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:
“American universities are organized on the principle of the nuclear rather than the extended family. Graduate students are grimly trained to be technicians rather than connoisseurs. The old German style of universal scholarship has gone.”
—Camille Paglia (b. 1947)
“Sometimes among our more sophisticated, self-styled intellectuals—and I say self-styled advisedly; the real intellectual I am not sure would ever feel this way—some of them are more concerned with appearance than they are with achievement. They are more concerned with style then they are with mortar, brick and concrete. They are more concerned with trivia and the superficial than they are with the things that have really built America.”
—Lyndon Baines Johnson (1908–1973)
“As the style of Faulkner grew out of his rage—out of the impotence of his rage—the style of Hemingway grew out of the depth and nuance of his disenchantment.”
—Wright Morris (b. 1910)