Close contact with the rehearsal room of the open-air drama “Jitsuho Saiho”, which is about to be performed! "Dream chaser" Sanetomo has crossed 800 years of space-time and now revived in Hadano! !
"Real Morning Sails"
A representative work (1973) by the playwright and critic Masakazu Yamazaki (1934-), known for his critical works such as "Dramatic Japanese" and "Soft Individualistic Japanese." It depicts Minamoto no Sanetomo, the third Seii Taishogun of the Kamakura Shogunate, entrusting his hopes to the shipbuilding business in the midst of a political struggle against the Hojo clan and the imperial court.
Born in 1981. Director, Gekidan Tozemi☆Representative. At the same time as entering Yokohama National University, he studied under Juro Kara, who was a professor at the time. In 2005, along with the founding of Gekidan Karazemi☆, he was in charge of directing performances produced by 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 in Japan and overseas. He has won many fans with his unprecedented production techniques. He also specializes in outdoor performances, and is involved in the planning and management of theater events, including the production of performance environments.
The lead role is Minamoto no Mitomo. Born in 1992, from Hadano City, Kanagawa Prefecture. New National Theatre, Tokyo Theater Training Institute 9th class. Shortly after graduating, she performed at the New National Theatre, Tokyo in the 400th anniversary performance of Shakespeare's death "Henry IV" sponsored by the Agency for Cultural Affairs Arts Festival. He enthusiastically performed a major role in a play that lasted for six hours and was well received. Since 2017, belongs to Kakehi Production.
A dazzling figure, where is Sanetomo's true appearance?
First of all, I would like to touch on the outline of "Jitsucho Desai".
The highlight of "Sanetomo Sails" is the vivid contrast between the "man of dreams" Sanetomo, who entrusted his dream to the shipbuilding business, and the "man of action" Yoshitoki Hojo, who holds the power of the moment as the regent. be. Another great attraction is the play within the play, in which the spirits of the deceased vividly create real morning images.
The dead here...
・"Masako Hojo": Sanetomo's mother
・Hojo Yoshitoki: Masako's younger brother and Sanetomo's uncle. Plans to manipulate Sanetomo behind the scenes for his own politics
・Kugyo: Sanetomo's nephew and assassinated Sanetomo
・"Azusa": Sanetomo's wife
・"Yoshimura Miura": A military commander who keeps a distance from the Genji and Hojo clan.
・"Yoshimori Wada": Receiving Sanetomo's trust, but at odds with Hojo Yoshitoki
In addition to the above, Sanetomo was loved, toyed with, and even assassinated, such as ``Oe Hiromoto,'' a civil official of the shogunate, and ``Chin Kei,'' who created the impetus for Sanetomo's shipbuilding business. Real morning is told by them. Some say, "He was a good boy," some say, "Noble Genji memento," and some say, "The thief cat who stole the Shogun's rank."
In this way, the image of Sanetomo changes in various ways depending on the spirit. What kind of person is the “true real morning image”? In this way, when Sanetomo sets sail, there is also the enjoyment of free deduction, abandoning the existing image of ``the third Seii Taishogun of the Kamakura shogunate'' and ``poet of Hyakunin Isshu''. It is a participatory play in which you find your own image of reality while listening to the lines of the spirit that surrounds you.
A clash between an up-and-coming young talent and a talented director! The performance heats up in the rehearsal room as the performance draws near
The rehearsal began at the end of Act 2 following the epilogue. Mr. Nakano's signal fills the rehearsal hall, which had previously been filled with chatter, with a sense of tension.
The scene of Sanetomo and his wife, Azusa. Sanetomo kidnaps Azusa in front of Masako, Yoshitoki, and Kugyo. The highlights are Azusa's screaming as the heavy whistle resounds, and everyone's expressions stunned by Sanetomo's fearless action.
After finishing the scene, Mr. Nakano gave acting guidance. It was "Azusa's room and gestures". It is said that it is not so about the expression until Sanetomo's hand is held in front of everyone and taken away. In retrospect, it might be a more detailed depiction of surprise, fear, and fear of the unknown. Mr. Nakano's advice accurately breaks down Azusa's uneasy gestures.
There was also an instruction to scream. Although it is called "Azusa" in the work, it is actually
Historically, her real name has not been passed down, and she was the daughter of court noble and Naidaijin Nobukiyo BOMON, who was called 'the wife of Sanetomo.' If you think about it, you can imagine a woman's shout that seems to be a person of the imperial court in any scene, but that's what Mr. Yoshika Tsuuchiguchi, who plays the role of Azusa, squeezed out with advice. I felt that it was a human cry that had no historical color and could be understood in any era.
The practice, which I watched for about two hours, was full of power from beginning to end. It is said that this play will be performed by young theater people and aspiring theater students who have gathered through public recruitment mainly in Kanagawa. Naturally, some will see this play as a big step into the future. His carefree ambition, his passion and dedication to theater, and his overflowing youth. Directed by Mr. Nakano, who accepts them and guides them in the right direction to raise the degree of perfection of the play. Not only is the script wonderful, but the power of this rehearsal seems to be due to the collision of these two energies. I can't wait for the performance on the day.
After watching the play, Mr. Nakano gave me a commentary on the play, which I will introduce here. Without going into the specifics of the story, Mr. Nakano also calls this play a "story of hope."
““Sanetomo Sails” was published in 1973. Speaking of the 1970s, young people were frustrated by political movements and it became difficult to find hope. In addition, the content is also linked to the historical background of the first performance, and is also closely related to the trajectory of the author, Masakazu Yamazaki, who at times had a voice in the Japanese government as a researcher. I will omit the details, but at the root of the conflict between people in society and the subtleties of adolescents living in suffocating situations, even now, after the passage of time, , It is a masterpiece that leaves a deep impression.More than anything else, the story has great hope.In history, Sanetomo is seen as a passive person who had no talent for politics and only wrote poetry. The shipbuilding business tends to be evaluated as a frenzied act, but in this play, Sanetomo is a dreamer who entrusts his hopes to shipbuilding, and a person who tries his best to live positively despite being tossed about by people. That's why I want young people to see it, and I'm convinced that it's moving as a human drama before it's a historical piece."
In addition, Mr. Nakano talks about the event.
“Also, I would like you to pay attention to the fact that it will be held in Tawara, Hadano City, where Minamoto no Sanetomo’s head mound is located. , The environment is perfect for expanding the imagination of what kind of person he was.And then...Soba noodles (laughs).There is a delicious soba restaurant near Tahara Furusato Park where the event is held. I would like you to enjoy the beautiful spring scenery of Tahara, where the satoyama spreads out, the delicious soba noodles, and the outdoor theater that is possible only in this place.”
From history to philosophy. Please enjoy masterpieces that can be enjoyed by each person in a place related to Sanetomo
Finally, in addition to Yujo Shimizu, the main character who plays the role of Minamoto Minato, Shinya Kumano (Gekidan Karazemi ☆), who plays the role of Yoshitoki Hojo, and Hisanori Shimahara (Magcal Performing Arts Academy), who plays the role of Kogyo. I got an interview opportunity. I will conclude the report after listening to the enthusiasm of the performances that are approaching one week later.
-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's an outdoor play. In addition to outdoor performances, I have also performed in tents at the theater company Tozemi☆, which I belong to. Compared to performances in theaters, open-air theater is interesting because it gives you a stronger sense of liveness and a stronger sense of unity with the audience. So, I want to participate in this performance as well. Also, the performance venue is wonderful. The story of Minamoto no Sanetomo is performed next to Minamoto no Sanetomo's Mound. I thought this was a rare opportunity.
[Shimizu] Unlike Mr. Kumano, I had no experience with outdoor theater. So, I thought that I could gain good experience as an actor. Also, I'm from Hadano. When I was little, I once visited Minamoto no Sanetomo Mikubuzuka as part of a class. I have such memories, and in addition, the fun of the script was a big boost. The characters stand out, are full of ambition, and have a feeling of something otherworldly.
[Shimabara] I usually appear in musicals a lot. While studying at the Magcal Performing Arts Academy, I participated in regular musical performances. So, I had the opportunity to hear a story about Juro Kara from a person who had written and directed a certain performance and was a disciple of Kouhei Tsukasa. Each and every one of them was very interesting and exciting, and I thought I'd like to appear on stage other than musicals. And this time, you can receive the direction of Mr. Nakano, who studied under Mr. Kara. This is the charm that I personally feel (laughs). I'm actually a little nervous now.
[Shimizu & Kumano] (laughs).
-Is there any difference between the musical and this performance?
[Shimabara] The sense of speed and the way you take your time is completely different. Also, there are many long lines. And the biggest difference is that it is an outdoor theater. Even when I'm out in the field, I'm trying hard to make my vocalizations reach the audience, but I'm also struggling to get intonation. There are still many hurdles to overcome, but thanks to Mr. Nakano's advice and warm words from my seniors, I am concentrating on doing my best.
[Kumano] Shimabara-kun is very good at putting passion into a certain moment of dialogue. Maybe it's because of my experience in musicals where I pinpoint emotions to match the music. Also, something I have felt since the early days of rehearsals, I can see that they are approaching rehearsals with great passion. It was last week, but after the holidays, my acting was remarkably improved. It was completely different.
[Shimizu] Ah, sure. As for the role, there aren't many scenes involving Shimabara-kun's Kugyo.
[Shimabara] Mr. Nakano gave me advice, "Don't just understand your own role, but also understand the lines and gestures of those around you. If you do that, your acting will naturally flow out." So during my break from rehearsals, I would read the script all the time, paying attention to things other than my own role.
-Please tell us about the characteristics of Mr. Nakano's directing and episodes of acting instruction.
[Shimizu] It's not about the acting of the actors, but the important thing is the script. What does the script want to convey? Practice begins with that understanding. So from our point of view, acting is very easy. You can concentrate without thinking too much.
[Kumano] What left a strong impression on me was his talk that ``interpretation'' and ``analysis'' are different. Why is that scene included in the script, instead of playing with my own “interpretation”, in other words, with the atmosphere, instead of playing with a vaguely happy and sad look? why do you speak that language? It is to act after "analyzing" it. This overlaps with what Shimizu-kun said earlier, but... First of all, understand what the script wants.
[Shimizu] In my experience so far, he is a type of director that is hard to find. I feel that Nakano-san's directing method, which puts the script first, makes a lot of sense.
[Shimabara] What left a strong impression on me was the instruction I received, saying, “Don’t create your own performance from within.” "Exhale everything outside." I thought I was conscious of it, but Mr. Nakano's words took me by surprise. Before that and after that, I think my acting has clearly changed. It became very easy to act.
-It's finally less than a week until the performance. Finally, please give a message to the customers.
[Shimabara] I will play the role of Kugyo. He is the person who assassinates Sanetomo, but if you follow the history, Kugyo is also a tragic figure who is tossed by the world and people. I hope that you will pay attention not only to the work, but also to the fluctuations in Kugyo's emotions.
[Kumano] Although it is based on Sanetomo and the Kamakura Shogunate, it is a wonderful play that can be enjoyed not only by history fans but also by anyone. I would love for many people to see it. Also, throughout the story, the question “What kind of person was Sanetomo?” Starting with Yoshitoki Hojo, who I play, everyone will talk about Sanetomo. Sometimes through a certain character, and sometimes through a bird's-eye view of the whole, I hope that the audience will come together with us performers and pursue the image of Sanetomo. Also, I would like you to pay attention to the transformation of Yoshitoki, who is the real ruler.
[Shimizu] There are two things to see about Sanetomo. One, as Kumano-kun mentioned, is the charm of the characters. There is an existing image of Sanetomo as a poet and a person without political ambition, but in "Sanetomo Sails", we get a glimpse of a side that overturns that image, and we emphasize that point when creating the role. I hope that you will be able to see the appearance of a young shogun that easily surpasses the existing image. Another thing is about the way of life. I think that Sanetomo's way of life depicted in the play has a philosophy that is still relevant today. If you change your perspective a little, you can enjoy life more abundantly. I feel that Mr. Masakazu Yamazaki put such a question into his work, "Jitsucho Sails." Not only is it a historical piece and a human drama, but it is also a play where you can learn how to live, so I would like you to enjoy the performance from a free perspective.
Open-air play "Jitsucho Sails"
Date: March 17 (Sat) and 18 (Sun), 2018
Start: 15:00~ (Venue 14:40~)
*Rain or shine, canceled in stormy weather
Price: 1,000 yen for those over 20 years old, 500 yen for those under 19 years old
Free for Hadano citizens
* Reservation required (same-day tickets available)
*Prices are the same for both advance and day tickets
Capacity: 200 people on both days
Venue: Tahara Furusato Park, Hadano City
Access: Take a bus from Hadano Station on the Odakyu Line. Take the bus bound for Fujidana (Hata 23) or loop around Hadano Station (Hata 26 and 27) and get off at "Courtyard", then walk for 3 minutes.
Reservation reception / inquiry: