Ako | |
---|---|
Born | Atsuko Taneya |
Nationality | Japanese-USA |
Other names | Ako Dachs |
Occupation(s) | Actress, Producer, Director, Choreographer, Playwright |
Years active | 1960-present |
Spouse | Joshua Dachs |
Awards | Lucille Lortel Leading Actress in Play nomination, The best student Award and The excellent accomplishment award at Takarazuka Music School. |
Atsuko Taneya, known professionally as Ako or Ako Dachs, is a Japanese actress who is the founding Artistic Director of the Amaterasu Za theatre company. She received a Lucille Lortel Award nomination for Outstanding Lead Actress in 2019.
Ako was a child actress in Japan and she came to the United States to study at Lee Strasberg Theatre Institute. [1]
Ako worked the Takarazuka Revue Company, all-female theater company in Japan. [2]
Ako starred Off-Broadway in God Said This by Leah Nanako Winkler produced by Primary Stages at Cherry Lane Theatre and at Humana Festival. [3] She also starred in Kentucky by Leah Nanako Winkler by Ensemble Studio Theatre.
Ako performed in repertory at the Oregon Shakespeare Festival in their 2010 and 2011 seasons. [4] Notably, in Julius Caesar (play) , Ako played Caius Ligarius as well as Soothsayer, speaking the nightmare scene in Japanese, from a 19th century translation. [5] She played the Lady Macbeth character in Ping Chong's Throne of Blood, a stage adaptation of Kurosawa's film of the same name. She reprised the role later that year at Brooklyn Academy of Music and was lauded for moving "with a quiet grace, and her frequent use of stillness is equally potent." [6]
Ako performed in the world premiere of Tamar of the River with Prospect Theater. [7] She has worked with Papermill Play House in their production of Sayonara: The Musical, a stage version of the James A. Michener novel, Sayonara (1954) and Mikado Inc.
In 2020, Ako performed in Suicide Forest with Ma-Yi Theater Company. [8] Play Anfisa in Moscow x6, by Williams Town Festival in 2018 and in2019 by MCC. In 2004, she performed as Chin/Suzuki in M. Butterfly at Arena Stage. [9] She was in Pan Asian Repertory Theatre 2008 production of Shogun Macbeth, Tea House of the August Moon, and Sayonara: The Musical, [10] [11] She played Atsuko for Velina Hasu Huston's TEA at ATC at Seattle, Pittsburgh Public Theatre, and PanAsian Rep.
In 2022, she was in Molière's Dom Juan at Fisher Center at Bard. [12] She directed and starred in Chushingura — 47 Ronin in New York, and the show received positive reviews. [13] [14] The play was in Japanese and English, both with subtitles, with Ako as narrator. [15]
Film credits include: These Birds Don't Fly South in the Winter (2019), I Origins (2014), Twelve (2010), No Reservations (2007), Shadowplay (short) (2002), Snow Falling on Cedars (1999), Too Tired to Die (1998), Daitoryo No Christmas Tree (1996), Prisoners in Time (1995), and Sleepwalk (1986).
Ako also appeared on an episode of 30 Rock in Season 3 (2008) and Mercy (TV series) (2010).
She appeared as Daiyoin/Lady Iyo in the 2024 FX series Shōgun . [16]
Ako adapted and translated three plays by Chikamatsu Monzaemon [17] 'Courie of Love' and co-directed a staged reading, and she directed Yukio Mishima's Modern Noh Play 'Hanjo' and 'Aoi no Ue' in 2019. [18]
Ako choreographed for productions of Sayonara: The Musical at Paper Mill Playhouse and Pan Asian Rep. She also choreographed for Shogun Macbeth and The Teahouse of the August Moon (play) at Pan Asian Rep.[ citation needed ]
The revenge of the forty-seven rōnin, also known as the Akō incident or Akō vendetta, is a historical event in Japan in which a band of rōnin avenged the death of their former master on 31 January 1703. The incident has since become legendary. It is one of the three major adauchi vendetta incidents in Japan, alongside the Revenge of the Soga Brothers and the Igagoe vendetta.
The 47 Ronin is a black-and-white two-part jidaigeki Japanese film directed by Kenji Mizoguchi, adapted from a play by Seika Mayama. The first part was released on December 1, 1941 with the second part being released on February 11 of the following year. The film depicts the legendary forty-seven Ronin and their plot to avenge the death of their lord, Asano Naganori, by killing Kira Yoshinaka, a shogunate official responsible for Asano being forced to commit seppuku.
Chūshingura is the title given to fictionalized accounts in Japanese literature, theater, and film that relate to the historical incident involving the forty-seven rōnin and their mission to avenge the death of their master, Asano Naganori. Including the early Kanadehon Chūshingura (仮名手本忠臣蔵), the story has been told in kabuki, bunraku, stage plays, films, novels, television shows and other media. With ten different television productions in the years 1997–2007 alone, Chūshingura ranks among the most familiar of all historical stories in Japan.
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The Treasury of Loyal Retainers is an 11-act bunraku puppet play composed in 1748. It is one of the most popular Japanese plays, ranked with Zeami's Matsukaze, although the vivid action of Chūshingura differs dramatically from Matsukaze.
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Chūshingura: Hana no Maki, Yuki no Maki is a 1962 Japanese jidaigeki epic film directed by Hiroshi Inagaki, with special effects by Eiji Tsuburaya. Produced and distributed by Toho Studios, it is based on the story of the forty-seven rōnin. The film stars Toshiro Mifune as Genba Tawaraboshi, along with Matsumoto Hakuō I, Yūzō Kayama, Tatsuya Mihashi, Akira Takarada, Yosuke Natsuki, Makoto Satō, and Tadao Takashima.
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47 Ronin is a 2013 American historical fantasy action film directed by Carl Rinsch in his sole theatrical directorial effort. Written by Chris Morgan and Hossein Amini from a story conceived by Morgan and Walter Hamada, the film is a work of Chūshingura, a fictionalized account of the forty-seven rōnin, a real-life group of masterless samurai in 18th-century Japan who avenged the death of their daimyō Asano Naganori by battling his rival Kira Yoshinaka. Starring Keanu Reeves in the lead role along with Hiroyuki Sanada, Tadanobu Asano, Rinko Kikuchi and Ko Shibasaki, the film bears little resemblance to its historical basis compared to previous adaptations, and instead serves as a stylized interpretation set "in a world of witches and giants."
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