249:"sounded too much like the Western drama that emulated." Hirata's style is partially due to his identification the impact of Western style was having on Japanese arts. As a reaction, he has sought to create an artistic style more representative of typical Japanese language and culture. As a playwright, he founded the Seinendan theater company in 1983 as a way to push his acting style into the greater Japanese and international theatre scenes. Hirata has worked closely with international actors when translating his work to preserve the Japanese identity of the speech, which has particularly resonated with French audiences. This style also tends to emphasize a small, intimate set of characters—usually represented by the actors playing the role of a family—to serve as a “microcosm of Japanese society as a whole.” Japanese theater scholar, M. Cody Poulton, describes Hirata's style as an emphasis of the Greek idea of
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217:, which is still considered his magnum opus. As a playwright, Hirata has continued to write and direct plays both at Komaba Agora theater, as well as theaters in Europe, the Americas, and other parts of Asia. He is also known for doing international collaborations both in Japan and all around the world, where he has worked with a multitude of playwrights and artists to introduce his own work to new audiences, as well as introduce foreign work to Japan.
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as a part of their
Humanities division. In 1983, he formed the Seinendan Theater Company, which he established in order to practice contemporary colloquial theater. In 1984, Seinendan settled into using the Komaba Agora Theater as their main base of operations. Hirata remains as the theater's primary
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For robotics, Hirata used his theater experience to attempt to make robots that act similarly to humans. While his work has been used to generally fulfill this role, he has also brought his work in robotics back to the theater, where he has incorporated robots in plays to explore themes of humanity.
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There are design elements and organizational elements that can encourage better communication in the doctor’s office, such as the positions of the doctor’s and the patient’s chairs, the color of the walls, the lighting, and these elements can create an environment that encourages the patient to ask
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Contemporary colloquial theater is a theatrical style Oriza Hirata founded as an answer to the “boisterous and festive nature of 1980s
Japanese theater.” This style emphasizes colloquial Japanese language use that is designed to sound distinctly typical of the linguistic tendencies and patterns of
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everyday
Japanese speaking. As a result, his plays oftentimes feature multiple characters talking at once, sentence fragments, inaudible speech, and an understated, "normal" speaking tone. This style informs his plays stylistically, both in language and plot, in the sense that Hirata emphasizes
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is a
Japanese playwright, director, and academic. For the majority of his life, he has been best known for his work in theater and creating what he has coined, “contemporary colloquial theater,” or as theater critics call it, “quiet drama.”
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Hirata, Oriza. "Artist
Interview: Speaking with Oriza Hirata, a New Opinion Leader in the World of Contemporary Theater." Interview by Akihiko Senda. Performing Arts Network Japan. The Japan Foundation, 23 Mar. 2007. Web. 28 Apr.
432:, Hirata submitted a 10-minute play, along with 18 other American and Japanese artist, to be performed and documented in an event called Shinsai: Theaters For Japan. The event happened that the Great Hall at Cooper Union in
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Shortly after beginning his career as a playwright, Oriza Hirata has had a prolific international career—both touring his work around the world, as well as staging foreign playwrights work at his own theater in Japan.
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Beginning in the early 2000s, Hirata's work started to garner international attention. With the help of Japan's Saison
Foundation, a grant-making foundation that supports Japanese Theater, and
425:. Hirata's admiration for the French theater scene can be seen with these collaborations as well, as he has tended to stage more French plays than any other country he has collaborated with.
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takes place in a museum where a number of people's personal lives are examined in order to gain a fuller picture of the political, social, and cultural context of a near-future Japan.
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Hirata has participated in designing university classes that emphasize the communication environment for different fields in order for them to perform more successfully.
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436:. Hirata's play, entitled "Sayonara II", tells the story of a partially-broken robot who is asked to read poems to the people who died after the disaster.
382:. Hirata says that he believes he has "done the best work in France," where "the people in France have been very enthusiastic about work." Both in
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throughout. However, Hirata has preferred his own stylistic title of "contemporary colloquial theater" because he thinks that relatable terms like
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Rimer, J. Thomas, Mitsuya Mōri, and M. Cody
Poulton. The Columbia Anthology of Modern Japanese Drama. New York: Columbia UP, 2014. Print.
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576:: Summarizing the world's history post-WWII, this is one of Hiraza's most grand dramas in terms of scope.
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uses two robots as main characters to explore this very idea. He has collaborated with robotics expert
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artistic director and has continued to play a major role in the theater's management.
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the doctor questions and bring out answers that can reduce medical/diagnostic error.
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Association Internationale des Critiques des Théâtre Critique Award for his book
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for six years as a professor in their theater department before moving onto
1906:"Oriza Hirata." ORIZA HIRATA: SEINENDAN. Seinendan, n.d. Web. 28 Apr. 2015.
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9th Yomiuri Theater Award for Outstanding Production on his play
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The Routledge Companion to Puppetry and Material Performance
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Posner, Dassia N.; Orenstein, Claudia; Bell, John (2014).
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Montblanc de la Culture Arts Patronage Award (2006).
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20:Oriza Hirata
1999:1962 births
1839:"Education"
1772:"Play List"
1522:Angu Shoden
1279:この生は受け入れがたし
1096:Meoto Zenai
1073:Chūshingura
856:Gozen Kaigi
771:ソウル市民 昭和望郷編
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529:Tōkyō Notes
494:Major works
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352:Switzerland
337:Tōkyō Notes
317:Tōkyō Notes
198:Tōkyō Notes
103:Tōkyō Notes
73:Nationality
1993:Categories
1821:|url=
1590:References
1499:Ahō Ressha
1421:さよならだけが人生か
1227:The Dancer
1185:マッチ売りの少女たち
1162:月がとっても蒼いから
947:上野動物園再々々襲撃
924:その河をこえて、五月
700:眠れない夜なんてない
542:Tōkyō nōto
284:His play,
211:Tōkyō nōto
120:.seinendan
51:1962-11-08
1843:Seinendan
1804:Seinendan
1776:Seinendan
1658:Seinendan
1584:Seinendan
1532:Southward
997:ソウル市民1919
725:風のつめたき櫻かな
669:I, Worker
440:Accolades
376:Australia
306:Manhattan
286:I, Worker
1812:cite web
1561:カガクするココロ
1545:Minami e
1334:Tenkōsei
874:もう風も吹かない
276:—
243:Shingeki
77:Japanese
1398:走りながら眠れ
1263:Bōken Ō
1240:Odoriko
1210:バルカン動物園
1114:新版・小町風伝
1043:海よりも長い夜
972:隣にいても一人
481:(2003).
474:(2002).
467:(2002).
460:(1998).
453:(1995).
388:Belgium
360:Germany
356:Ireland
348:Belgium
247:realism
239:realism
113:Website
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1949:
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1849:7 June
1782:7 June
1664:7 June
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1304:火宅か修羅か
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1020:遠い日々の人
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606:鳥の飛ぶ高さ
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527:1994:
499:1989:
421:, and
413:, the
399:France
384:France
380:Brazil
378:, and
362:, the
344:France
163:Career
126:/oriza
1897:2015.
1642:: 40.
1469:Ｓ高原から
1444:麻雀放浪記
899:南島俘虜記
563:ヤルタ会談
535:東京ノート
507:ソウル市民
445:39th
423:China
419:Korea
411:Spain
407:Italy
395:Japan
372:China
368:Korea
251:ethos
204:東京ノート
183:ソウル市民
154:Tokyo
143:平田オリザ
66:Japan
62:Tokyo
36:Tokyo
22:平田オリザ
1979:2015
1947:ISBN
1922:ISBN
1873:ISBN
1851:2015
1825:help
1784:2015
1666:2015
1515:暗愚小傳
1492:阿房列車
1375:北限の猿
1137:革命日記
1089:夫婦善哉
849:御前会議
824:砂と兵隊
794:別れの唄
629:舌切り雀
386:and
124:/eng
122:.org
45:Born
1327:転校生
1256:冒険王
1233:踊り子
1066:忠臣蔵
748:森の奥
675:働く私
308:'s
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118:www
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