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To Touch Paradise - with Peter Oyston

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To Touch Paradise - with Peter Oyston


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DVD Price $150
Streaming Price (1 year) $150
Streaming Price (1 year) + DVD $225
Streaming Price (3 years) $360
Streaming Price (3 years) + DVD $435

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The film is an interview / documentary with Peter Oyston, best selling author of "How to teach the Stanislavski System", "Beyond Stanislavski"  and "How to Audition".

Peter Oyston is an internationally renowed theatre and film director, teacher and painter.  His film maker friend Laszlo Dudas made this film years before he passed away in 2011.  A close friend of Artfilms, Peter fascinated and inspired many people not only as a teacher but also with his visions to build a new theatre in Melbourne and with his painting at his hideaway studio in the bush.

Showing many examples of his works, this film is a "conversation" with Peter Oyston about his life, his creations, beliefs, fears and joys.

“....and as a healing element within this struggle, paradise becomes extremely important. And I mean it in a spiritual sense that is not religious, that is profoundly a sense of what is more important than anything else – to touch paradise…”

 

 

Peter was founding Dean of Drama at the Victorian College of the Arts, is a past Artistic Director of Playbox and has been a champion of theatre companies such as The Murray River Performing Group, The Flying Fruit Fly Circus, West Theatre and Theatreworks. He was regularly teaches at the Royal Academy of Dramatic Art in London and has directed over 200 productions in Japan, France the USA, the UK and Australia. Peter went to Art School in Melbourne then lived overseas for a number of years holding exhibitions in Paris, London, Liverpool and Manchester. His spiritual paintings of bush and sea are in collections in Tokyo, US, London and Paris.

From Peter Oyston:

“I started painting because the house I was brought up in was a slum and I was a little bit ashamed of my environment, so I was a bit snob, and I wanted to start painting to cover cracks in the walls.”

“… whether it’s Stanislavsky or various techniques which I’ve developed over the years and I’ve picked up from other directors and once the actor has a sense of deep confidence then he or she… they’ll be spontaneously creative. … so that the best acting I think comes out of relaxation not out of tension.”

“For me that was not simply making a film, it was an exploration of an idea and I think that idea of what constitutes storytelling in a theatrical sense or in a filmic sense has been the basis of practically all my work since that time.”

 

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