Le Entrevista a Naoko Tanaka por Rafa [ENG]

Visiting Lisbon for the presentation of "Die Scheinwerferin"  (23rd to 25th of May 13, in Espaço Alkantara, included in FIMFA Lx 13), Naoko Tanaka gives us a few words.
Dance, choreography, installations, performances, sound, light and image. Do you see yourself as a complete artist, a perfect manifestation of the total art idea or, saying in a different way, like a "Woman of the Renaissance"?

I try to follow and serve at artistic ideas strictly as much as possible. The format of their manifestation (in which form it embodies as art work) depend of each ideas & thoughts.

Sometimes they take a form as soundscape, certain images, a construction or situation with some figures, or just a gesture... The form appears together with embodiment of this certain idea. There is no form at first at which I should serve.

I think this way to work basically makes my work complete. And normally I work alone, I do almost everything by myself, to realize/visualize this ideas… because I don´t want any compromise by giving shape to them. Off course, with such a way to work, I´m well aware there is a certain limit which I can reach with my skill. Expressions like "woman of renaissance" is definitely too much... But in one sense, this is an interesting description, because my tools are very ordinary things, almost just elementary things... there´s nothing "new", any up-to-dated technic, media or style.

But maybe, the way how this ordinary elements are encountered (very simple and at the same time total complex) I do regenerate possibilities of artistic languages.

The show you will offer to Lisbon, the multiple-awarded
"Die Scheinwerferin", uses visible manipulation and also shadow play. How did you started using Shadow Play in your shows and what is the "force" or "power" you think it delivers to the audience?

Since my childhood I was fascinated about optical phenomenon which where created by light & shadow. They are an incredible phenomenon, characterized by their existence at the border between the material and the immaterial. We can see and recognize them, but we cannot describe/catch them. And they are just ephemeral.

By a lot of experimenting (and also just playing) with them, I discovered a big potential of them, to make invisible things visible.
"Die Scheinwerferin" is the first work in a trilogy, in which I focus exclusively on "shadow" as an entity in the metaphorical sense.

The piece blurs the boundary between the material and the immaterial, the physical and the disembodied. The inner world is externalized, far becomes close, fast becomes slow. The quiet rings loud and the invisible is made visible.

Shadows let us be aware about our own potential to see beyond the world.
What is your main drive in using puppetry, are they artistically more delivering that other art forms, let's say e.g., like the human body? Although, when manipulating a marionette, the artist and his or her body also takes part in the presentation...

It is our imagination pure, if we for example see a puppet has emotion. Because we have emotion and we know how it feels, to live as a living being. I´m interested in liveliness, and the liveliness does not depend on human body or any kind of living creature.

The living images, which you see in my shows, is not my creation, it´s your own imagination. In the final instance, the images created within each spectator’s inner self are what counts. I want to share this moment of discovery with my spectator.

Photo by Trevor Good
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Naoko Tanaka : www.naokotanaka.de

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