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Encountering a Japanese-Vietnamese co-produced Russian play in Izumi Ward, Yokohama

日本・ベトナム共同制作のロシア演劇に、横浜市泉区で出会う

The place where plays are born
File.8 "Uncle Vanya"
Koichi Imai (editor writer)

The concept of ``Theater without Walls'' is that ``those involved in the performing arts, regardless of culture, ethnicity, nationality, or affiliation, can build mutual understanding as a collective activity and aim to engage with society through theater as a medium.'' There is an organization called the Center. Director Tsuyoshi Sugiyama, Hiroyuki Muneshige of the Black Tent Theater Company, stage designer Chika Kato, and actor Choi Hemi are participating. As part of an international joint production project between the Center for Theater Without Walls and the Vietnam National Youth Theater, ``Uncle Vanya,'' directed by Sugiyama and co-produced over a three-year project, will be performed at Theater Fonte, Izumi Cultural Center, Yokohama City.
Izumi Ward is an area where a Vietnamese refugee center used to be located, and it is interesting that it is also an area where many second- and third-generation Vietnamese residents live.

First, I would like to introduce Tsuyoshi Sugiyama.

Sugiyama aspired to become an actor and studied under a professor at the Conservatoire de Paris, France, who also served as a director's assistant to Peter Brook. From 2008 to 2010, he worked as a trainee director at the Russian State Mosoviet Theater, where he studied directing under deputy artistic director and director Yuri Elyomin.
Meanwhile, in Japan, he founded the theater company A la Place. Later, after meeting Muneshige and others and giving a performance in Serbia, they formed the general incorporated association ``Theatrical Center Without Walls,'' with the aim of participating in overseas festivals and co-producing international productions. Until now, he has mainly held theater workshops in Thailand, the Philippines, and Vietnam.

“In 2014, there was a project sponsored by the Japan Foundation to invite Vietnamese performing arts professionals to Japan for about three months. We were told that they wanted to host the actors from the Vietnam Youth Theater.It was originally planned to be just one day, but we ended up holding it for about a week because it was so much fun.''

As a result of this connection, in 2016, Sugiyama's production of Chekhov's The Seagull was invited to the Vietnam International Theater Festival in Hanoi (later invited to the international theater festivals in Serbia, Bosnia and Herzegovina, and Croatia). There, he reunited with members of the National Vietnam Youth Theater and held a workshop. It won the Best Production Award and the Best Director Award at the theater festival. This accumulation led to this ``Uncle Vanya''.

"People liked 'Kamome', so we decided to create a work over a three-year period starting in 2017. In the first year, we shared our creative methods while doing research and workshops. In the second year, we shared our creative methods. I stayed there for about two and a half months, created the work, and toured it in Hanoi and other parts of Vietnam.Then, I decided to perform it in Japan for the third year, which is why I decided to do it this year.''
Sugiyama's acting and directing have their origins in Russia's Stanislavski system. In fact, Vietnam's actor education is also heavily influenced by Russia. As a result, there was a common language and common understanding, which made it very easy to work together.

``In Vietnam, everything from Shakespeare to the works of modern and contemporary playwrights is performed.However, in order to stand up to other Asian countries and create even more uniqueness, I feel that something needs to change. And, despite the strong influence of Russia in theater, it seems that Chekhov has never been performed in the past.No, it was attempted several times, but it was not successful and was never performed. , I heard.One of their goals was to revive Chekhov's works into the modern day and to attract interest from young audiences.That's why I decided to create ``The Seagull,'' from the style to the structure and approach. We liked the idea and decided, ``Let's do it together.'' In that sense, too, this project had an important meaning in terms of contemporary theater in Vietnam.It is precisely because of the painful history that Vietnam carries that the people of Vietnam asked us to do it together. It feels like a vitality that tries to overcome while maintaining brightness.However, there is also an underlying sadness.I feel that this is connected to Chekhov's works.''
The synopsis of ``Uncle Vanya'' is as follows.

For a long time, a peaceful life continued in the country house where Vanya, her mother Voynitskaya, and her niece Sonya lived with their nanny Marina and freeloader Teregin. Suddenly, Sonya's father Serebryakov, a retired university professor, and his second wife Elena arrive. Serebryakov's doctor Astrov also gets involved, and life at the mansion changes completely. As the uncontrollable emotions of love overlap, their lives become heated and begin to intersect. Meanwhile, Serebryakov makes an important announcement that shakes everyone.

“When you think of Stanislavski, you may have a strong impression of photorealism.However, while my direction respects the original work to the utmost, it also uses modern visuals, aural sense, and sensibilities to reach today's customers. It is characterized by a variety of expressions that make full use of metaphors. ``Uncle Vanya'' is seen as a story of people with two different worldviews: one who seeks true beauty and the other who seeks vain beauty. I wanted to express in every way that it is impossible for each other to understand, coexist, or harmonize with each other. In other words, people who value relationships such as loving others and living together.On the other hand, people who seek vanity beauty come from cities, are self-centered, and are concerned about their status, prestige, and the development of technology. We want to leave it to the customer's imagination as much as possible, and what kind of metaphors can be used to depict the difference between the two. We explored this together with the actors.”

When Chekhov's works are talked about, people tend to think of them as dark, gloomy, and boring, and Vietnam is the same. This is something that is difficult for theater fans to accept, but Sugiyama's direction is passionate, dynamic, and fast-paced. ``Uncle Vanya'' has been performed as an official repertoire piece of the National Vietnam Youth Theater since 2018. Then, in October, at the Vietnam International Theater Festival, where 21 works from 8 countries - Hungary, Israel, India, South Korea, China, Singapore, Greece, and Vietnam participated - he won the Best Production Award and the Leading and Supporting Actor Award. I also received news.

``Winning this award was an opportunity to further increase my desire for Japanese audiences to enjoy it as well.I don't think the Japanese theater world knows much about Vietnamese performing arts, so I think the quality of Vietnamese performing arts is not that well known.'' I hope most of all that this will be an opportunity for me to show my height and charm.Furthermore, there are now many Vietnamese people working in Japan, so I hope this performance will be an opportunity to pay attention to those people.''

This event has ended.
Japan-Vietnam contemporary theater joint project
"Uncle Vanya"
[Date and time] Tuesday, November 26, 2019 Doors open at 14:30 / Performance starts at 15:00
[Venue] Yokohama City Izumi Civic Cultural Center Theater Fonte
[Written by] Anton P. Chekhov
[Translation] Kiyoshi Kanzaki
[Direction/Composition] Tsuyoshi Sugiyama
[Art] Chika Kato
[Dramaturg/Planning] Hiroyuki Muneshige
[Appearance]
Le Khanh, Duc Que, Thanh Binh, Quynh Duong, Tu Quynh, Phuong Tuy, Thanh Duong, Tu Wine, Manh Hoang, Tsai Hemi, Takashi Matsuda, Kiyotaka Nishimura, Asaki Nakamura , Thun Anh
[Tickets (all seats reserved, tax included)] General 3,000 yen/Same-day 3,500 yen, Students/Foreign nationals 1,500 yen
*Preschoolers are not allowed to enter.
[Ticket reservation/handling] Ticket Kanagawa Tel. 0570-015-415 (10:00-18:00)
[Inquiries] K. Planning TEL. 03-3419-6318

《Travel information》
[Date and time] November 22nd (Friday) to November 24th (Sunday), 2019
[Venue] Theater Tram (Setagaya-ku, Tokyo)

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