明けましておめでとうございます。Happy New Year, everyone!
Stepping into the year 2014, I cannot help but feel that it’s the best time for a new start, with new aims and plans. To be honest, what I like most about this time of the year is the holidays! Even one single day spent away from classes or work feels enough to put our thoughts in order.
My new year’s resolutions regarding this blog were clearly set even before the end of 2013, but I’ll post them here anyway. As you might imagine, nothing is more motivating than sharing one’s thoughts, so here I go:
- To update more often. (I bet you saw this coming, didn’t you? 🙂 )
- To find a better balance between quality and quantity when it comes to information on theatre events.
- To keep a closer eye on the work of young theatre artists.
I guess a short explanation would be appropriate here. There are artists whose work was known to me before I came to Japan. To see performances by Seinendan, Chelfitsch, Ninagawa Yukio, Kara Jūrō, Suzuki Tadashi, Noda Hideki, Matsuda Masataka and many others who were mentioned in the theatre theory classes I used to attend was on top of my priority list. I was able to start writing about theatre by using these artists’ work as a reference, because it is obviously easier to write when you have some prior knowledge. However, after spending some time here I realized at some point that what’s happening outside the mainstream in Japanese theatre might be as interesting and important as the work of established names. In most cases it’s about companies with a performing history of less than three years, unknown outside Japan, who are nonetheless doing ground-breaking work. Even local critics are struggling to find a “language”, i.e. proper concepts to use when discussing these young people’s creations. I hope to be able to introduce the work of theatre companies like mum & gypsy マームとジプシー, lolo ロロ, Okazaki geijutsu-za 岡崎芸術座、hi-bye ハイバイ, mamagoto ままごと, Arata Mino 三野新, Siberia shōjo tetsudō シベリア少女鉄道, Wasshoi house わっしょいハウス and others.
4. To expand the geographical range of the column on upcoming events. (This is a tough one 🙂 )
One of the latest and most positive trends in contemporary Japanese theatre is decentralization – the work of artists who are active outside of Tokyo is attracting much attention towards the theatre scene of other places than the capital. At the same time, performing arts festivals like KYOTO EXPERIMENT, Toga Festival (Toyama) and Edamitsu Theatre Festival (Fukuoka) have reached a scale and a quality that can no longer be ignored by discourses on Japanese theatre. To travel outside the metropolitan area, see theatre and report from the spot is one of my objectives for this year.
5. To manage doing all the above without neglecting my main research project! Or else I’ll be in big trouble… Well, reporting regularly on this blog on how research is going might also be a good idea. Would anyone like to read about Zeami’s view on incorporating the literary tradition of the Heian period into Noh theatre? 🙂
I’ll stop here, while the list is still within reasonable limits. Of course, I’ll be open to any new ideas that particular circumstances might bring in. Let me just say that I’m very excited to see what this year brings.