NoH Theater
Rio de Janeiro, 1987
Noh, derived from the Japanese word nō, meaning “talent” or “skill”, differs from a typical Western narrative drama. Rather than acting in the Western sense, Noh performers serve as storytellers: display and movement suggest the essence of their tale rather than enacting it directly. In philosophical terms, my art has always related to essence. At the time, I was exploring the intermediacy between the representational and non-representational spaces in painting, a discourse akin to Noh performance techniques.
At the Noh Theater, the bridge is not just a walkway but also a metaphorical pathway between the spirit world—the translucent cube—and the temporal world—the main stage.
For the set, I followed the classical stage structure except for introducing an inclination to the bridge-way. My intention with this ramp was to propel the acting, causing actors to engage with levels and movement. This also incorporated the element I was occupied with at the time throughout my practice: the diagonal, as an intermedial form.
