The outdoor play "Santomo's Sail" is about to be performed, and we're reporting on the rehearsal studio! "Dream chaser" Sanetomo has crossed 800 years of time and space and is now reborn in Hadano!!

上演迫る野外劇「実朝出帆」、その稽古場にレポート密着! 「夢追い人」実朝が800年の時空を超え、今、秦野でよみがえる!!

"Sail in the morning"
A masterpiece (1973) by playwright and critic Masakazu Yamazaki (1934-), known for his reviews such as ``The Dramatic Japanese'' and ``The Soft Individualistic Japanese.'' The story depicts how Minamoto no Sanetomo, the third Sei Taishogun of the Kamakura Shogunate, entrusted his hopes to the shipbuilding business during his political struggle with the Hojo clan and the Imperial Court.

"Atsuyuki Nakano"
Born in 1981. Director and representative of Karazemi Theater Company. Upon entering Yokohama National University, he began studying under Juro Kara, who was a professor at the time. In 2005, he founded the Karazemi Theater Company and directed productions at the New National Theatre. He set a record as the youngest director to be featured by the theater. Since then, many new and old works by Juro Kara have been performed both domestically and internationally. He has won many fans with his unprecedented production methods. He also specializes in outdoor performances, and is involved in the planning and management of theatrical events, including the production of performance environments.

"Yuyoshi Shimizu"
Starring as Mitomo Minamoto. Born in 1992 in Hadano City, Kanagawa Prefecture. 9th year student of the New National Theater Theater Training Institute. Shortly after graduating, she appeared in a performance of ``Henry IV'' at the New National Theater to commemorate the 400th anniversary of Shakespeare's death, sponsored by the Japan Arts Festival. He passionately plays a major role in a play that lasts for six hours and is well received. Belongs to Kakehi Productions since 2017.

Where is Sanetomo's true appearance?

First of all, I would like to give an overview of ``Jitsasa Desai.''

The highlight of ``Sanetomo Sailing'' is the vivid contrast between Sanetomo, a dreamer who entrusted his dreams to the shipbuilding business, and Yoshitoki Hojo, a man of action, who holds the power of time as a regent. be. Another big attraction is the play-within-a-play, in which Sanetomo's image is vividly woven together by the spirits of the dead.


What is the dead here...

・"Masako Hojo": Sanetomo's mother
・"Yoshitoki Hojo": Masako's younger brother and Sanetomo's uncle. Planned to manipulate Sanetomo behind the scenes for his own politics.
・"Kugyo": Sanetomo's nephew who assassinated Sanetomo
・"Azusa": Sanetomo's wife
・"Miura Yoshimura": A military commander who kept a close distance from the Genji and Hojo clans.
・“Yoshimori Wada”: Trusted by Sanetomo, but at odds with Yoshitoki Hojo

In addition to the above, there were also people who loved Sanetomo, toyed with him, and even assassinated him, such as Hiromoto Oe, a civil official of the shogunate, and Chinnakei, who started Sanetomo's shipbuilding business. Sanetomo is told by them. Some say, ``He was a good boy,'' others say, ``He was a memento of the noble Genji clan,'' and still others, ``He was a thief cat who stole the rank of shogun.''

In this way, the image of Sanetomo changes in various ways depending on the soul. What kind of person is the “true Jitomo image”? In this way, there is also the joy of being able to abandon existing images of Sanetomo, such as ``the third Seii Taishogun of the Kamakura shogunate'' or ``a poet of 100 poems,'' and to be able to speculate freely. It is a participatory play in which you listen to the lines of the spirits that surround you and find your own version of Sanetomo.

A clash between an up-and-coming young talent and a talented director! The excitement of acting rises in the rehearsal room as the performance approaches

Rehearsals began at the end of the second act following the epilogue. At Mr. Nakano's signal, a tense atmosphere permeated the rehearsal room, where up until that point one could only hear chatter.


A scene of Sanetomo and his wife Azusa. Sanetomo takes Azusa away right in front of Masako, Yoshitoki, Kimiaki, and others. The highlights are Azusa screaming as her hand is yanked as a heavy whistle plays, and the expressions of everyone stunned by Sanetomo's fearless actions.

After finishing the scene, Mr. Nakano gave acting instructions. It was ``Azusa Room and Gestures''. That's not the way he expressed himself before Sanetomo held his hand and led him away in front of everyone. In hindsight, I wonder if it is a more detailed depiction of surprise, fear, and anxiety about the unknown. Mr. Nakano's advice accurately breaks down Azusa's unsuspecting behavior.

There were also instructions for the screams. In the story, it is called “Azusa”, but in reality it is


Her real name is unknown in history, but she is the daughter of Nobukiyo Bomon, a court noble and Minister of the Interior, who is known as ``Sanetomo's wife.'' When you think about that, you can imagine a scream that is typical of a person from the imperial court and feminine in any situation...but that's what Yoshika Tsuuchiguchi, who played the role of Azusa, gave advice on. It felt like a human cry that was timeless and had no historical color.


The rehearsal, which lasted about two hours, was filled with excitement from beginning to end. The play will be performed by young theater artists and students aspiring to perform, gathered through open recruitment mainly in Kanagawa. Naturally, some may see this play as a major step towards the future. His carefree ambition, his passion and dedication towards theater, and his brimming youthfulness. Mr. Nakano's direction takes these issues and guides them in the right direction, raising the level of perfection of the play. Not only was the script wonderful, but the power of this rehearsal seemed to lie in the collision of these two energies. I can't wait for the performance on that day.

After the viewing, Mr. Nakano gave us an explanation of the play, which I would like to introduce here. Although he will not discuss the content, Mr. Nakano also calls this play a ``story of hope.''

"'Jitcho Desaho' was released in 1973.The 1970s was a time when young people were frustrated with political movements and found it difficult to find hope.'Jitcho Desaho' was based on the Kamakura period. However, the content is actually linked to the historical background at the time of its premiere.Furthermore, it is also closely related to the trajectory of the author, Masakazu Yamazaki, who as a researcher sometimes had a voice in the Japanese government. I believe that there is.I won't go into details, but even now, even after much time has passed, there are underlying conflicts between people in society and the subtleties of young people living in suffocating conditions. , is a moving masterpiece. Above all, there is great hope in the story. Historically, Sanetomo is seen as a passive person who lacked political talent and only wrote songs, which is the main theme of the story. The shipbuilding business is also often seen as a maniacal act.However, Sanetomo in this play is a dream chaser who pins his hopes on shipbuilding, and he is also a person who lived a positive life to the best of his ability despite being at the mercy of others. That's why I want young people to see it, and I'm sure it's not only a historical piece, but also a moving human drama.''


Mr. Nakano also had the following to say about the event.

“Also, I would like people to pay attention to the fact that the event will be held in Tawara, Hadano City, where the Minamoto no Sanetomo Gokubi Mound is located.There is actually a mound dedicated to Sanetomo right near the stage, so it will be held in memory of Sanetomo. , it provides the perfect environment to let your imagination run wild about what kind of person he was.Then there's the soba noodles (lol).There's a super delicious soba restaurant near Tahara Furusato Park, where the event will be held. We hope you will fully enjoy the beautiful spring scenery of Tahara, where the countryside stretches out, the delicious soba noodles, and the outdoor theater performances that are possible only in this location.''

From history to philosophy. Please enjoy masterpieces that can be enjoyed from each person's point of view at a place related to Sanetomo.

Finally, in addition to the lead actor Yujo Shimizu who plays the role of Sanetomo Minamoto, there are three people: Shinya Kumano (Gekidan Karazemi☆) who plays Yoshitoki Hojo, and Hisanori Shimabara (Magcal Performing Arts Academy) who plays Kimiaki. I had the opportunity to have an interview. We will listen to their enthusiasm for the performance, which is coming up in a week, and conclude our report.


-I heard that all the members were recruited through public recruitment. What was it about this performance that appealed to you?

[Kumano] The point is that it is an outdoor theater. The Karazemi☆ theater company I belong to has held tent performances in addition to outdoor plays. Compared to performances in theaters, outdoor plays have a much more lively feel and a stronger sense of unity with the audience, which is interesting, and I am completely captivated by it. That's why I wanted to participate in this performance as well. Also, the performance location is amazing. The story of Lord Sanetomo will be performed next to Minamoto Sanetomo's Mikubizuka. I thought this was a rare opportunity.

[Shimizu] Unlike Mr. Kumano, I had no experience in outdoor theater. I thought that would be a good way to gain experience as an actor. Also, I'm from Hadano. When I was little, I even toured Minamoto Sanetomo's head mound as part of a class. Those memories, along with the fact that the script was interesting, gave me a big boost. Each of the characters stands out, is full of ambition, and seems to be out of this world.I was drawn to these characters and wanted to be a part of it.

[Shimabara] Usually, I often appear in musicals. While studying at Magcal Performing Arts Academy, I have been participating in musical performances that are held regularly. The person who was writing and directing one of the performances was a disciple of Kohei Tsuka, and I had the opportunity to hear about Juro Kara from him. Each one of them was very interesting and exciting, and I thought that I would like to appear on stage other than musicals. And this time, we will be able to listen to the direction by Mr. Nakano, who studied under Mr. Kara. This is the charm that I personally feel (lol) I'm still new as an actor, and Mr. Shimizu and Mr. Kumano are seniors I respect. Actually, I'm a little nervous right now.

[Shimizu & Kumano] (lol).

-Are there any differences between the musical and this performance?

[Shimabara] The sense of speed and the way they take time are completely different. Also, there are a lot of long lines. The biggest difference is that it is an outdoor theater. Even when I'm out in the field, I'm trying to make sure my vocals reach the audience, and I'm having a hard time finding the right intonation. There are still many hurdles to overcome, but I have received advice from Mr. Nakano as well as warm words from my seniors, so I am concentrating on doing my best.


[Kumano] Shimabara-kun is very good at putting passion into his lines at a certain moment. Maybe it's because I have experience working in musicals, where I convey emotions in a pinpoint way in time with the music. Also, something I noticed from the beginning of the rehearsals, I can see that they approach the rehearsals with great passion. Last week, after the break, my acting had improved significantly. It was completely different.

[Shimizu] Ah, certainly. As for his role, there aren't many scenes where he interacts with Kimiaki, Shimabara-kun, but even if you listen to him from the sidelines, you can clearly feel that each and every line is well-written.

[Shimabara] Mr. Nakano gave me some advice: ``Understand not only your role, but also the lines and gestures of those around you. If you do that, your acting will come naturally.'' So, during my breaks from rehearsals, I kept reading the script, paying attention to things other than my role.


−Please tell us about the characteristics of Mr. Nakano's directing and anecdotes about his acting guidance.

[Shimizu] What's important is not the actors' performance, but the script. What does the script want to convey? The practice begins with this understanding. So from our point of view, it's very easy to act. You can concentrate without thinking about unnecessary things.

[Kumano] What was very impressive to me was the statement that ``'interpretation' and ``analysis'' are different.What is needed first is ``analysis''.'' Why was that scene included in the script, instead of acting it out with my own interpretation, or in other words, acting out the atmosphere, somehow looking happy or sad? why do you speak that language? This means that you should "analyze" it and then perform it. This echoes what Shimizu-kun said earlier, but first, understand what the script wants.

[Shimizu] In my experience so far, he is a type of director that is rarely seen. I feel that Mr. Nakano's directing method, which puts the script first, is very logical.

[Shimabara] What really left an impression on me was when I was told to "don't create your acting on the inside." "Spit it all out." I thought I was aware of this, but Mr. Nakano's words caught me by surprise. I think my acting has clearly changed between before and after. It became much easier to act.

-There is finally less than a week left until the performance. Lastly, please give a message to our customers.

[Shimabara] I play the role of Kogyo. He is the person who assassinates Sanetomo, but if you follow the circumstances, Kimigyo is also a tragic figure who is at the mercy of the world and people. I hope you will pay attention not only to the work, but also to the fluctuations of Kogyo's emotions.

[Kumano] Although it is based on Sanetomo and the Kamakura Shogunate, it is a wonderful play that can be easily enjoyed by anyone, not just history buffs. I would like many people to see it. Also, throughout the story, the question ``What kind of person was Sanetomo?'' continues to be asked, and I hope everyone will enjoy that as well. Everyone, including Yoshitoki Hojo, who I play, will be talking about Sanetomo. I hope that the audience will join us as performers in pursuing the image of Sanetomo, sometimes through a certain character, sometimes looking at the whole thing from a bird's-eye view. Also, I would like you to pay attention to the transformation of Yoshitoki, who is the actual ruler.


[Shimizu] Regarding the highlights of Sanetomo, there are two things. One, as mentioned in Kumano-kun's story, is the charm of the characters. There is an existing image of Sanetomo as a poet with no political ambitions, but in ``Sanetomo Departure'' we get a glimpse of a side that overturns that image, and we focused on that point when creating the role. I hope you will see a young general who easily surpasses the existing image. The other thing is about ``way of life''. I think Sanetomo's way of life depicted in the play has a philosophy that still applies today. If you change your perspective a little, you might be able to enjoy life more abundantly. I feel that Masakazu Yamazaki has put these questions into his work ``Jitsuna Departure.'' Not only is it a historical piece and a human drama, but it is also a play that teaches us about life, so we hope that you will enjoy the performance from an open-minded perspective.



Outdoor play “Misa morning departure”
Date and time: March 17th (Sat) and 18th (Sun), 2018

Start: 15:00~ (venue 14:40~)
*Rain or shine, canceled due to stormy weather

Fee: 1,000 yen for ages 20 and over, 500 yen for ages 19 and under
Free for Hadano citizens
*Reservation required (same-day tickets available)
*Prices are the same for advance purchase and on the day

Capacity: 200 people on both days

Venue: Hadano City Tahara Furusato Park

Access: Bus from Odakyu Line Hadano Station. Take Fujitana bound (Hata 23) or Hadano station loop (Hata 26 and Hata 27), get off at "Courtyard" and walk 3 minutes.

TEL: 070-1467-9274

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