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The Castle of Cagliostro (1979) 100 Minutes

I love this film. If you have yet to watch it, stop what you are doing right now, and go watch it. I will probably never say that again because I know that everyone has their own taste and not all movies that I like will be liked by everyone. This is the one exception for me.

The Castle of Cagliostro is legendary director Hayao Miyazaki's very first film. It was originally released in 1979 and is, in my opinion, the necessary bridge between classic and modern anime. I first watched this movie 10 years ago and I recently viewed it again and, I must say, the magic is still there. Cagliostro is fun. That is what sets it apart. It has a classic story about saving a princess from the bad guys, and along with that you've got the action that can only be done properly in anime.

The star of the film is a character named Lupin III who has appeared in his own manga as well as several anime series and other movies. You don't need to know anything about him to enjoy this movie. However, I would highly recommend researching some of his other stuff. Lupin is a fun-loving thief who has a heart. I have a hard time saying enough about this movie because it really is a blast and Miyazaki truly burst onto the scene with this. I would definitely put this on some sort of Anime Movie Essentials list.

Lost in Space

On Stephen Shelley

~ Peter Brook, The Empty Space

This was written in 1968 by one of the most brilliant minds of the modern theater. I read this over 20 years ago and it is still as relevant today as it was then, if not more so. A performance space need not be contained within a proscenium, nor does it have to have a grid or a flat playing area. It doesn't have to have wings, dressing rooms or even seats, for that matter.

At times throughout history, and particularly since the 1960s, artists have conceived of very dynamic works of performance outside of these traditional confines. But in the last 15-20 years, work of this nature has dramatically expanded. In this study of the evolving notion of the performance space, I will briefly look at the origins of space and the roots of the traditional space. I will then discuss the impact technology has had, and is having, upon the concept of the performance space and then look at some of the exciting ways contemporary artists are forging new ground outside of the traditional structure.

Throughout these essays, I refer to the "traditional space" often. By “traditional space”, I mean a performance venue which has a stage and a section for a seated audience. This includes the classic proscenium stage (which we’re all used to), the thrust stage and theater in the round. The commonality between all of these stages, and which is important for this article, is that the audience is in a passive/receiving mode, and the action - typically comprised of some combination of actors, singers, dancers, a stage, lights and costumes - is played out upon the stage in full view of the audience. This is what I mean by “traditional space”.

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