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MAGCUL マグカル

MAGCUL(MAGNET+CULTURE)
the media for art, culture and events in Kanagawa prefecture.
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『机上の空論』、三冠受賞特別インタビュー!  作品とともに満場の喝采を浴びた、演劇カンパニー「平泳ぎ本店」とは?
Theater / dance
2018.02.14

"Desk theory", triple crown award special interview! What is the theater company "Breaststroke Main Store" that received full acclaim along with the work?

(Please note that this page was created using Google's automatic translation service and understand that because of this, its translation may not necessarily be accurate.)

Breaststroke main store looks back on the Kamosai performance and its charm

-First of all, congratulations on winning the Triple Crown.

[Matsumoto] Thank you. Of all the activities I've done so far, I'm particularly happy. This is because I had a bitter experience at the "Sengawa Theater Theater Contest" held in July 2017. Six groups including the "Breaststroke Main Store" participated, but only we of the six groups could not win the award and received a very strict evaluation. Through that experience and trial and error, I was able to win the award at this time, so I feel that it was purely good.

I think this is also due to the fact that I was able to meet Mr. Takeshige's work "Desk theory". I was happy to be able to perform a really very interesting work.

But to be honest, I also wanted to aim for the actor award. "Breaststroke main store" is a theater company only for actors. How far can an actor alone work in the absence of a playwright or director? We are particular about that, and we have been working on the production and script from scratch. In that sense, it has become a theater festival that has some issues to be tackled in the future.

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-Do you have any impressions about the drama "Desk theory" that you directed and performed?

[Suzuki] I received the script and shared my frank impressions with the members, but what I felt was "Samaza.It was a work that can be approached. The story progresses while a novelist and an editor, a man who wants to be a novelist and his wife cross the reality and the novel world, but the boundary between where is the reality and where is the novel world is clarified. I don't. In other words, the judgment is left to the performer. That is the difficulty, and the depth of this work.

When you think about it, I think theater itself is such an art. Even if there is a theme, there are 10 people and 10 colors to receive customers. Theater is what gives each person a different impression. In that sense, I also felt that "Desk theory" is a play-like work.

[Matsumoto] I was in charge of directing this time, so I just had to convey the goodness of the work correctly. Initially, there was a lot of pressure on that responsibility. However, at the performance, I felt that the audience was accepting what I intended, and I was able to build confidence.

Also, it's a work that changed our stereotypes in a good way. Since "Breaststroke Main Store" is a company consisting only of male actors, we did not perform works that required female roles. There was something we were particular about. However, when I read "Desk Theory", I thought that female performers were indispensable to convey the charm of this work correctly. Therefore, I abandoned my commitment and asked Mr. Kumon, a friend from my research student days, to join us.

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[Kumon] The performance was in late January, but I was a little surprised when I was suddenly contacted in early December (laughs). Also, 20 minutesI was hesitant because I had never appeared in a work with restrictions. However, I've been friends since the days of the training institute, and I was happy to be able to appear in the works directed by Matsumoto-kun.

[Matsumoto] And as a result of considering only the work rather than our own commitment, we received a good evaluation. I feel this is important to us. Up until now, our direction has only been boiled down by the members, but we were able to have the feeling of thinking more purely about the work and working on it without being too conscious of our commitment.

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-Not only did you receive the award, but you also gained a lot as a theater company. What kind of theater festival is Kamosai for the performers?

[Matsumoto] It's a wonderful theater festival, isn't it? Theater companies from all over the country and overseas can gather, and you can also touch the performances of each actor. It was a very valuable opportunity for us as well.

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Normally, I rarely have the opportunity to see so many works at once, and I also have no chance to interact with theater companies not only in Japan but also overseas. The big stage of KAAT's large studio and the appeal of the competition itself, which is to perform in front of many people, but above all, with other theater companies and their works.Encounter is a good stimulus.

For example, this Korean team "Theatrical Company I agree" and its work "Alternative Family Ecology Report". At the same time as the quality of the work, I felt that it was different from Japanese theater. Specifically, it is "leading power", and the movements of the members are very harmonious, and they are acting with a different consciousness from the performers of so-called Japanese small theaters, which mainly produce performances for each performance. I understand. It is very educational to be directly exposed to such a difference.

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[Suzuki] I think it's wonderful that there is such a competition in the cities of Kanagawa and Yokohama. The prefectures and cities are also taking the initiative in preparing the environment, and I am grateful as a performer. Also, it's a bit abstract, but I felt that the big studio of KAAT was playing and it was a "comfortable stage". It's not a big or small story, but the performer can immerse himself in acting. It was a very attractive place to perform! !!

− Are you thinking of participating in the 4th session?

[All] Of course! (Lol).

[Suzuki] In the criticism I received this time, there was also an indication about acting. In my case, it was about vocalization, but I hope I can make use of it in the future and participate again next year.

-Please give a message to the theater companies that are considering participating.

ent: 1em; margin-bottom: 30px; "> [Maruyama] It's more of a feeling than a message, but it's still a wonderful experience to be exposed to the acting of other theater companies. In particular, I thought so from the performance of "Kamenito" in Shimane Prefecture, which performed "Sake, Soba, Men, and Women." It will be a great experience to be able to experience acting that I do not have now, so I would like you to challenge many theater companies.

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The 2nd performance "Enoe wo Nareite" at Waseda Small Theater Doramakan Photo: Mikio Kitahara

Why is the breaststroke main store a theater company with only actors?

-As mentioned in the first story, I heard that "Breaststroke Main Store" is an "actor-based" theater company without a scriptwriter or director. Why?

[Suzuki] Matsumoto's thoughts were the trigger. First of all, they were all research students at the Theater Research Institute attached to Bungakuza. That is the reason why the "Breaststroke Main Store" was formed in 2015. However, it wasn't the current stance from the beginning, but when it was first formed, it was performing with a ready-made script. After a while, Matsumoto suggested that "in order to enter society as an actor, each person must be able to become independent." So, for about two years now, I've been working as a theater company where actors think about everything. For example, we have created omnibus-style plays by bringing together the movie scenes and lines that have influenced us.

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Each one looks at himself and everyone pursues theatrical expression from the beginning. Both failures and successes have experiences that cannot be obtained by ordinary theater companies, and it is a theater company that allows you to thoroughly improve your unique performance.

-As an actor, you are particular about growing up. Please tell us about the strengths of the members that Mr. Matsumoto thinks.

[Matsumoto] Ogawa-kun is a type who specializes in "hot roles," for example, strong plays that appear in Tsuka Kohei's work. Suzuki-kun is an actor who is intelligent, or who can speak the lines properly and logically. And Shishikura has a very strong personality and a unique atmosphere.

[Shishikura] ... (laughs).

[Matsumoto] So, he is an actor who makes me feel attractive even with a little word. And Maruyama-kun is usually rough-cut but strong in production.

[Maruyama] (laughs) Is that a strength?

[Matsumoto] It's an actor who has uncertainties, and that's a big attraction. Because it looks small, it is popular with customers.

In this way, the strength of the "Breaststroke Main Store" is that the members who have different strengths and can demonstrate them are gathered. You can flexibly devise a work, such as who will take the initiative according to the content and scene of the work.Because you can do it, you can do a wide range of creative activities. There is a desire to delve into that, and as Suzuki-kun mentioned earlier, we have been working on scripting ourselves.

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Stop, worry, be guided. An up-and-coming theater company makes a new start

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-I heard that the next work to be performed will have a playwright script like this time. Has there been a change in direction?

[Matsumoto] It's largely due to some ties. What I gained in about two years as an actor-centered theater company was huge. However, as I mentioned at the beginning of the "Sengawa Theater Theater Competition", I was not able to demonstrate the results well on the stage. Therefore, there was a time when I was wondering if the direction of the theater company could remain the same.

From there, I decided to face the playwright's words properly as an actor, and decided to participate in Kamosai, in fact, a word from Mr. Atsushi Nakano, the director of the Kanagawa Arts and Culture Foundation's prefectural expansion project program. ..

Mr. Nakano happened to be watching the Sengawa Theater Theater Contest.
The content was "Individual power as an actor. That's why the current state is wasteful. We should catch a playwright." But we ourselves were wondering what to do next time., I fell in love with it.

And now there is a new "breaststroke main store".

"Balk", which will be performed at Waseda Small Theater Doramakan from February 16th this year, is the first of these. The script is written by an up-and-coming writer, Hiroo Koshi, who was willing to accept it after learning about our activities so far. It's a very interesting play, and our acting has evolved further based on it, so I would like many people to visit us.

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-Finally, please tell us about the actors you are aiming for and the goals of the theater company.

[Suzuki] I have a habit of looking at things objectively. Of course, acting is about myself, but I'm curious about how the whole work progresses. I find it rewarding when I realize that I am well supported by a part of that big flow. So, I want to be an actor who can handle and support any work.

[Ogawa] I want to be an actor who can be conveyed. As an example, what do you cut even with the act of "cutting"? The way it is communicated depends on whether or not the actor has a clear image. I want to be an actor who can convey all expressions to customers without any discomfort and clearly.

[Shishikura] You're an actor with a foot on the ground. For example, is Kirin Kiki? The atmosphere in the entire space just by standingI can convey my mind. Also, I'm not aiming for it, but there are moments when I'm acting and I feel that I'm "sympathizing" with the performer. I can't say what I'm feeling, but I want to cherish the feelings at that moment.

[Maruyama] You are an actor who can convey emotions naturally. I would like to improve my acting so that customers can really sympathize with such expressions as fun, sad, and angry.

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[Matsumoto] Theater is "the art of words." And I am impressed when I try to express things that cannot be expressed in words, such as the subtleties of people's hearts and emotions. I would like to continue pursuing that, "I will do my best to constantly draw people's hearts and things that I can only imagine."

The goal of the theater company is to perform overseas. The name "Breaststroke Main Store" was given with the intention of working overseas. By adding "breaststroke main store" in kanji, he wanted to have an identity of being a Japanese company and play an active role in the world. Also, what I had in mind when I used the word "breaststroke" was the success of former Japanese swimmer Kosuke Kitajima. If you hone your skills, you can overcome the differences in physique and motor nerves and compete in the world. I'm sure it's the same in theater.

In the not too distant future, we would like to show our performance on the overseas stage.

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Breaststroke main store 4th performance "Balk"
Performance schedule: February 16th (Friday) -February 19th (Monday), 2018
Performance location: Waseda Small Theater Doramakan 1-101 Totsukamachi, Shinjuku-ku, Tokyo 169-0071
Starts: 16th (Fri) 19:30, 17th (Sat) 14: 00- / 19: 30-, 18th (Sun) 14: 00- / 19: 30-, 19th (Mon) 14: 00-
Ticket: Advance sale 2,500 yen Same day 3,000 yen Pair ticket 4,000 yen Student 1,000 yen Cultivate ticket 2,000 yen
● Handling
[Same-day payment / reservation by bank transfer] Quartet Online
https://www.quartet-online.net/ticket/hiraoyogihonten4th
[Reservation by credit card] Theater pass
http://engeki.jp/pass/events/detail/356
Contact: hiraoyogihonten@gmail.com or 090-4099-2941

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Breaststroke main store member, Dairin Suzuki starring work "Gentleman of the hill overlooking"
Performance schedule: March 7th (Wednesday) -March 11th (Sunday), 2018
Performance location: Hokutopia Pegasus Hall 1-11-1 Oji, Kita-ku, Tokyo 114-8503 5F
Start: 7th (Wednesday) 19: 30 ~, 8th (Thursday) 14: 00 ~ / 19: 30 ~, 9th (Friday) 19: 30 ~, 10th (Sat) 14: 00- / 19: 30-, 11th (Sun) 14: 00- / 18: 00-
Ticket: Advance sale 3,500 yen Same day 3,800 yen High school students and younger 1,000 yen
Inquiries: 03-5912-0840 (J-Stage Navi)