's life is operatic in scale where her story spans Asia and Europe, survived a tumultuous marriage, one of her children dies under suspicious circumstances, then she becomes an exotic dancer, spies for France and is then executed for being an double agent. I immediately thought this story needs to be created into an opera.

I have been offered a residency at 3 Legged Dog Art and Technology Center in Manhattan at the end of 2011. This will give me an opportunity to develop this piece with Brooklyn composer Matthew Marks. My colleague Tina Mitchell will play the role of Mata Hari and will hold movement workshops with the singers and musicians. Yes, the musicians will be moving!! My idea is that the musicians will be a part of the mise en scene and not stuck in a pit or off to the side. I have no idea if anyone has attempted this in an opera before, traditionally some operas have a 'Banda' (A group of musicians on stage) sometimes they are hidden off-stage or they are seen on-stage, I want to see if this idea can be taken further.

Pocket Opera New York, Interview with Director Erwin Maas

2011-04-15T09:33:00.012-04:00

Pocket Opera New York, Interview with Nicholas Tamagna

2011-03-02T08:10:00.004-05:00

Alcina Come and see it!!!!

2011-03-01T23:31:00.001-05:00

Pocket Opera New York's Alcina

2011-02-27T01:45:00.003-05:00

I have been involved in documenting the process of Pocket Opera of New York's production of Handel's opera titled 'Alcina'. My friend Erwin Maas is directing it with a wonderful young cast. Nicholas Tamagna who is playing Ruggiero recently won the Nico Castel Master Singer competition in New York, and one of the prizes is a billed concert at Carnegie Hall in New York!. Here's is my first attempt at documentary film making.

Dark Sisters

2010-11-12T19:16:00.003-05:00

I am excited to be a part of a new opera that is being work-shopped here in New York. The title is Dark Sisters composed by Nico Muhly with the libretto by Stephen Karam. It will be directed by Rebecca Taichman produced by Gotham Chamber Opera, Music Theater Group and Opera Company of Philadelphia. Dark Sisters is about the women of the Fundamentalist Latter Day Saints or FLDS. The sect was in the media's eye in 2008 when police raided the Yearning For Zion compound in Eldorado, Texas. There is a wonderful cast of singers Kevin Burdette, Caitlin Lynch, Jennifer Zetlan, Eve Gigliotti, Brenda Harris, Jennifer Check, and Kristina Bachrach. It will be conducted by Neal Goren, Artistic Director of Gotham Chamber Opera. Below is some links to media coverage of the opera:

Washington Post
http://voices.washingtonpost.com/the-classical-beat/2010/10/ladies_first_muhlys_dark_siste.html

Theatermania
http://www.theatermania.com/new-york/news/10-2010/nico-muhly-and-stephen-karams-newly-commissioned-o_31672.html

Der Ferne Klang

2010-08-03T10:03:00.002-04:00

This summer I had the privilege to be a part of a great undertaking. This was the staging of Franz Shreker's Der Ferne Klang. The director was Thaddeus Strassberger, whom I have worked with many times before. His creative team was Narelle Sissons for Set Design, Mattie Ullrich for Costume Design, Aaron Black for Lighting Design and Peter Nigrini for Projection Design. The production was conducted by Leon Botstein with the American Symphony Orchestra. I have to admit my first couple of listens of the piece I didn't really care for it much, maybe it was the recording or maybe I found it hard to grasp what the story was really about. As Thaddeus and I worked on the staging and the story started to find its arch, it really started to get under my skin. With only two performances left, I am still moved literally to tears at times by the piece. Everyone involved in the production has played an essential role. The chorus are fantastic, they tackle every direction head-on and execute it with skill. The principal cast of 11 give the ensemble a strong core lead by Yamina Mamaar (Greta) and Mathias Schulz (Fritz). This is a production I hope gets another life, and I hope it ignites more interest in Schreker's music. Here are some links to reviews

Time Out Interview with Thaddeus Strassberger
http://newyork.timeout.com/articles/opera-classical/87546/life-is-a-cabaret-thaddeus-strassberger-interview

New York Times Arts Special
http://www.nytimes.com/2010/07/25/arts/music/25franz.html?scp=1&sq=der%20ferne%20klang&st=cse

New York Times
http://www.nytimes.com/2010/08/03/arts/music/03klang.html?_r=1&scp=2&sq=der%20ferne%20klang&st=cse

The Work Begins

2010-03-29T09:09:00.000-04:00

I have been engage to direct a new play. It's title is 'Blue Balloon' by playwright Libby Leonard, and will be a part of the Columbia Stages New Play Feast Festival. It will be performed at The New York Theater Workshop, at their 4th Street Theatre in the West Village. My plan is to blog my process until we open on May 4th. Just to let you all know this play will not be fully produced meaning there will be no big sets and spectacular lights. The goal is to have a polished performance in terms of acting and transitions, but the main aim is to really showcase the play and hopefully have it picked up by a producer. I am looking forward to working with actors again, it has been a while since I have been directing mainly opera the past 12 months.

One of my approaches to rehearsal is to have the energy and focus of play in the room. One of my heroes is Stephen Nachmanovitch who wrote a book titled 'Free Play'. This book is a great insight into an artist's mind and their journey in creating their art. I just want to quote a small section from his book because it ignites the creative spirit.

"Creative work is play; it is free speculation using the materials of one's chosen form. The creative mind plays with the objects it loves. Artists play with color and space. Musicians play with sound and silence. Eros plays with lovers. Gods play with the universe. Children play with everything they can get their hands on."

Stephen Nachmanovitch, Free Play

Playing with everything one gets their hands on is the spirit I like to have in the rehearsal room. There is nothing worse than a performer strutting onto the stage turning to the director and say "Where do you want me to go?" That is not play! Play is interaction, play is push and pull, play must be active. This is not to say that I can walk into a rehearsal and place the responsibility of what needs to be created on the performers. Creating a new piece of theatre everyone must share. Nachmanovitch begins the chapter 'Mind at Play' with a quote from Jung, which I will finish this post with:

"The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves."

Carl Jung.

Yinka Shinobare

2010-03-27T20:15:00.005-04:00

I came across this book about Yinka Shinobare funnily enough at an Anthropologie store on 5th Avenue. I really liked his use of African Materials to make period 'Colonial' clothes. Most of his art is regarding and commenting on 'Authenticity'. When he was studying in London he sourced a lot of African designed materials at the markets, but later discovered that these materials were manufactured in Holland and Northern England. I was struck by the tableaus he placed the manikins in. There is something theatrical about them.

Agents

2010-03-12T13:47:00.002-05:00

This is an interesting relationship, and can be a very important one. That being said, most of the artists that I know seem to generate their work by themselves, there's always the comment that "My agent doesn't do any work for me." So why are they so important? I interviewed last week and the Artistic Director asked whether I have representation. I don't, all the work I have made was by my own initiative, or recommendations by colleagues. I have yet to be engaged to direct through an agent. This question was the first time it has arisen. Now I feel it is important. I do have some leads to agents, but no signed contract. So, if anyone out there can give any insight to agents or advice I would be very grateful.

Reality Keeps Me Going

2010-03-04T12:51:00.006-05:00

In my last post I wrote a list of ways a stage-director seeks and is engaged in paid work. I have been working hard in sending dvds of my work, and talking to people in the field. The cold letters and dvds have yielded a lot of interviews. So, I am talking to the right people. At least this is a start, I feel that I am very close and I must keep pushing. I read the Wolftrap Opera blog today, which was titled 'Advice for the Artists Life' click here to go to their blog. The first quote hit home for me, which I would like to share.

There’s no free lunch. Writing is work. It’s also gambling. You don’t get a pension plan. Other people can help you a bit, but essentially you’re on your own. Nobody is making you do this: you chose it, so don’t whine. (Margaret Atwood, Author/Poet)

All I have to do is substitute 'Writing' for 'Directing' and it totally applies to myself. Reality keeps me going, I am on my own. I feel it every day. My ego wishes that artistic directors will call me up and offer me work. But reality says that's not going to happen, for now. Presently no one knows me, but in the future they will. As Margaret Atwood says 'You chose it, so don't whine.' So, I move forward.

Finding Work

2010-01-28T10:19:00.002-05:00

Many people joke about the idea of making a living from the arts. Or should I say making no living from the arts. Since graduating, I have made a living from the arts, and only a few times I had to fall to the dark side by working in finance to pay that rent. I am not a quitter, but the question arises of how does a director find paid work? I have been lucky, to have been engaged to work as a director by having fellow colleagues recommend me to companies. But, what happens if you're an unknown entity? In my twelve years of working in theatre and opera I have seen how directors get work:

1) You're a genius during ones studies and through the support of professors you are giving a chance by a company to direct a show.
2) One starts their own company, and through hard work of self producing a director creates a hit. (Either money then starts to flow into their company or other companies engage the director for productions)
3) Be an assistant director for years and finally a company gives the director a shot. (The trick is not falling into the trap of being identified as a assistant in the industry)
4) Recommended by Colleagues.
5) Sheer persistence, writing letters, sending out dvds of one's work etc.

If anybody else can add to the list, please feel free to add. Of course the unspoken one would be 'Sleep with the right person' and certain artists across all disciplines might have had to play that card. We all know the term "The casting couch". I am interested in other ways obviously. The one important element I have learned over the years is to develop good working relationships, that is the key.

The Hub Review: Did the best acting of 2009 occur on the opera stage?

2009-12-31T16:08:00.000-05:00

The Hub Review: Did the best acting of 2009 occur on the opera stage?

A Director's Instrument

2009-12-18T07:26:00.004-05:00

I was reading an interview of opera singer Joseph Calleja who will be singing the role of Hoffman in Offenbach's Contes de Hoffman at the Met, New York. He talked about how his body is an instrument. In particular how the vocal chords of a singer develop over time and the change of its tambre. I then started to wonder whether directors have an instrument. Do we? If we do, how do we train it? How do we develop it? These questions bring up my training at Columbia University. I say training instead of study because most of my time was about putting up scenes or plays, rather than reading books and writing essays. So, I am putting it out there to the universe to see if anyone can share their thoughts on what a Director's Instrument could be?

My First Blog Post

2009-12-11T17:17:00.002-05:00

This blog is titled Enshutsuka 演出家 which is the Japanese word for Stage-Director. En (演) means performance/act/play/render. Shutsu (出) means go out/put out, and finally Ka (家) means house, but the Japanese use it as an affix for rendering certain nouns to mean professions. The Japanese culture has had a profound influence on my life. It was the reason why I left my career as a chef and followed the road of being a theatre artist. I am starting this blog to share my journey with other theatre artists whether they are stage-directors, actors, playwrights, composers, singers, designers, even past and future audience members. This will be the first of many posts to start a dialogue on being a theatre artist (Sorry, Of course I also include dancers and opera artists) and what it means to be one whether one is doing it for the love of it or for the professionals out there working in the field. If people would like to know my background you can visit my website: www.paulpeers.com