The Way of Acting: The Theatre Writings of Tadashi Suzuki

by Tadashi Suzuki, J. Thomas Rimer (Translator)

The most influential contemporary theatre director in Japan, Suzuki provides a thorough and accesible formulation of his ideas and beliefs, and insights into his training methods. Features his compelling adaptation of Clytemnestra --finding an astonishing parallel between ancient Greek and modern Japanese society, Suzuki melds traditional and avant-garde techinques to shed new light on this primal tale.

Genres: Theatre, Nonfiction

188 pages, Paperback

First published January 1, 1986

Reviews

[Kathleen Flynn]

The character I am trying to write myself into currently is an actor, or a former actor. I've never been an actor, so I am always looking for ways in. This book, one I came across accidentally, has proven very interesting. The author, a famous director, obviously talks a lot about Japanese theater, particularly noh, a subject I was until now entirely ignorant of; it's also rather an old book, from the 1970s. Nonetheless, some truths here are universal, and even the merely historical ones are are still interesting. Suzuki talks about the psychological and physical challenges of acting, about the difference between sacred and worldly time, about how he came to found a theater in a remote part of Japan in the 1970s.

[Maja]

He talks of charisma beginning with the actors ability to harness the energy of the Earth through their feet, to harness it & contain it, to that the torso & arms, hands, face can express anything & everything, w/grace & power. His company lives in the mountains, in Japan.

[Laura · Rating 4 out of 5]

I am still going back to this book, especially the parts on The Grammar of the Feet. Details!

[Tara · Rating 5 out of 5]

The art of Suzuki not only sets a great actor apart from the rest, but it infuses an energy, awareness and wisdom into the ebb and flow of every day. Beauty in stillness and excitement in the discovery of being. I am one of the luckiest people to have studied Suzuki’s intensive for four years at UW. “Fall down seven times, get up eight.”

[Sam Hickson]

This translated collection of Suzuki's theory and style had me moving in my seat, conscious of how I held my body. His reflections as a director and interest in building space for performers to create and train is respected.

[Michael Guest · Rating 5 out of 5]

I have been honoured by many opportunities to converse with Tadashi Suzuki. He is a brilliant creative genius, qualities that are clearly evident in this masterful book on theatre and acting. His inimitable approach to theatrical physicality is seen in a chapter on "The Grammar of the Feet", where he explores the existential fundamentals of acting. Here too, he expands on relations of actor's movement shared by traditional No and Kabuki and contemporary Japanese theatres. Elsewhere, he explores the issue of 'in what form personal experiences can be incorporated into the structure of a group', in relation to theatre as a communal activity. There are also chapters on his theatre practice in relation to his Toga theatre, and the play-text of his adaptation of the Orestes legend Clytemnestra, a fascinating rendition from a contemporary perspective. A book for anyone seriously interested in the theatre -- not only modern Japanese forms.

[Sara · Rating 4 out of 5]

I've always wanted to learn more about Tadashi Suzuki and this book was incredibly informative. I've learned a lot about Suzuki's thoughts as an artist and his theories on the communal aspect of theatre. I'm still processing it all but it's definitely interesting to look at the way a modern Japanese man thinks about modern Japanese theatre and the directing it's going.

[Serdar · Rating 5 out of 5]

Really splendid discussion of acting as technique, acting as creation of a community, acting as a way of life. One from which to draw a great deal to think about in realms far beyond acting or the theater.