Tokyo Theatres in April

With me caught up in this and that, another month has passed without any new updates on this blog. I apologize to my readers. It just happens that I was on vacation 🙂 I spent around two weeks away from the Japanese stage, only to realize how much I would miss it.

And that, in spite of the fact that on the night before my departure I went to see a fabulous dramatization of Terayama Shūji’s Den’en ni shisu 『田園に死す』“Pastoral: To Die in the Country” at Za Suzunari, which gave me enough food for thought over the holidays. Nonetheless, after two weeks the withdrawal symptoms were so acute, that right after landing at Narita, I went straight to KAAT in Yokohama to catch Chiten’s “Demons”. I’m glad to say that it was one of the best things I’ve ever done on the spur of the moment.

About Den’en ni shisu and Akuryō you will most surely read again on this blog soon. Let’s see what the month of April has in store for theatergoers:

  • Nylon 100℃ will perform Pan’ya Bunroku no shian – zoku『パン屋文六の思案~続・岸田國士一幕劇コレクション』at the Aoyama Round Theatre from April 10th through May 3rd. The performance is conceived as a collage of several one-act plays written by Kishida Kunio (1890-1954), who is often referred to as “the father” of modern Japanese theatre. This stage is the best occasion to catch up with the latest work of Keralino Sandorovich, the leader of Nylon 100℃ and one of the most notable Japanese artists of the moment. Both a theatre director and a musician, KERA is one of the very few people whose wit and insight manages to give entertainment theatre that twist which transforms every show into a lasting memory.

    Tessenkai Noh (April 11th, Hosho Noh Theatre)

    Tessenkai Noh (April 11th, Hosho Noh Theatre)

  • Among the Noh performances of this month the Tessenkai program on April 11th at the Hōshō nōgakudō might be a good choice. Shitekata Shibata Minoru will perform Oshio 『小塩』, a Noh based on a love story from “The Tales of Ise”, quite rarely seen on stage. After the kyōgen Uo sekkyō 『魚説教』, we will be able see Uzawa Hisa’s Kanawa 『鉄輪』– a Noh about a woman’s jealousy. Strong human emotions such as jealousy become motives in various Noh plays – Aoi no Ue 『葵上』“Lady Aoi” is the most famous example. But in Kanawa the rendering of such emotions gets a bit out of the ordinary, in that there is nothing of the hurt but dignified aura of Lady Rokujō (the main character in “Lady Aoi”). Kanawa shows us a simple woman, invoking magic to take revenge on the one who hurt her. Her wrath can only be tempered by the powerful onmyōji Abe no Seimei. One of the highlights is the mask Namanari 生成, used exclusively for this Noh play.

    Sugawara denju tenarai kagami (April 5-27, National Bunraku Theater)

    Sugawara denju tenarai kagami (April 5-27, National Bunraku Theater)

  • At the National Bunraku Theatre a performance of Sugawara Denju Tenarai Kagami 『菅原伝授手習鑑』 is scheduled for the interval April 5th – 27th. This classic of ningyō jōruri 人形浄瑠璃 puppet theatre, based on legends surrounding the personality of Heian period scholar Sugawara no Michizane (845-903), will be performed in its entirety (tōshi kyōgen), which means that we will have the chance to spend a whole day in the bunraku theatre, enraptured by the magic of the moving puppets.

The first day of April marks a new beginning for most of the people living in Japan. The fair weather and the cherry trees in bloom wouldn’t leave us any other choice than to look ahead with hope and expectations. While keeping an eye on the Japanese stage, don’t forget to enjoy your spring 🙂

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 🙂