{"id":161,"date":"2019-03-18T15:10:06","date_gmt":"2019-03-18T19:10:06","guid":{"rendered":"https:\/\/performingartslegacy.org\/kubota\/?p=161"},"modified":"2019-03-18T15:10:06","modified_gmt":"2019-03-18T19:10:06","slug":"the-dream-of-kitamura-1985","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/kubota\/the-dream-of-kitamura-1985\/","title":{"rendered":"The Dream of Kitamura (1985)"},"content":{"rendered":"<p>Theater: The Dream of Kitamura (1985)<\/p>\n<p>This was one of the great roles I had the pleasure of playing early on in my career. The character, Sam, was an old, irascible but wise Samurai who was teaching the young Paolo the ropes. The role was heavy in dialogue but I gave him a low gruff voice which helped me navigate the words and lines that would have given me trouble had I used my natural voice. Again, like the Asian accent the low gruff voice helped me hide. But looking back these tricks served their purpose because the point was to be in front of people and having to speak and continue to gain confidence.\u00a0 \u00a0Disfluency is a head game.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Theater: The Dream of Kitamura (1985) This was one of the great roles I had the pleasure of playing early on in my career. The character, Sam, was an old, irascible but wise Samurai who was teaching the young Paolo the ropes. The role was heavy in dialogue but I gave him a low gruff [&hellip;]<\/p>\n","protected":false},"author":113,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-161","post","type-post","status-publish","format-standard","hentry","category-highlight"],"metadata":{"_edit_lock":["1552936075:113"],"_edit_last":["113"],"_wpac_members_redirect_to":[""],"_wpac_show_in_search":["0"],"_wpac_show_excerpt_in_search":["0"],"_wpac_nonmembers_redirect_to":[""],"ase_map_component_start_point":["a:2:{s:3:\"lat\";d:29.76;s:3:\"lng\";d:-95.38;}"]},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Dream of Kitamura (1985) - Glenn Kubota<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/performingartslegacy.org\/kubota\/the-dream-of-kitamura-1985\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Dream of Kitamura (1985) - Glenn Kubota\" \/>\n<meta property=\"og:description\" content=\"Theater: The Dream of Kitamura (1985) This was one of the great roles I had the pleasure of playing early on in my career. 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He grew up working in the fields and agricultural related industries of the valley and attributes his work ethic to those experiences. He moved to New York in 1979 to work in the theatre and to find his natural voice. He has worked in theatre, film, TV, streaming and print advertising. He is a member of the Actors Equity Association and the Screen Actors Guild-American Federation of Television and Radio Artist unions. His most recent theatre credits include Aubergine by Julia Cho at Olney Theatre Center in Olney, MD and the Everyman Theatre in Baltimore. Recent film credits include Mapplethorpe and We Are Unsatisfied. Recent TV\\\/Streaming credits include FBI and DareDevil. Glenn\u2019s immersion into the performing arts was a journey of difficult and at times humiliating work in search of an inner truth about himself. 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