The bee may protect itself with its sting,
but it pays a heavy price for doing so


Photography Alex Botonakis
CAST: Giorgios Giannoutsos - Ido
Xenia Papadatou - Ogoro's Wife
Giorgos Giannarakos - Dodoyama
Iakovos Mindrinos - Ogoro/ Rokuro / Reporter
Katerina Parissinou - King of Chefs/ Reporter
Thanasis Fatouros - Policeman/Reporter

Hideki Noda, playwright-director of the Tokyo Metropolitan Theater, will be attending the event in person.
After the presentation: Meeting with the playwright coordinated by Octavian Saiu, Adjunct Secretary General of the International Association of Theatre Critics (IATC)


The Play
"The Bee" is a fairly straightforward story about the fine line between victim and victimizer. A man comes home one day for his kid's birthday to find a violent madman holding his family hostage. In retaliation, he in turn takes the hostagetaker's family hostage, and quickly proves himself capable of equal, if not greater, acts of violence.

When Mr Ido, a Tokyo businessman, returns from the office one day, he discovers that his wife and son have been taken hostage by an escaped convict, Ogoro. The police appear inept and largely indifferent to the fate of his family, and the media insensitive and intrusive, so Ido discovers that he has "no aptitude for playing the victim". Used to negotiating good deals in business, he decides to take matters into his own hands. He pops round to Ogoro's family home, disarms a doltish policeman, and takes the convict's wife and child hostage in a tit-for-tat strategy.
Soon, to the delight of the media, there is a stand-off between Ido and Ogoro, who send a series of increasingly grisly messages to each other in an escalating scenario of violence and macho one-upmanship. For Ido, what began as an attempt to save his wife and son becomes a bizarre and twisted exercise in winning at any cost: even if that involves the rape, torture and possible deaths of those you claim to love. The bee may protect itself with its sting, but it pays a heavy price for doing so.


ABSTRACTS

IDO: Well to hell with you too and to hell your wife and son.
OGORO: Wh...wh...what are you going to do with them?
IDO: Nothing if you leave my house.
OGORO: If I leave your house, they'll send me b..b...back.
And I won't see her.
And she's the reason that I've done what I've done.
IDO: Don't you get it? She doesn't want to see you.
OGORO: S..s...so there is someone else, s…someone new?
IDO: Come over here and ask her yourself.
OGORO: No, you b..b..bring my family here to me.
IDO: No, you leave,
Or, though I have always considered myself a pacifist,
I shall rape your wife and kill your son.

---------------------
IDO: Who knows what I could do,
Now that I'm the same as you?
Look at your son's small white arm,
Such a shame to do it harm!
OGORO: Wh..wh...what could you do? What could you do?
Y...y...you don't have the balls.
IDO: I don't have the balls?
IDO twists OGORO's SON's arm. SON screams.
OGORO: Wh....wh...what are you doing? What 's going on?
Wh...wh...what are you doing there to my son?
IDO: And next I'm going to strangle him.
OGORO: Stop it ,stop it p...please.
p...p...please leave him alone, p..p...please
IDO: What kind of criminal p..p..pleads with his victim?

OGORO: Now y...y..you've asked for it.
I'm g...g..going to beat up your little shit.
OGORO'WIFE arrives with music box. All except IDO
scream, howl,etc. An abrupt silence. Only the sound
of playing "Swan Lake" continues.

---------------------
YEONG-HO: I’ m trying to help you.
MYEONG-SUKl: I don’t need your help.
YEONG-HO: Just leave that Japanese woman behind and you can go with us.
MYEONG-SUK: We’ve been through hell together. You have no idea what kind of hell it was.
But there were moments... good moments like a dream.
And Mitsuko was in that dream. She is the only one who knows
the hell that I’ve been through.

 

Hideki Noda
Playwright
Hideki Noda, born in Nagasaki in 1955, is an acclaimed Japanese actor, playwright and theatre director who has written and directed more than 40 plays in Japan, and is working to bring modern Japanese theatre to an international audience.
He briefly attended Tokyo University to study law but eventually dropped out. In 1976 founded his theatre company, named Yume no Yuminsha (Dreaming Bohemian), while he was still in Tokyo University as a law student. Yume no Yuminsha became the emblem of the country’s vibrant youth theatre firmament and the leader of a nationwide cultural movement in the early 1980s known as Sho-gekijo (Small-scale Theatre Movement).
In 1992, Noda went to London to study theatre. When he returned to Japan, he started the independent company Noda Map, to promote and produce his own plays.
At the age of 27, Noda won Japan’s most prestigious theatre accolade, the Kishida Prize for Drama for Nokemono Kitarite (Descent of the Brutes). Tickets to his plays became the hottest of all to get a hold of. Yume no Yuminsha broke all kinds of records by drawing as much as 26,000 audience to a one-day event at which Noda staged his version of Wagner's The Ring of the Nibelungs presented at the Yoyogi National Gymnasium in Tokyo.
In 2006, Noda Hideki wrote The Bee which is coauthored by Colin Teevan. This play was adapted to theater from Tsutsui Yasutaka’s novel Mushiriai (Plucking at Each Other). In 2006, The Bee was first staged in English by Soho Theatre and NODA MAP, and in 2007 in Japan by NODA MAP.
He is artistic director at the Tokyo Metropolitan Theatre since 2009.

 

 

Curator’s Statement
Even the Far East can feel closer
In this unique “Focus Asia” Programme, we celebrate the great playwrights of a continent in which theatre is always somewhere between tradition and innovation, between a remote past and an immediate present, between myth and reality. Indeed, the inspirations and values at the core of contemporary Asian playwriting are so profound because they derive from this series of paradoxes.
Like a haiku or a Murakami novel, The Bee by Hideki Noda is mysterious and provocative, a true journey into the unknown. To discover it is simply a cultural revelation. In a text staged by thousands of directors and widely regarded as the masterpiece of twentieth century Chinese drama, Secret Love in Peach Blossom Land, Stan Lai creates the atmosphere of a theatrical tale like no other. It is a play within a play within a play... about love, history and identity. Pai Sam-Sik, a Korean master of dramatic craft, invites readers and spectators to confront a deep trauma of his nation, one that scarred the spirit of an entire continent. His 1945 is an act of remembrance and moral judgement.
Three plays, there authors, three artistic universes... One single principle, underlying the Readings and Conferences of “Focus Asia”: in theatre, through theatre, even the Far East can feel closer. [OCTAVIAN SAIU].


Octavian Saiu
CURATOR FOCUS ON ASIA
Octavian Saiu is a scholar and professional theatre critic.
He holds a PhD in Theatre Studies from National University of Theatre and Film (NUTF) in Romania, with a thesis about theatrical space, and another one in Comparative Literature from the University of Otago in New Zealand, with a thesis about Samuel Beckett and Eugène Ionesco. He completed his Post-Doc in Modern Literature at the University of Otago, and has been awarded his Habilitation in Theatre and Performing Arts. He teaches in the Postgraduate Programme of NUTF, the Doctoral School of Sibiu University and the Centre of Excellence in Visual Studies of the University of Bucharest. He was Visiting Fellow at the University of London, School of Advanced Study, and is currently Visiting Professor at universities in Tokyo, Hong Kong and Lisbon. He has offered master classes at other universities in Europe and Asia, as well as the Grotowski Institute.
He has been actively involved, as Conference Chair and Invited Speaker, in several major theatre and academic events in North America, Australasia and Europe, including the Theatre Olympics and Edinburgh International Festival, where he was Chair of the Samuel Beckett Conference in 2013. Since 2004 he has been Chair of the Conferences of Sibiu International Theatre Festival.
He is Adjunct Secretary General of the International Association of Theatre Critics (IATC) and President of the Romanian Section-Theatre Studies of IATC. He has published academic articles in several international journals, as well as nine books on theatre. He received the Critics’ Award in 2010 and the Award of the Union of Theatre Artists (UNITER) in 2013. His most recent publication in English is the monograph, Hamlet and the Madness of the World (2016).

 


Analogio Festival, member of EFA/EFFE (European Festivals Association/ Europe for Festivals- Festivals for Europe), a successful institution dedicated to the theatre and contemporary writing, is organized for the 15th continual year, 21- 27 September 2018.

Analogio Festival 2018
Artistic Director: Sissy Papathanasiou
Translations: Jacques Bouchard, Gina Karvounaki, Eleni Mitsakou, Sissy Papathanasiou, Nadia Foskolou.
Curators: Focus Asia: Octavian Saiu. Outdoor Activities: Geert Vermeire / the milena principle
Production support: Despina Errikou
Assistant Production Managers: Cybele Dragoumi, Vera Nikolopoulos
Creative Team: Eleni Mitsakou, Anna Gourzi, Gina Karvounaki, Despina Kosmopoulou, Smaro Kotsia
Programme editing: Smaro Kotsia
Photographers: Frank James Johnson, Cybele Dragoumi, Giannis Priftis
Set and Costume design: Ζoe Molivda Fameli
Lighting: Ζoe Molivda Fameli, Stella Kaltsou
Graphic design : A4Artdesign
Internet site: media42.eu
Press Officer: Aris Asproulis, Maria Konstandopoulou

Under the auspices
Hellenic Ministry of Culture and Sports
International Theatre Institute ITI, 2018-The year of ITI

With the kind support
THE J. F. COSTOPOULOS FOUNDATION || Aikaterini Laskaridis Foundation || Embassy of Israel in Greece || Embassy of Switzerland in Greece || Embassy of Greece in South Africa || Finnish Institute at Athens || The Hanoch Levin Institute of Israeli Drama || EFA/EFFE (European Festivals Association) || GREECE all time classic || Greek Art Theatre Karolos Koun || Municipal Theatre of Piraeus || Stathmos Theatre || TAF|The Art Foundation || The milena principle || NEAP-ITI Worldwide Inter-Europe Artist Exchange project || Drama School Dilos || Athens Conservatoire Drama School || Blue–Workshop for art and communication || Radisson Blu Park hotel || All About Festivals || Greek Play Project