Style
Okada's work is distinguished by its use of fragmented and abbreviated idiosyncratic language in the vernacular of Japanese in their twenties, which is deliberately inarticulate, drawn out and circular. Accompanying the broken phrases is the physical body language of the performers, made up of disjointed gestures and movements. The performers refer to themselves in the dialogue and their characters are often labelled only "Actor One", and with the same "character" played by more than one performer.
A typical example is from the opening of Enjoy (2006), translated by Aya Ogawa:
ACTOR 1: We'll begin with Act One... This guy named Kato was riding the subway the other day, he was riding the Keio line and, he had an encounter then, when he sat next to... There were these two women who were talking, but... Kato had no intention of eavesdropping at all, of course but, while he was listening, to be honest, he... in the end, from the middle of the conversation, it did turn completely into eavesdropping but... you know how for text messaging they have those screen stickers that you put on your phone to keep your screen hidden from the person standing next to you, well there aren't such things for voices, so in a way, it's a little like too bad, you know, which may be like totally an excuse but.... but with that conversation, it was a little like no matter how you look at it, their voices were, clearly above and beyond what is a standard volume, I mean come on, was the way it seemed and that was because... on top of that the content of the conversation itself also like, would have piqued anyone's interest in this...
Read more about this topic: Toshiki Okada
Famous quotes containing the word style:
“Each child has his own individual expressions to offer to the world. That expression can take many forms, from artistic interests, a way of thinking, athletic activities, a particular style of dressing, musical talents, different hobbies, etc. Our job is to join our children in discovering who they are.”
—Stephanie Martson (20th century)
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“The difference between style and taste is never easy to define, but style tends to be centered on the social, and taste upon the individual. Style then works along axes of similarity to identify group membership, to relate to the social order; taste works within style to differentiate and construct the individual. Style speaks about social factors such as class, age, and other more flexible, less definable social formations; taste talks of the individual inflection of the social.”
—John Fiske (b. 1939)