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God Bless Baseball by Okada Toshiki (review)

God Bless Baseball by Okada Toshiki (review) 226 Performance Reviews GOD BLESS BASEBALL. Written and directed by Okada Toshiki. Under the Radar Festival. Japan Society, New York. 16 January 2016. A Korean-speaking man (Lee Yoon Jae) repeatedly loses his train of thought as he tries to explain to two women (Wi Sung Hee and Nozu Aoi) the rules of baseball. The terms that confuse the women are second nature to him: inning, strike, out, first base, home plate. But knowing something does not mean you can explain it. This idea, introduced in the comic opening, ran throughout Okada Toshiki’s God Bless Baseball, presented by the Japan Society as part of the Public Theatre’s Under the Radar Festival. Despite the everyday feel, reminiscent of a weekend morning at the neighborhood park, the per- formance underscored the difficulty of communication. Although none of the characters seemed to notice, the performance jumped between Korean and Japanese. A pair of projection screens displayed subtitles at all times in one of the two languages plus English, calling attention to the many levels of transla- tion and approximation (Fig. 1). Added to this was the bizarre body language of the laborious choreography, the actors warping their bodies into uncom- fortable positions in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

God Bless Baseball by Okada Toshiki (review)

Nahm, Kee-Yoon
Asian Theatre Journal , Volume 34 (1) – Feb 15, 2017
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

226 Performance Reviews GOD BLESS BASEBALL. Written and directed by Okada Toshiki. Under the Radar Festival. Japan Society, New York. 16 January 2016. A Korean-speaking man (Lee Yoon Jae) repeatedly loses his train of thought as he tries to explain to two women (Wi Sung Hee and Nozu Aoi) the rules of baseball. The terms that confuse the women are second nature to him: inning, strike, out, first base, home plate. But knowing something does not mean you can explain it. This idea, introduced in the comic opening, ran throughout Okada Toshiki’s God Bless Baseball, presented by the Japan Society as part of the Public Theatre’s Under the Radar Festival. Despite the everyday feel, reminiscent of a weekend morning at the neighborhood park, the per- formance underscored the difficulty of communication. Although none of the characters seemed to notice, the performance jumped between Korean and Japanese. A pair of projection screens displayed subtitles at all times in one of the two languages plus English, calling attention to the many levels of transla- tion and approximation (Fig. 1). Added to this was the bizarre body language of the laborious choreography, the actors warping their bodies into uncom- fortable positions in

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Feb 15, 2017

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