Movable Code

Trade, Robot, Policy

Julie Taymor

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35  브로드웨이에서 극작가로 시작한 영화감독이자 뮤지컬 감독. Creative Minds 에서 알게된 지적인 느낌을 물씬 풍기는 여성인데, 인터뷰의 내용이 마음에 들어서 관심을 가지게 됐다. Lion_king_large

뮤지컬 라이온킹은 한번쯤 명성을 들어봤던것 같다. (이 여성이 라이온킹 뮤지컬 연출가다. 영화감독도 사이드잡이 아니라 아카데미 노미네이트 경력까지 있다.) 뉴욕에 가면 꼭 한번 봐야만 하는 뮤지컬이라는데 감상기를 읽어보면 대단하긴 대단한 모양이다.

인터넷을 서핑하다가 그녀의 바이오그래피를 대충 모아봤는데 얼핏봐도  ㅎㄷㄷ

 

Biography

  • 1952년 보스콘 외곽 Newton 출생.
  • 어려서부터 연극에 관심을 보여 10살때 보스톤 어린이 극단에 합류.
  • 14,15세때 국제교류프로그램에 따라 스리랑카, 인도 여행.
  • 16세때 파리 연극학교 Jacques LeCoq 에서 수학
  • 이후 미국 오하이오주의 Oberlin 대학에 입학.
  • 통상적인 극예술 전공학생과 달리 민속학/신학에서 학위취득
  • 뉴욕 Joseph Chaikin’s Open Theater 에서 공부후 Herbert Blau 의 극단에 합류, 극단에서 가장 젊은 연기자중 한명으로 활동
  • 1973년 시애틀의 동양예술학 프로그램에 합류, 인도네시아의 전통 가면/인형극 공부
  • 1974년 졸업후 전통극에 대한 필연(?)/관심(?) 으로 일본, 인도네시아 발리 여행, 이후 5년동안 인도네시아 Loh 극장에서 활동
  • 1979년 미국으로 복귀. 이때 미국에서는 혁신적인 극연출가와 디자이너로 명성을 얻기 시작. 작곡가 Elliot Goldenthal 과 다수의 프로젝트 진행 (Transposed Heads, The Tempest, The Taming of the Shrew…)
  • 1984년 루마니아 연출가 Andrei Serban 과 The King Stag 공동연출, 메사추세츠 캠브리지의 American Repertory Theater 를 시작으로 2000년까지 뉴욕,LA,베니스,도쿄를 포함한 전세계 66개 도시에서 순회공연
  • 1988년 멀티미디어 퍼포먼스 Juan Darien, a Carnival Mass 로 두개의 obies 상을 포함한 다수의 수상, 뉴욕도서관에서 전시회
  • 1992년 일본에서 Seiji Ozawa 와 오페라 Oedipus Rex 연출, 미국에서 에미상을 포함한 다수의 수상
  • 1993년 모짜르트의 마술피리를 재구성/연출FLO_1_tf3flute_210794_0403
  • 뉴욕에서 세익스피어 원작의 Titus Andronicus 연출
  • 1996년 The Green Bird 연출
  • 1997년 디즈니 CEO 마이클 아이즈너의 요청으로 뉴욕 브로드웨이에서 The Lion King 뮤지컬 연출
    • 두개의 토니상과 다수의 수상, 현재도 전세계에서 공연중
      42-15379651
  • 1999년 영화 Titus 연출
    arts01_titus 
    Titus 에서 안소니 홉킨스와 함께
  • 2002년 멕시코 화가 프리다 칼로의 인생을 그린 영화 Frida 연출
    BE062797
  • 2004년 뉴욕 메트로폴리탄 오페라극장에서 마술피리 공연
  • 2006년 Grendel 연출
  • 2007년 영화 Across the Universe 연출
  • 현재 영화 Transposed Heads 와 뮤지컬 Spiderman 준비중

 

Images

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인상적인 인터뷰들

In your own life, when did you first feel transformed by art?

I don’t know if I’ll remember that moment, but I was always playing in the backyard. I was always dressing up and putting on shows. My elder sister loved to organize things. And so we did a lot of make-believe. Remember that word? A lot of play.

My parents encouraged us to go out and play…julie_taymor1

I think that there’s an unfortunate thing right now that children are in front of computers as opposed to going outside and taking a bit of string and a bit of fabric and a stick and making a kite, and understanding that this kite could be a bird because you imagine it to be a bird, not because you push a button and “bird” comes up in your Google. I feel like the computers are a tool, but they’ve become a monster, and will really cut down on the creativity and imagination of people, period, that it’s a going backwards in certain ways. It’s going forward and it’s wonderful when you use it as a tool. But it’s like when people say, you know, the modern technology is better. Well, honestly, who built the Taj Mahal? Who created these beautiful structures, these buildings, and out of what? Or the pyramids. I mean, yes, you had slaves, and that’s lousy, but on the other hand, it’s the imagination of the creative — the artist — isn’t necessarily better because they’ve got higher technology and better tools.

I went to Boston Children’s Theater when I was a young kid, at about age eight or nine. I started to take the — not the subway, but the trolley cars into Boston, and was acting at a really young age. I think Midsummer Night’s Dream is my earliest memory of a play that we saw on a trip in the summer when I was about eight in Canada at Stratford, at the Shakespeare festival there. And then I acted as Hermia, and that was my first memory of really acting when I was seven or eight years old. But I think it was a Shakespeare play. I’m almost sure it was a Shakespeare play.

You’ve said that your parents gave you a sense of trust in yourself, and gave you freedom. How did they do that?

35a Well, I’m the youngest of three, and I’m younger than my older brother and sister by five or six years. They had a lot of trouble with them. It was the ’60s, and I got to watch. I should tell you about my new movie, Across the Universe, because it’s all set in the ’60s.

My father basically said to my mother, “Okay, she’s yours and if you don’t want to say no, then don’t say no.” They put so much trust in me that I had to create my own sense of morality. I would make those decisions myself. They treated me like an adult. I called them by their first names when I was very young, and I became very good friends with my parents. Only once did I lie to them, and I lied because they forced me to because they didn’t trust me. They wouldn’t let me go with my boyfriend when I was 12 or 13 or 14 or something on a trip, thinking of course I would lose my virginity, or I would do something, get pregnant. I was master of myself. I could take care of myself, so I went anyway, told them I was with a friend. When I came home, I said to them, “I lied to you, and this is why I lied to you.” I know that sounds pompous, but they said, “Oh, you’re right. There’s no reason to do that. We’re not going to treat you like a child.” So treating me like an adult made me act like an adult. That’s why…

When I was 14 or 13 or 15 I went to Sri Lanka on the Experiment in International Living for a summer. I wanted to travel. And going outside of my own culture and traveling and seeing my own world from a foreign perspective is a big part of my life and who I am. That’s what I was talking about earlier, is stepping outside of yourself and examining yourself with a different perspective is very important, and it’s important to do as an artist for others. Then, when I was 16, I graduated from high school early — and never really officially graduated — and went to Paris to study mime at École de Mime Jacques Le Coq. And then traveled some more, and started my own theater company in Indonesia. I basically was very, very let free, let go. “Do what you want to do. We will support you.” And I suppose that could be bad. But in my case, it worked out well, and I was always extremely close to my parents.

Were they artistic as well?

m1067599 My father was a doctor. He’s gone now. Mother was in politics, but she has an artistic flair. I think she’s very dramatic. Her father didn’t want her to go into theater or film. That was a bad thing. You know, only hussies become actresses. But then she found a medal my grandfather had received for acting when he was young. No, my parents weren’t in the arts, but they were lovers of the arts, and they talked about it. I didn’t really go to concerts, classical music or any of that. I never really enjoyed opera when I was young. But they were very encouraging of us doing the arts.

What kind of politics was your mother involved in?

Democratic politics. We’re from Massachusetts. She was always involved; she ran for office and was a state representative. We knew the Kennedys; I still know Ted Kennedy. She was a delegate to all of the conventions and many other things.

When she got older she got her master’s and started a program for women in politics at Boston College and then Boston University and Smith College. She’s now in her 80s, but she was one of the first women to really be involved in politics. I remember canvassing with her when I was 12 and having people say, “Oh, go home. Take care of your kids.” “Well, my kids are with me.” Having that kind of prejudice against her as a female — because she was one of the first. She was very attractive. She wasn’t Louise Day Hicks if you remember that. She wasn’t that kind. There were a lot of women that didn’t support women at that time.

So she became very involved in teaching and setting up programs, especially for women who had finished with their children, who now wanted a career in politics. She started a whole program to get them ready to go out into the political sector.

So you had a role model for being outspoken, not hiding in a corner, and forging a new path.

610x My mom? Oh God! My mother was never home when I was a kid. I complained. “Why aren’t you baking Girl Scout cookies?” or whatever, although you can buy those in boxes. Actually I was very proud of her, that my mother was working or going to school. I think that I got enough attention, and I think the fact that she let me be free and didn’t spend so much attention on me was a good thing.

That’s a twist on what a lot of the parenting books say these days.

Oh, suspend all that!

Were you a serious student at school?

Yeah, yeah.

I did well in school. You know, I went to Oberlin. At that time, grades were — you elected to have them or not. It was all of that era where grades were out the window. But I did very well in school. I didn’t really study the arts; I practiced the arts. I really never studied drama and playwriting or any of that. I just was a practitioner always.

What about books? Were there books that you particularly remember as a kid, growing up?

sculping Well, as a child I remember Little Lord Fauntleroy and A Little Princess and Mrs. Piggle Wiggle. Those are the books that I can remember. As a young adult — I think 14 or 15 — Gabriel García Márquez. I think that I must have read One Hundred Years of Solitude when I was 14 or 15, and that was my favorite book at the time, and then more of his books. As I get older, I have other favorites.

Could you name a few?

Salman Rushdie’s books. I think the last one he wrote, Shalimar the Clown, was incredible. Oh my God! It’s hard when you get put on the spot for your favorite. It’s always what you just read. White Teeth! I read a lot of books that are, for lack of a better word, cross-cultural. I find movies and books that take me — transport me to another culture are the things that I’m most interested in, and always have been. So reading about someone from an Indian culture growing up in England — some other books by Indian authors have come out recently that I’ve really enjoyed.

You mentioned visiting Sri Lanka when you were 14 or 15. What program was that?

It was the Experiment in International Living, where you live with a family for the summer.

That’s really young to be traveling away from home.

 DWF15-506587 Yeah, but they let me do it. They were very busy with my older brother and sister, who went right through politics, the drugs, the dropouts, the marches, the entire ’60s, and I watched that as a voyeur. I was 12 or so, watching my sister, who was in SDS, Students for a Democratic Society. Then her husband was on the way to being a Weatherman. I saw the whole thing. My brother went to Haight-Ashbury and was a musician and dropped out of college three or four times. And the LSD! I actually had tremendous sympathy for my parents, compassion, because they didn’t know what the hell was going on.

This new movie that will come out next year, Across the Universe, is the first piece of work that I’ve done that has anything remotely to do with the way that I grew up in America. Everything else I’ve done, whether it’s Grendel — Beowulf, the monster — or Frida Kahlo or Titus — Shakespeare — or Indonesia, have been places where I feel I lived. Where I live is not necessarily in New York City. That’s where my apartment is, but I live in Mexico, or I live in Indonesia. I live in Japan. I feel as comfortable in those other cultures, because, in a way, I’m always uncomfortable. I can’t explain that, exactly, but I put myself into situations where I’m forced to do something, to create, to respond, to see differently.

It was fascinating to be offered a Beatles musical — this is using 30 Beatles songs — having nothing to do with the Beatles. It’s a completely original musical set during the ’60s that takes place in New York and Vietnam and Detroit and Washington and Liverpool, but is not about the Beatles, and really is telling the story of that time.

Going back to the beginning of your career, what do you think you learned in Japan and Indonesia that changed your way of looking at things?

0000364834-003 Very different in Japan than in Indonesia, because Japan is already a modern culture, even though they have traditions, which are incredible and are not just preserved, but living. Different experiences impressed me. One thing is, I would go back and forth between the traditional arts, like the Kabuki or the Noh, and explore the contemporary theater, like Suzuki or Terayama, the Butoh theater, and all of the unbelievable puppet theater that they have for adults. You know, we still hear the word “puppet” and we get this nauseating image of some kind of Muppet or something. Puppets really are the origin of theater. Even the shadow on the wall of Plato’s cave was a puppet. The very first actor was some kind of hand creating some kind of animal.

I met a Noh mask carver in Kyoto, and I was very impressed, when I went into his workshop, how he laid out his tools, how he laid out the wood and the carving tools, and the neatness, so that the act — the sheer act of carving — was an act of devotion. And you didn’t go into just a messy studio and just slap-dash something together. The making of the mask, or the making of the puppet in Indonesia, the carving of the leather shadow puppet, is such a high art form that — a wooden mask, you have to hold the head to north, and the south would be the bottom. How you put the masks in a box, how you treat them — they are not merchandise. They are not just inanimate objects.

If the grain of the wood in the tree goes from north to south, then you carve that mask that way. People make up these rules. They’re not God-given, because there’s no such thing, but somehow these rules come from nature. When I was talking about awe earlier, they are things that bring the level of our humanity to another place. We can either be monsters or angels. We are able to be demons and angels, as that book says. We are able to be incredibly creative or to be incredibly destructive. We have that decision to make, to create something. It could be grotesque and ugly, but it is monstrously beautiful, so it inspires people.

I received from my experience in Japan an incredible sense of respect for the art of creating, not just the creative product. We’re all about the product. To me, the process was also an incredibly important aspect of the total form. And in Indonesia even more so. So then I spent more time in Indonesia and watched these incredible ceremonies that would go on for nine hours that were completely — the separation between your function as a Hindu and your function as a puppeteer creating a puppet show in this Hindu (culture) — there is no separation.

Julie-Taymor2

We have relegated our arts to an entertainment factor, yet on the other hand, we recognize the power of sports and entertainment to completely take over the psyche of individuals, the worship of celebrity. So you can’t dismiss it. I think that there is a point where you can’t dismiss it. What you have to do is plug into it and understand that that’s something very powerful.

There is incredible power in the arts to inspire and influence. Let’s even just take homosexuality in our culture. Brokeback Mountain is, to me, way behind. If we didn’t have movies like Tom Hanks in Philadelphia, where we see a love affair between two men. That was way beyond Brokeback Mountain for me. When we saw the family accepting their son’s choice — not even his choice, but who he was — that completely started to change the culture. So in entertainment, you have the power to totally transform.

Now, again, if you’re talking about religion, we see that we’re into this massive religious warfare. That is so totally connected to the spirit, and the spirit is completely manipulated by the arts in a good and bad way. You can rile people up with incredible poetry, with words. And what are words?

I heard Ralph Nader speaking about the sharp tooth and the smooth, silvery tongue. Grendel is full of this. What Grendel is about speaks to these issues. It is the power of music and the power of words, whether they’re from the Koran or the Bible, to sway you. People will go to war based on art. “Men gone mad on art.” That’s a line from Grendel.

If you can show through a story what will happen, what is going on, you will by far inspire and influence people more than anything else. They’re not going to be listening to reality. They won’t. Because there’s nothing worse than reality. What they want to hear is stories, and then if the stories touch them — and that means sets the blood and sets their sentiments and their emotions going — they will do something. But it has to be done that way. That’s what will move them.

That’s why when you go to church and you see people going into a trance, you say, “How does that happen? How did it physiologically happen?” How do people walk on coals if it’s not through belief? Belief is through talk and through image and through music and through the church or the temple or the space that you’ve created to create that sense of transformation.

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Written by soyul's papa

8월 11, 2008 , 시간: 8:18 오후

영화와 음악, 에 게시됨

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