Before plunging into what 2015 has to offer theatrewise, I would like to take a moment and look back at the stages of last year. There were about 55 performances I saw, which is a very small number, considering how many theatrical productions are on every week and that even the most selective of critics sees at least 100 stages per year. The only thing I’m satisfied with, statistically speaking, is that this time I managed to cover all of the genres of Japanese theatre, from traditional arts to the contemporary ones.
Qualitatively speaking, one of the themes of thought during last year was that of the theatre exchanges between Japan and Europe or Asia. The experience I gained by working as a translator and interpreter for a Japanese production (“Godot has come“, produced by Natori Office) during its tour in Eastern Europe made me realize first hand that theatre exchanges do not rely only on language communication. Translating theatre practices, paying heed to the expectations of local audiences and creating a common base of background knowledge is just as important for a performance to be well received in an environment that is different of that in which it emerged. This is one of the themes I would like explore deeper from this year on.
Coming back to more concrete terms, let me mention here the three most impressive stage productions that I saw last year.
- KAAT × Chiten, Akuryo (“The Possessed”) (KAAT, March 10th – 23rd)
Director Miura Motoi reinterpreted Dostoyevski’s “The Possessed” in a way that reverberated powerfully with the actuality of Japanese society, where conflicting political discourses have led to a state of confusion. Just as in the novel, the characters in Miura’s version of “The Possessed” are embodiments of concepts and ideals, sometimes clashing, other times working together while shaping the state of society at a certain moment in history. Although they always share the same stage, these “elements” are at times active, at other times they enter a latent state, and Miura’s method of showing their going in and out of activity was very inspired: while their role character is “active”, the actors are running around the center of the stage – in the same direction or in opposite direction. (G, “the Narrator” – interpreted brilliantly by Abe Satoko – is the only character who is running incessantly from the beginning through the end of the play.) This results in continuous “movement”, with a dazing effect upon the audience and involving it psychologically. Most impressive of all is the process by which the audience learns to read through that movement and understands that the story unfolding on stage is not unrelated to themselves.
Chiten also participated in KYOTO EXPERIMENT 2014 with a restaging of Jelinek’s “Kein Licht“, and had several other performances at their recently opened atelier Under-throw in Kyoto.
- Lolo, Asahi wo dakishimete tonight (“Embracing the rising sun tonight”) (Komaba Agora, July 11th-21st)
What is at first sight the story of a girl growing into adulthood is in fact a moving picture of the community surrounding the main character, a community that undergoes changes just like an individual. The youthfulness of lolo‘s members makes up for a very energetic and charming performance. But what impressed me most about this work was the daringness of its approach toward fundamental themes such as life and death (rebirth, to be more accurate), individual and community, present and past. The last scene, where the death of the main character overlaps with her birth, leaves the audience at a loss whether to mourn or to rejoice. The performance has enough strength as to create this moment of emotional confusion within the spectator. With this said, I am sure looking forward to seeing more works by lolo.
- Mikuni Yanaihara Project, Sakura no sono (“The Cherry Orchard”) (Festival/Tokyo 2014, Nishi-Sugamo Arts Factory, November 13th-17th)
Under Nibroll’s leader Mikuni Yanaihara’s direction,”The Cherry Orchard” is transposed into our times, reflecting the dramatic shifts in society that we are witnessing without being thoroughly able to oppose. The fight over cutting down the orchard from Chekhov’s classic is reinterpreted as an environmental problem – with allusions both to the effects of the nuclear accident in Fukushima and to the public movements against the military bases in Okinawa. In fact, questioning the necessity of an active military force in Japan was the main theme of Yanaihara’s “The Cherry Orchard”, as she used the ghost of a military past as a powerful motive throughout the play. Not only the actors’s bodies, but the profound nuances of Japanese language itself were used to appeal to the audience and enhance its awareness of a debate that doesn’t seem to reach a conclusion too soon.
There were many more performances worth mentioning, which I hope to be able to bring up at another time. For now I am just looking forward to seeing what 2015 brings🙂