After watching Rashomon the film (1950), one of the questions that strikes me is the problem about reality. I was wondering if it is necessary for the film director and the actors to know who in story that was telling the truth. My curiosity and intellectual desire led me to have video calls with great friends of mine, one is the esteemed play director who continues the theatre of the oppressed movement in south east asia, and another one is the Ph.D. student at Japan’s National Graduate Institute for Policy Studies (GRIPS). After the enlightened conversations, I soon realized that the brilliantly indefinite plot of Rashomon deals with something larger than I imagined. Different equivocal perspectives on the same scenario told by major characters in Rashomon evokes my detective mind to find out “the truth”.

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