Artist Henrique Oliveira Constructs a Cavernous Network of Repurposed Wood Tunnels at MAC USP
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cute smile from Sudan
by- Andrzej Olszewski
…and the Smile wins…
Adepero Oduye photographed by JD Barnes for Ammo Magazine, Summer 2013
Kurosawa has a plate of giant chocolate-covered strawberries, giant stem strawberries, and fresh raspberries in front of him. A waitress offers him some chocolate truffles and some chocolate cake, and he helps himself and contemplates his desserts with obvious pleasure. Elia Kazan, a few seats away at the table, catches his eye. “The film I want to see again is the Russian one—Dersu Uzala,” Kazan says, looking at Kurosawa with boyish admiration. “I saw it five years ago, when it came out. Did you work with the author? How does a script like that come to be?”
Kurosawa nods several times and laughs, putting back on his plate a chocolate-covered strawberry he was about to eat. “The Soviets came to me and said, ‘We want you to direct a film in Russia. Whatever you want to do.’ I suggested the Russian novel by Vladimir Arseniev. I had read it thirty years before. The Russians were amazed that I knew this book, and accepted immediately. The Russian writer Yuri Nagibin kept coming in. We did the screenplay together, working in Russia. That is”—Kurosawa gives a mischievous kind of grin—“his ideas were not usually acceptable, so we stayed mainly with ideas that were mine.” He pops the chocolate covered strawberry into his mouth.
[Profiles: Kurosawa Frames | The New Yorker — 1981]
What kind of influence does the Noh play have in Throne of Blood?
Akira Kurosawa: Drama in the West takes its character from the psychology of men or circumstances; the Noh is different. First of all, the Noh has the mask, and while staring at it, the actor becomes the man whom the mask represents. The performance also has a defined style, and in devoting himself to it faithfully, the actor becomes possessed. Therefore, I showed each of the players a photograph of the mask of the Noh which came closest to the respective role; I told him that the mask was his own part. To Toshiro Mifune, who played the part of Taketoki Washizu (Macbeth), I showed the mask named Heida. This was the mask of a warrior. In the scene in which Mifune is persuaded by his wife to kill his lord, he created for me just the same life-like expression as the mask did. To Isuzu Yamada, who acted the role of Asaji (Lady Macbeth), I showed the mask named Shakumi. This was the mask of a beauty no longer young, and represented the image of a woman about to go mad. The actress who wears this mask, when she gets angry, changes her mask for one the eyes of which are golden-colored. This mask represents the state of an unearthly feeling of tension and Lady Macbeth assumes the same state. For the warrior who was murdered by Macbeth and later reappears as an apparition, I considered the mask of the apparition of a nobleman of the name of Chujo. The witch in the wood was represented by the mask named Yamanba.
[ Interview with Akira Kurosawa | Joan Mellen, 1975 ]