The Peruvian Maestro of Magical Realism in Filmmaking: Julil
The Medium : An Award Winning Filmmaker and Screen Writer
Juliana, a filmmaker hailing from the quaint fisherman’s village of Peru, is a storyteller whose roots are deeply entwined with the rich cultural tapestry of her homeland. Born and raised amidst the mesmerizing tales of the sea brought by the fishermen and the enchanting Incan folk stories narrated by her grandmother, Juliana’s passion for storytelling was nurtured from a tender age. This unique blend of maritime adventures and ancient folklore has profoundly influenced her narrative style, propelling her into the realm of magical realism.
Her journey from the serene coastal village to the bustling city of Lima marked the beginning of her formal foray into the film and television industry. Armed with a Bachelor’s in Fine Arts, she initially carved a niche in the wardrobe department, where her team’s meticulous craftsmanship in period pieces garnered multiple accolades. This early experience honed her aesthetic sensibilities and deepened her appreciation for the intricate details that bring stories to life on screen.
The move to California was a pivotal chapter in Juliana’s life, where she furthered her education with a Master’s degree in Motion Picture and Television from the prestigious Academy of Art University. Here, she wrote and directed “La Santa,” a short film that stands as a testament to her storytelling prowess. Shot entirely in Peru, “La Santa” delves into the black culture in ancient Peru, blending historical authenticity with the ethereal quality of magical realism. The film’s success, showcased by its presentation at 18 film festivals and accolades, including 11 honorable mentions and 8 awards for best film, underscores Julianna’s exceptional ability to weave compelling narratives. The crowning moment came with praise from Gabriel Garcia Marquez at the Cartagena Film Festival, a nod from one of the greatest storytellers of magical realism himself.
In recent years, Juliana’s talent and dedication have continued to shine on the international stage. She won the prestigious award for Best Writer in the “Best True Story Script” category at the World Film Festival in Cannes and the Near Nazareth Festival. These accolades recognize her exceptional writing skills and highlight her ability to craft powerful, true-to-life narratives that resonate deeply with audiences.
Juliana’s storytelling expertise transcends traditional filmmaking. As a subtitle writer for major streaming platforms like Amazon Prime Video, Netflix, Disney+, and Hulu, she ensures that stories are accessible and resonate across linguistic and cultural barriers. Her role in training AI through creative writing and defining AI characters showcases her versatility and ability to adapt her narrative skills to cutting-edge technology.
In addition to her creative endeavors, Juliana’s work as a script doctor, helping refine and develop screenplays and literary works, demonstrates her commitment to nurturing the art of storytelling in others. Her critical reviews for various screenwriting and film festivals across the United States reflect her deep understanding of the cinematic art form and her dedication to fostering excellence in the industry.
Juliana’s philosophy that “passion precedes discipline, and discipline enables you to dream” is a guiding principle that permeates her work. Her journey, from the vibrant stories of her Peruvian village to the global stage of filmmaking, is a testament to the transformative power of storytelling. Through her films, writing, and critical work, Juliana continues to captivate audiences, affirming her place as a maestro of magical realism and a beacon of cultural richness in contemporary cinema.
The Unparalleled Grace and Precision of Wu Ching-Yin
The Medium : A Ballet Legend
In the world of ballet, Wu Ching-Yin shines in her brilliance among the stars. Known for her exceptional artistic ability and technical precision, Wu has captivated audiences and critics alike with her remarkable talent. Her illustrious career, spanning continents and prestigious institutions, is a testament to her dedication, skill, and passion for ballet.
Wu Ching-Yin began her journey into the world of classical ballet at the tender age of four under the guidance of her mother, Su Shu-Hwei. Her early initiation into the dance form laid a strong foundation, which she further built upon in the United States starting in 1990. There, she apprenticed under renowned ballet masters such as Petus Bosman of the Royal Ballet, Marek Cholewa of the Mariinsky Theatre, Rochelle Zide-Booth of the Joffrey Ballet, and David Keener of the New York City Ballet. These experiences honed her technique and artistry, preparing her for a stellar career.
Wu’s performances have consistently drawn high praise from critics around the world. Karen Anne Webb of The Salt Lake Tribune lauded her as “a refined technician,” noting that “everything about her — eyes, arms, feet, her very spirit — dances.” Charles Epstein of the Jewish Post and Opinion highlighted her portrayal of Aurora as “astounding” and “superb,” expressing a keen anticipation for her future works. Stephan Laurent, the artistic director of Utah Ballet, described her as “every choreographer’s dream,” emphasizing her intelligence, musicality, and cultivated demeanor. Even in her homeland, Taiwan, she is celebrated as the best ballerina the country has ever produced, as noted by Lin Hwai-Min, the artistic director of Cloud Gate.
Wu’s repertoire includes principal roles in iconic ballets such as “La Bayadere,” “Giselle,” “The Sleeping Beauty,” “The Nutcracker,” “Coppelia,” and “Les Sylphides.” Her performances have graced the pages of Dance Magazine, further solidifying her status as a leading figure in the ballet world.
Upon returning to Taiwan, Wu established the Taipei Royal Ballet, further contributing to the cultural fabric of her country. She also took on significant roles in education and choreography, working with institutions such as Taipei Municipal Bei-An Junior High School, the University of Taipei, and the Taipei National University of the Arts. Her choreographic works include “The Snow Kingdom” (2003), “Les Sylphides” (2004), “The Firebird Suite” (2005), “Paquita” (2006), and “Serenade” (2007), each piece reflecting her profound understanding and innovative approach to ballet.
Wu’s influence extends beyond Taiwan. She has collaborated with international ballet companies, serving as a ballet teacher for The Mariinsky Ballet and Orchestra’s tour to Taiwan and instructing performances of “The Sleeping Beauty” and “Swan Lake” at the National Theater in 2009. In 2006, she accompanied Béjart Ballet Lausanne as a rehearsal teacher on their tour of Taiwan and various European countries. She also worked with Ballet Preljocaj during their tour in Taiwan, showcasing her versatility and global appeal.
In addition to her artistic endeavors, Wu has played a pivotal role in nurturing the next generation of ballet dancers. Alongside her mother, she founded the National Ballet Competition, now known as the Taipei International Ballet Grand Prix. This prestigious event offers talented young dancers more significant opportunities to pursue successful careers in ballet, continuing Wu’s legacy of excellence and dedication to the art form.
Wu Ching-Yin’s career is a remarkable tapestry of artistic brilliance, technical precision, and unwavering commitment to ballet. Her contributions to the dance world, both on stage and behind the scenes, have left an indelible mark, inspiring countless dancers and enriching the cultural landscape globally. As the Artistic Director of the Taipei International Ballet Grand Prix and the Taipei Royal Ballet and a Ballet Master at Cloud Gate Dance Theater, Wu continues to shape the future of ballet with her unparalleled expertise and passion.
Velveteen Rabbit by ODC
A Love Story That We Have Experienced When We Were Little
Step into the magical world of "The Velveteen Rabbit", a show that promises a heartwarming experience for the whole family. Unlike any other holiday performance in the Bay Area, this enchanting dance adaptation of Margery Williams' beloved story blends ballet and modern dance to tell a tale of love and friendship that will captivate both children and adults alike.
The show bursts with lively choreography, showcasing a variety of dance styles that bring the story's characters to life. From the poised and dignified 'skin horse' to the exuberant and playful 'velveteen rabbit,' the dance numbers are tailored to reflect the unique personalities of the toys in the nursery. The rabbit’s journey from being new to be loved is illustrated through beautifully crafted movements, highlighting how toys become real through a child's love.
Not to be missed is the performance by the young dancers from the ODC school, whose impeccable synchronization and confident stage presence are indeed a sight to behold. Their participation not only adds charm but also showcases the talent of the next generation of dancers. The dynamic Nana character, brought to life by two dancers, adds an extra layer of excitement with choreography that includes turns, jumps, and even runs, transforming her from a simple character into a vivid, engaging dance figure.
"The Velveteen Rabbit" offers a refreshing alternative to traditional holiday shows like "The Nutcracker." It provides a festive, family-friendly outing that combines the season's spirit with innovative dance. It's a performance that will leave families enchanted and full of joy.
Kamata March Finale - The Death of Ginchan
蒲田行進曲完結編~銀ちゃんが逝く
Directed by Kazukiyo Nishikiori
演出：錦織一清
The Theatrical Dance of Power and Precision
Picture Source: https://unclecinnamon.com/news/16412
Stepping into the world created by Kazukiyo Nishikiori, the air is always charged with anticipation. But what unfolded on that stage recently was beyond any prepared anticipation — it was sheer theatrical alchemy. To describe it as just ‘acting’ would be a gross understatement. The entire experience mirrored the adrenaline of a championship boxing match — every spoken line, every nuanced gesture landed with the precision and impact of a boxer’s punch.
Central to the narrative is the radiant Konatsu, brought to vivid life by the mesmerizing Junko Oshita. Her character’s journey, interwoven with that of silver screen legend Kuraoka Ginshiro, played by the compelling Jun’ichi Haruta, is nothing short of spellbinding. The plot thickens with Yas, portrayed brilliantly by Tomonori Yoshida, stepping into a role of unforeseen responsibility amidst the turbulence of showbiz life. His daredevilry in the “Ikedayaya Staircase Fall” sequence is pure cinematic gold.
As the story unravels, we’re hit with a gut-wrenching twist. Ruriko, the fruit of Konatsu and Ginshiro’s passion, faces a cruel twist of fate. This pushes Ginshiro into a duel with destiny, epitomized by his challenge of the harrowing “Hakodate Goryokaku Stone Staircase Fall.” It’s a sweeping saga of love’s tribulations and the extremes to which one can push against fate.
Now, imagine the intense, laser-focused determination in Uma Thurman’s eyes in ‘Kill Bill.’ Infuse that fiery spirit into a character reminiscent of Shakespeare’s Macbeth, and you’re on the precipice of the tempest that raged on stage. A seamless blend of Western dramatic tradition and Eastern cinematic fervor creates an intoxicating theatrical elixir.
Yet, amidst the male-dominated storm stood a beacon — the play’s solitary female lead, representing an unwavering feminine might. In a world poised against her, she symbolized feminine resilience and grace. The brilliance of Junko Oshida, who portrayed this fierce determination and showcased a mesmerizing mastery over traditional Japanese swordplay, was the crowning jewel. Each movement was not merely an act but a dance, a symphony of strength and elegance.
To sum it up, “Kamata March Finale - The Death of Ginchang” isn’t just a play; it’s an experience, a journey that beckons its viewers to realms previously uncharted, evoking emotions profound and lingering. It is, in essence, a masterclass in storytelling, a tapestry of emotions, dialogues, and characters. For those who witnessed it, the afterglow remains. And for those who didn’t — keep your eyes peeled for the encore. In the theater, as in life, moments missed are memories lost.
Kamata March Finale 蒲田行進曲完結編-銀ちゃんが逝く
In the realm of theater, where the alchemy of performance and narrative blend, it’s a rare treat to witness a maestro like director Nishikiori orchestrate a piece with such finesse and bravura as he has with “Kamada March Finale.” The play, a densely woven tapestry of dialogue, might seem a daunting trek for the uninitiated — a solid 135 minutes without the traditional respite of an intermission. Yet, under Nishikiori’s adept hand, this potential challenge morphs into the play’s most striking triumph.
“Kamada March Finale” unfolds like a complex melody, with Nishikiori leading his ensemble cast with the precision and passion of a symphony conductor. Each performer seems acutely attuned to his baton’s silent command, their delivery pitch-perfect, their timing impeccable. Where one might anticipate audiences’ restlessness to grow without an intermission, Nishikiori deftly introduces a short, playful skit — a stroke of genius that revitalizes the audience. This interlude’s light-heartedness belies the strategic sophistication with which it bridges the two acts, serving both as a narrative connector and a clever device to refresh the audience’s engagement.
Perhaps the most visually arresting element of the play is the intense sword fight scenes that punctuate the production. Here, Nishikiori’s background as a dancer is most evident; the combat flows with a grace and a rhythm that is almost balletic. The clashing of swords is not merely a clash of metal; it is a dance, a visual spectacle that complements the dialogue-driven drama with a pulse-quickening tempo.
It is said that the true test of a director is not just in the assembling of a talented cast or the meticulous crafting of stage design but in the ability to push the boundaries of what is possible in theater. In “Kamada March Finale,” Nishikiori does just that, challenging the conventional wisdom that a play must conform to the ‘magic 90 minutes’ to keep an audience captivated. With a seemingly effortless charm, he has stretched the limits of our concentration and rewarded us with a piece that is as engaging in its final moment as it is in its first.
Only a dancer with an innate understanding of rhythm and space could achieve this masterful level of stage direction. Nishikiori’s direction is a choreographed spectacle, where every movement, every line of dialogue, and every scenic shift feels intentional, fluid, and harmoniously interlinked. The result is a theatrical experience that is not just watched but felt — a symphonic blend of motion, emotion, and storytelling that lingers long after the final bow.
“Kamada March Finale” is a testament to Nishikiori’s visionary approach to theater. Its production challenges conventions and enriches the audience with its inventive structure and dynamic execution. If you have the opportunity to see this play and if it resumes again after November 12, 2023, do not be daunted by its length; instead, be ready to embrace a rare kind of magic, the kind that can only be conjured by a true maestro of the stage.
Nishikiori Kazukiyo (錦織一清）
Mr. Nishikiori is a renowned theater director. He is a master at bringing stories to life on the theatrical stage, creating immersive and emotional experiences that have drawn audiences from all walks of life.
His work has been hailed as both profound and entertaining. He has a magic touch for turning a musical into beautiful choreography that wows the audience from the moment the curtain opens until the end.
He has directed over 30 musicals and theater plays throughout his career, creating unforgettable performances that captivated audiences in Asia. In addition to his work in the theater, he has performed in countless musicals since the 1980s. His unique style and infectious energy have won him multiple awards and a legion of devoted fans.
Mr. Nishikiori continues to push boundaries to express his artistic vision. His passion for theater and commitment to excellence have made him one of the most influential figures in the Japanese entertainment industry.
Kamata March Finale 蒲田行進曲完結編･銀ちゃんが逝く Series 1
Junichi Haruta (春田純一)
Haruta Junichi stands as a paragon in the pantheon of Japanese actors. His craftsmanship is reminiscent of that of a traditionally trained Shakespearean thespian. He possesses an extraordinary capability to memorize extensive dialogues and encapsulate the full psychological essence of his roles.
In “Kamata March Finale — The Death of Ginchan,” the play penned by Tsukakohei and directed by Nishikiori Kazukiyo, Haruta’s talent shines luminously. He transforms into a movie star, Ginshiro, whose character arc plummets from denying his daughter’s existence to his ultimate paternal sacrifice — his own life. This complex transformation is brilliantly summarized in the play’s climactic moment, where Gin falls down a flight of twelve steps, encapsulating his character’s entire emotional journey in a mere ten seconds.
This moment is not a mere physical feat but the culmination of an intricate psychological tapestry woven throughout the play. It is a visceral depiction of the character’s life flashing before his eyes — and the audience’s — as he tumbles towards his tragic end. Haruta’s mastery enables the entire play to pivot around this pivotal fall, a testament to his skill in setting up a narrative that holds the audience rapt until the final, heart-stopping moment. It is a performance that affirms Junichi Haruta as not just an actor of high caliber but as a stage maestro whose every motion and emotion is theatre incarnate.
Picture Source: https://ricefield.biz/index.html
Kamata March Finale 蒲田行進曲完結編･銀ちゃんが逝く Series 2
Junko Oshita (大下順子）
Whether it’s the brilliantly written lines by Tsuka Kohei or Oshita’s captivating performance, the audience is left spellbound, witnessing the struggles of all females through Konatsu’s journey. Junko Oshita’s portrayal of Konatsu is a testament to her exceptional talent and the depth of emotion she brings to the stage, leaving a lasting impression on theatergoers.
Oshita’s Konatsu emerges as a beacon of strength and resilience in a play dominated by male characters.
Junko Oshita brings to life a character who faces a heart-wrenching dilemma: the choice between her ailing daughter, Ruriko, and her burgeoning career. As Konatsu, she silently observes the male characters in the story, peering beneath the veneer of their pride and ego. It’s reminiscent of Uma Thurman’s iconic character in “Kill Bill,” quietly navigating a world of men while forging her own identity.
Oshita’s portrayal masterfully captures the ultimate challenge a mother could confront — the tug-of-war between her child, her career, and her love, Ginshiro. Konatsu’s unwavering obedience is juxtaposed with her unwavering determination, a delicate balance that Oshita maintains flawlessly.
However, it’s in the climax of the play that Junko Oshita’s talent truly shines. As Konatsu, after a fateful act on the movie set, she undergoes a profound psychological breakdown. The emotions she’s withheld throughout the play finally come crashing down, shattering the walls she’d built to shield herself. It’s a moment of raw vulnerability and anguish that Oshita portrays with remarkable authenticity.
Whether it’s the brilliantly written lines by Tsuka Kohei or Oshita’s captivating performance, the audience is left spellbound, witnessing the struggles of all females through Konatsu’s journey. Junko Oshita’s portrayal of Konatsu is a testament to her exceptional talent and the depth of emotion she brings to the stage, leaving a lasting impression on theatergoers.
Picture Source: https://ricefield.biz/actor/ooshitajunko.html