Ezra Lowrey's interest in rare and traditional theater forms was fueled by his Field Work Term in India, where he was introduced to Kattaikkuttu, a traditional Indian musical theater, often performed all-night for rural audiences. The spectacular nature of Kattaikkuttu struck a sharp contrast with the analytical, realistic western training that Ezra had received.
“In a lot of more traditional, more codified theater forms,” Ezra says, “the emphasis is on physical training. In the Japanese Noh theater, for instance, only after the actors learn the external form, do they learn how to connect to the emotion. It’s through this strict, closed nature of the physical movement that the life comes out.”