Impressions of Izu Ōshima, Novella, Part 3
Dedicated to Raymond Roussel
Since the bathrooms are all located at the school's front entrance, I had the men use the prolonged concrete sink on the east side of the campus to piss in. For their training, the male actors are to use the outdoors as a bathroom location to do the number two thing. And male crew members need to do so to support the masculine actor's spiritual well-being. Females can use the bathrooms that are close to the entrance as well as being near my office.
We had dinner that was once in the science lab. Here we all cook our meals and then have a group meeting where I talk about the rules, what is happening with the rehearsals, and the direction of the stage show. I set meals at 9 AM for breakfast, 1 PM for lunch, and dinner at 7. There can be no excuses for anyone not to come to the meals. It was here that I posted the new bathroom rules. There were some grumbles from the guys,
but I told them that theater is a form of adventure and that we must experience the good and the bad to make this work a compelling live experience, not only for the audience but the artists and crew as well. As for me, due to a bladder problem, I need to use the women’s bathroom.
There are no locks, of course, in the women’s room. There are no locks on any of the classrooms or closets. Only the front entrance door has a lock, and I have the key to that door. But when I go for a piss in my toilet space, I often hear the other girls using the toilets. I gave Aiko special permission to use my bathroom. I would like to say it's love, but maybe it’s even something more potent than that. I’m hoping that Impressions of Izu Ōshima will explore the issue of my always fascinating sexuality. Being an artist, one is fated to work out their sexuality throughout their work. It’s a must for a work of art.
I sit in the principal’s office, looking at a blank piece of paper. I can hear my crew on the other side of the locked door. They’re waiting for me to respond. I immediately think of the team when I look at my blank paper. They’re all instruments to do my bidding, yet, without any clear thoughts in telling them what to do, I only don’t feel a deep depression but also feel foolish. I then start worrying about what they think of me, which causes physical pain in my temples. Yet, I don’t dare look away from the blank paper in front of me.
I called out the Set Director to come into the office. She comes in with a pad and pencil. I requested that she brings me a live octopus for this afternoon’s rehearsal that will take place in the Gymnasium. I haven’t the foggiest idea why I need a live octopus, but it was the first thought that came to me at this moment, and it is not a silly request because there are plenty of octopuses off the coast of this island. She said yes, and told me she would have it at the rehearsal. I told her it didn’t have to be large, and if she could use one of the empty tanks in the science laboratory, that would be okay.
Within a few hours, I heard lots of sound behind the door and what looked like something very wet and smacking against the walls as the sound went down the school hall. I paved the way for the view and saw the Set Director’s catch of the day, my octopus. I can’t say I’m an expert on the creature, but this specimen is an “Enteroctopus dofleini,” better known as the Giant Pacific Octopus. They usually weigh 33 pounds, with an arm span of up to 14 feet. Do we have a tank that size?
I remember that there was an Olympic size pool. I instructed the crew to fill it with water and throw the beast into the pool. It took most of the afternoon, but the pool was full, and our pet seemed happy in their new home but still quite moody after such a trip from the ocean to here. My understanding is that the octopus is quite intelligent. For instance, they know how to use tools. They are known to collect shells from the bottom of the sea and make fortresses out of them to protect themselves from other creatures. Undoubtedly I can train this sea animal to do something for our spectacular. What is the big problem here? I then thought of Aiko.
Although I am concerned about her scenes with other males, which I took care of, why not her and this beast? A four-armed Beast with a two-arm beauty can’t be missed. Who would want to miss that? I immediately went back to my office to write an additional scene for the production. I have always been fascinated by the relationship between humans and beasts. But for some odd reason never thought of females and monsters: the Beauty and the Beast. I find something oddly romantic about an octopus and a woman. I see it as a ballet with octopus arms wrapped around Aiko as she dances with the creature. What comes to mind, we need to design the stage as if it was underwater for this particular scene. The idea of passing oxygen tanks to the audience to feel that they are underwater yet able to breathe can be compelling. Or, at the very least, snorkels and fins.
I had Aiko jump into the pool so I could see what her relationship was like with the octopus. At first, they seemed to avoid each other. I told her to swim towards the animal and engage with it - unsure if it was a male or female. As Aiko tried to embrace the octopus, it seemed to change its shape and slipped right out of Aiko’s arms. Watching them, I can see the relationship between nature and humans and how they can't co-exist in the same landscape.
Island life is in the same manner. To be human and to be on an island is not the same as being a part of the isle. Ōshima has its structure, and when humans are on it, I feel it can’t be on the same level as people. For instance, the island does not need human presence whatsoever. The crew and I feel unwanted here. There are indications here and there in Paradise, but by the time you get the picnic blanket out and the cheese and wine prepared, the sunny weather turns into a hard rain. It mocks us. That is one of the reasons I’m inspired to be here to do this production and basing my book here in this spot. One can survive anywhere at any time if one can pass through hell. The beauty of it is that I’m making this place even more of a nightmare. That takes a specific accomplishment; I’m a bottomless cup of talent.
Meanwhile, how does one train an octopus? They are intelligent. They can solve problems, and each tentacle has a brain of sorts. You can cut one off, and it would look for food on its own. They can also grow another tentacle as well. They are known to use stones from the ocean floor to make their courtyards. Primarily to hide from enemies. Over time, we dumped large rocks in the pool to make the creature feel at home. At best, the octopus has a short life span of two years. So if I’m going to make a star out of our sea beast, I must work fast. On the other hand, if the show goes beyond two years, that can also be a problem.
The first thing I bought was a plastic hula-hoop, thinking that Aiko could make the octopus jump through it. Although I don’t like to get advice from my “artists, ” she commonly told me that seeing the octopus jump through a loop wouldn't be that interesting. On the other hand, if the octopus held the loop while she jumped through, that could be interesting. And they have at least four tentacles to hold the loop in place. The trick is, can we train the creature to maintain it, especially when each tentacle has a mind of its own?
Out of respect for the captured performer, I had the nearby Octopus ball stands too close while working here. This was a significant disappointment for the crew because they often had their beer and octopus ball at this stand. I didn’t want the octopus to pick up that humans here were eating his family or perhaps his best friend. I don’t know if they have a strong smell, but I didn’t want the octopus to smell Aiko’s breath after a meal and discover she had an octopus ball for lunch.
Besides Aiko, I had a splendid time with the octopus. I had the clothes designer make an outfit for the giant sea beast. I thought perhaps a tuxedo would be beneficial for the production. The clothes designer had a hard time, in general, making an outfit for the octopus. Oddly enough, making the black top hat was probably the most challenging design. It’s hard to keep a top hat on an octopus, especially when they are underwater. For one, the clothing had to be water-proofed. Yoko was wearing a glorified bathing suit, but I decided she should be in the nude when dancing with the octopus. Or have the octopus with its tentacles cover the naughty areas of the female body. It’s best to have the audience wanting more than giving them what they think they want.
Or is that what I want? To see Aiko floating in a pool or on the stage, starkly naked with a nasty octopus. As the author, I often feel shame in what I just wrote, or in a later stage, when it’s published or produced - yet, I can’t resist a beautiful woman in a body of water. Some like to collect moths and stick them to paper; I want to see my Aiko in various locations and positions.
End of part 3. Part 4 will come shortly.