Sasori left the village after the emptiness of lacking parental love finally reached a breaking point, but later returned, kidnapped, and murdered the Third, likely sparking the Third Great Shinobi World War with Sunagakure's attempts to find him.

The Third Kazekage was able to emulate Shukaku's abilities, earning recognition as the strongest Kazekage in history. At some point the village would come into possession of the One-Tailed Shukaku, and in the coming years the beast was sealed into three different hosts so that its abilities could be studied.

Symbol of Sunagakure.Added by ShounenSukiThe Kazekage Residence.Added by Mutant 16The Suna Hospital.Added by Mutant 16Sunagakure was founded by the First Kazekage, who gathered the desert-dwelling shinobi under his control with his overwhelming power. Shinobi from Sunagakure believe that the accomplishment of a mission predominates the lives of the ninja trying to accomplish it. The ninja from this village seem to specialize in Wind Release techniques and the Puppet Technique. There have been five Kazekage, the most recent being Gaara.

As one of the five great ninja villages, Sunagakure has a Kage as its leader known as the Kazekage. The archaeological metaphor works well, too, with Sophia digging into her own family history Alexandra's dilemma, and the play in general, usefully reminds us of an unsolved problem while flashpoints from Kosovo to Kabul (where Sophia is off to next) grab all the headlines and international indignation.Sunagakure (砂隠れの里, Sunagakure no Sato Literally meaning 'Village Hidden in the Sand') is the hidden village of the Land of Wind. The play is by turns moving and informative, by turns clunky and slightly arch, but it makes for a strong evening of theatre, and the acting is impassioned, Handy in particular simmering with love and later rage in a fine display of not-so-light comedy playing (culminating in Lorenzo's heart-stopping 'On such a night as this' speech from The Merchant of Venice). Phillips' own production, designed on a white-washed adaptable setting by Timothy Bird – with photography of the bay at Salamis and the ghost town of Famagusta – conjures a modern emotional tragedy in the form of a conversation piece. 'Every Greek Cypriot in this country has a suitcase packed,' says Alexandra, reminding us of the feelings of injustice and hurt that still colours their displacement. They renew a passionate relationship.Īlexandra's husband, we learn, is one of the 619 Greeks still missing since the Turkish invasion, but the truth emerges as more complicated after the interventions first of Alexandra's niece, Sophia (energetic, impulsive Daphne Alexander), a war photographer on assignment to the New York Times and Time magazine and her estranged sister, Eleni (the elegantly restrained Yolanda Vazquez). Hidden in the Sand, with Sally Dexter giving a superb, tempestuous performance as a Greek Cypriot tragedy queen, comes out of a photographic commission in Cyprus, where Phillips experienced at first hand the ravages wrought by the 1974 partition, the sense of a layered history in a classical landscape, and conflicted families.ĭexter's Alexandra, a jeweller who loves Neil Diamond (sic), is visited, I think in Nicosia (the location switches in the action need sorting out) by Scott Handy's English classical scholar, an old flame, whose wife has left him. James Phillips is a playwright to watch, bubbling under with a couple of awards for his first effort, The Rubenstein Kiss, at Hampstead, and plans next year for a new piece about the designer Alexander McQueen.

Hidden in the sand