Tokyo theatres in November

It happened. A whole month has passed without me posting any reviews on this blog 😐 The good side of all this is that I did see some very good performances in October – it is only the lack of time that didn’t allow me to write about them. And the other good side (!) is that there will definitely come a time for me to post those reviews. I promise it will be worth your while reading them, so stay tuned 🙂

In the meantime let’s see what the Tokyo stages have in store for November.

Festival/Tokyo, which is THE theatre event of the second half of this year, will be starting on November 9th with a program that promises to keep audiences enraptured. The theme of this year’s edition is “Travels in narratives”, giving us the opportunity to think on stories, on what they mean to us, how they change in time and how they transform us, helping us grow. Any place in the world has stories connected to it and theatre is one medium by which those stories can come to the surface. How will the city look like after its stories will be released from the veil of forgetfulness and will take over the quotidian for some time? It’s just a guess, but we will probably witness a transfiguration of the city through the stories that sleep underneath it – this is what I would call the highlight of this year’s Festival/Tokyo.

FestivalTokyo2

For a selection of works that I recommend heartily, please refer to this article on F/T 2013 that I wrote previously. Personally, I’m looking forward not only to the performances themselves, but also to the open events, symposia and talk events, which give us the rare opportunity to hear the artists talk about their works. In other words, I’m seriously considering moving my headquarters to Ikebukuro this month. Too bad that the Tokyo Metropolitan Theatre doesn’t allow sleeping in, ha ha ha… 🙂

From the last performances of BeSeTo Festival, which is still going on until November 10th, “Forge/Natsume Sōseki” 『偽造/夏目漱石』of theatre company Jūryoku/Note 重力/Note is worth checking out. Jūryoku/Note’s trademark is the original adaptation for the stage of texts written by established authors. In the past they dealt with Terayama Shūji’s texts in “My job – Terayama Shūji (1935-1983/1983-2012)” or with Elfriede Jelinek’s “Cloud.House.”, a work presented at Festival/Tokyo last year. This time they are turning to a classical figure of Japanese literature, Natsume Sōseki. It will be interesting to see how director Kashima Nobusuke’s special concern towards the text collaborates with the company’s latest experiments with theatrical space in order to project the figure of Natsume Sōseki into our times. “Forge/Natsume Sōseki” will be running from November 4th through 10th at Atelier Shunpusha.

As far as the noh stage is concerned, there will be a rare performance of Ikari kazuki 『碇潜』by the noh study association Tessenkai 銕仙会 at Hōshō nōgaku-dō on November 8th. Ikari kazuki is a play inspired by The Tale of the Heike, focusing on the battle at Dan no ura, where many warriors from both sides, the Taira and the Minamoto clans, have lost their lives. In order to reenact the battle, three boats will be brought on the stage – a rare sight in the case of noh, whose restrained use of props is well known.  A performance of noh Makiginu 『巻絹』and kyōgen Kane no ne 『鐘の音』are also in the program.

Whatever your choice, it is my hope that you’ll enjoy the festive atmosphere of this month with some good theatre 🙂

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Tokyo theatres in October

Before we knew it, it is already autumn – although still a bit early for the beautiful red leaves. Here is a very small selection from what the Japanese theatre scene has to offer this month:

"Ihatōbo no gekiressha" by Komatsu-za (2013)

“Ihatōbo no gekiressha” by Komatsu-za (2013)

At the Kinokuniya Southern Theatre, Komatsu-za will be performing Ihatōbo no gekiressha『イーハトーボの劇列車』”The theatre train from Ihatov” from October 6th through November 17th. Written by Inoue HIsashi, one of the most influential and prolific contemporary Japanese playwrights, the play is based on Miyazawa Kenji’s biography. To be more precise, it is the story of Miyazawa’s move to Tokyo from his hometown in Iwate prefecture, focusing on the years 1918, 1921, 1926 and 1931 of the writer’s life. In his series of biographical plays Inoue is weaving elements of a writer’s literary works into his or her biography, turning the subject into a character of his or her own fictional world. In this case the title itself is an allusion to Miyazawa’s probably most famous work, Ginga tetsudō no yoru (“Night on the Galactic Railroad”). Music, warm humor and an amazing amount of vivid imagination are all traits of Inoue Hisashi’s style. Their combination with Miyazawa’s romantic fiction promises to be a very rewarding theatrical experience.

Speaking of Inoue Hisashi, another play of his, “Musashi” – which gained wide acclaim in London and New York back in 2009 – will be running until October 20th at the Sai-no-kuni Saitama Arts Theatre. The performance is directed by Ninagawa Yukio, the one who brought many of Inoue’s plays into the attention of the Western public, and boasts a gorgeous cast, in the most part the same as four years ago. It will be a joy for many theatre goers to see this particular work on stage again.

Another surprise brought by the theatre scene this month is the restaging of Terayama Shūji’s play “La Marie Vison” 『毛皮のマリー』。This performance is part of a series of events dedicated to the memory of Terayama, who passed away prematurely 30 years ago. Better known in his home country as a poet and writer, Terayama was a key figure in the small theatre movement of the sixties and seventies in Japan – a cultural movement that challenged established theatre practices in the search for new spaces and new meanings to theatre as an art. You can read more on Terayama Shūji and his unit Tenjō sajiki, whose works have been a turning point in Japanese theatre history, in this very insightful article on Tokyo Stages: The Occupation of Street Theatre . Through the story of a transvestite risen to celebrity through his excentric lifestyle, “La Marie Vison” explores the borders between reality and illusion in the spirit of that paradoxical approach to life which is so typical of Terayama’s style. It will be performed at Nakano Theatre Bonbon from October 2nd through the 6th.

The 20th edition of BeSeTo Theater Festival has already started, giving the unique opportunity to audiences to see theatre from China, South Korea and Japan performed in various locations in the country. After an auspicious start in Toga, Toyama prefecture – the holy land for experimental theatre in Japan, and a short stop in Tottori, the festival will reach the Tokyo stages in mid October. Chekhov’s “Three sisters” featuring an android actor, performed by Seinendan, a Chinese version of “King Oedipus” and a Korean version of “Peer Gynt” are just a few examples of what this festival has in store for the audiences.

"Komachi fuden" by Engidan Koripe (2013 BeSeTo Festival)

“Komachi fuden” by Engidan Koripe (2013 BeSeTo Festival)

From the amazing program of BeSeTo festival, the show I personally look forward to most is Komachi fūden 『小町風伝』”The Tale of Komachi Told by the Wind”, performed by theatre company Koripe from South Korea, under the direction of Lee Youn-Taek. Drawing heavily from Japan’s cultural memory about Ono no Komachi, a court lady and poet from early Heian period (794-1185), the play was written by Ōta Shōgo and first performed in 1977 on the Noh stage of Yarai nōgakudō. It was one of the first experiments of the silent theatre that later became the trademark of director and playwright Ōta Shōgo. Komachi fūden will be hosted by Komaba Agora Theater from October 17th through the 20th. [Update: it was a great performance! I wrote a review on it here (JP)]

At the National Noh Theatre there will be a special event on October 24th entitled “Zeami and the Flower”. After a demonstration of “tatehana”, one of the oldest forms of ikebana, by Kawase Toshirō, Kanze-ryū actor Asami Masakuni will be performing Tōru, a Noh that embodies Zeami’s ideal of that elegance of spirit which gives birth to poetry. In his treatises on Noh, Zeami compares the success of a performance to the charm of a flower, that is why this collaboration between Noh and ikebana is most welcome, for these two arts reflect each other in a very subtle way.

As I review this month’s selection, I cannot help but notice that it features no new productions, but only restagings. For sure, only autumn is to blame for this “classical” mood, which makes one wish to see again works that won acclaim in the past, in the hope that a fresh directorial approach will render them anew.