The breaststroke head office looks back, Kagami performance and its charm
– Congratulations on your first triple crown award.
【Matsumoto】 Thank you very much. Among the activities we have done so far, I am happy. The reason for this participation is a bitter experience at the "Sengawa Theater Dramatic Competition" held in July 2017. Six organizations including "Brainstorming Headquarters" participated, but we were unable to receive only the prize for 6 of the 6 groups, and received a very strict evaluation. After experiencing that experience and trial and error it led to the award at this time, so I feel great that I was pure.
I think that this is all thanks to Mr. Takehide's encounter with the work "desk emptiness". I was happy that I could perform a really very interesting work.
However, to be honest, I also wanted to aim for an actor award. "Breaststroke head office" is a drama company only for actors. Without playwrights and directors, how far can you act with just actors? I have been committed to it, and since we all worked with directing and writing scripts from scratch. In that sense, it became a theater festival which also got issues to be addressed in the future.
– Do you have any impressions on the plays "Desk Idealism" that served as director / actor?
[Suzuki] I got a script and shared the frank comments with members, but what I felt was "It is a work that can do approach. " The story is a novelist and editor, a man who wants to be a novelist and his wife crossing the reality and the novel world, but the boundary between what is real and where it is from the novel world has been clarified I do not have it. That is, the judge is also left to the performer. That is the difficulty, it's deep in this work.
If I think about it, I think theater itself is such art. Even if there is a theme, there are ten people to receive customers. Theater gives different impression to each person. I also felt that "desert emptiness" is a work that seems like a play in such a meaning.
【Matsumoto】 Since I was in charge of the production this time, I have to correctly convey the goodness of my work. Initially there was a lot of pressure on its responsibility. However, there was a feeling that customers had accepted what this intention was in the performance, and I was able to connect with confidence as well.
Also, it is a work that changed our fixed concept in a good way. "Breaststroke head office" is a company by male actors only, so we did not perform the work that needed a female role. There was, once, our commitment to it. But when I read "desk sky theory", I think that female performers are indispensable for properly conveying the charm of this work. So, I threw away the attention that I had and participated in Mr. Hisamon who is a friend from the days of my research.
【Kuun] Although the performance was late January, suddenly received contact in early December, I was a little surprised (laugh). It's also called 20 minutesI had hesitation because I never appeared in a restricted work. However, it was a group from the training school days, and I was also very happy to be able to appear in works produced by Matsumoto.
[Matsumoto] And as a result of thinking only about the work rather than our commitment, we got a good evaluation. I feel that this is important to us. Until now, our direction was only to boil down with members, but we were not conscious of the particular attention, I was able to feel more purely thinking about the work.
– In addition to the awards, what you get as a theater company was also great. What is the theater festival for the performers, honestly?
【Matsumoto】 It is a wonderful theater festival. It is possible to gather theaters nationwide and overseas, as well as touching acts of each actor. It was an invaluable opportunity for us as well.
Normally, I do not have the chance to see so many works at once, and I do not have the chance to interact not only with the various parts of Japan but also with the theater companies abroad. There is also a big stage of KAAT's big studio, the competition of playing in front of a lot of people itself, but, of course, between other theater companies and their work Meeting is a good stimulus.
For example, this time the Korean team "Theater Compassion" and its work "Alternative Family Ecological Report." At the same time as the high quality of the work, I felt that it was different from Japanese theater. Specifically, it is "leadership power", the harmony of the movement of the members is very good, acting with a different consciousness from the so-called Japanese small theater performer, which mainly produces performances by performances . What I have directly touched on such a difference is very learning.
[Suzuki] I think that having such a competition in the city of Kanagawa, Yokohama itself is wonderful. The prefecture and the city have also taken the initiative to prepare the environment, and it is as grateful as a performer. Also, although it is a bit abstract … I felt that the big studio of KAAT was playing "It is a pleasant stage". It is not a big or small story, and the performer can suddenly immerse himself in acting. It was very attractive as a place to act! !
– Are you planning to participate in the 4th session?
【All over】 That, of course! (Lol).
[Suzuki] In this critique, there was also pointed out about acting. In the case of myself, I was talking about speech, but I hope to make use of it in the future and I will be able to participate next year.
– Please give a message to the theater company who is considering participation.
ent: 1em; margin-bottom: 30px; "> Maruyama: It's more of a feeling that I feel than messages, but … it is a wonderful experience to be touched by other theatrical performances as well. In particular, I thought from the performance of "Kameito" in Shimane prefecture which performed "Sake and Soba and Men and a Woman". I can touch active acts that I do not have now, that alone will be a great experience, so I would like to have a lot of theater companies challenge.
2nd performance "Enjoy Ehn eee" at the Waseda Small Theater Drama Museum: Mikio Kitahara
Why is the breaststroke headquarters theater company with only actors?
– Although I was also in the first story, I heard that "Brainstorming head office" is a writer, a director of "actor-based" absent director. Why?
【Suzuki】 Matsumoto's thought is the starting point. First of all, they were research students of the Institute of Theater of Literature. That is the edge, leading to the formation of the "Breaststroke Main Store" in 2015. However, it was not a stance like the present from the beginning, but at the beginning of the formation I was performing a performance with an existing screenplay. A while ago, Matsumoto had a proposal "In order to go out into society as an actor, each person must be independent". So, for almost two years until now, actors have acted as a theater company where actors think of everything. For example, each person brought in scenes and dialogues of movies that had been influenced so far and made omnibus style play.
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Everyone stares at themselves, and everyone pursues theatrical expression from one. Both failure and success are experienced that can not be obtained by regular theatrical companies, and it is a theater company that can thoroughly polish performances that are only for himself.
– As an actor, it is a commitment to grow more. Please tell me the strength of the members that Mr. Matsumoto thinks.
【Matsumoto】 Ogawa-kun is a type of "strong role" such as "a role with a fever", for example, a strong play that appears in Takakoi's work. Suzuki-kun is intelligent, or is a type of actor who can speak lines seriously. And Shishikura – kun is very unique and has a unique atmosphere.
【Shishokura】 · · ·,, (laugh).
【Matsumoto】 So, it is an actor who makes me feel attractive even with a little word without anything. And Maruyama – kun … … is usually rough, but strong in production.
【Maruyama】 (Laugh) Is that a strength?
【Matsumoto】 Acting as an actor with uncertainty as being rugged, that is a big appeal. Because it looks small, it is popular also from customers.
In this way, it is also the strength of the "stone breeding head office" that they have different strengths and gather members that can demonstrate them. You can flexibly work your work, such as who will take the initiative according to the content of the work and the sceneI can do a wide range of creative activities. There is a feeling that I want to dig down there, so far as I talked about Suzuki-kun, I have worked on script making so far.
Stoil, trouble, guided. An ambitious drama company will start a new start
– I heard that there is a playwright of the playwright like this time for the work to be performed next time. Did the direction change?
【Matsumoto】 It is great due to some ridges. What I got in about two years as an acting-theater company was very big. However, the "Sengawa Theater Dramatic Competition" I talked about first, I was not able to fully demonstrate the results on the stage. So there was a time when I was worried about the direction of the theater company as it might be.
From that point again, I decided to face the playwright's words properly as an actor, and I decided to participate in the case, in fact it is a word from Mr. Atsuyuki Nakano of the Kanagawa Arts Foundation / All-Prefecture Development Project Program Director .
Mr. Nakano happened to see the previous Sengawa Theater Theater Competition,
"The power as an actor is individually, that's why the current state is a wasteful thing, it should be a playwright," but since we were also thinking about how we should do this timeI felt that I was quite surprised.
And there is now as a new "breaststroke head office".
"Bork" to perform at the Waseda Small Theater Drama Hall from February 16 this year is the first of its kind. The screenwriter is responsible for an ambitious playwright, Mr. Yoshihiro Yoshi, but Mr. Koshi also accepted us well knowing our past activities. It is a very interesting drama, and our performance is also evolving with that as a clue, so I'd like to invite a lot of people by all means.
– Finally, please tell us the aim of your goal and the goal of the theater company.
[Suzuki] I have a habit of seeing things objectively. As well as acting about acting, I am concerned about how the entire work progresses. I feel challenging when I realize that part of that big flow is well supported. So, I'd like to be able to respond to any work and aim to be a supported actor.
【Ogawa】 I want to become a "transmitted actor". As an example, what will you cut, even in acting "cutting"? Whether the actors are clearly imagining or not, the way of being transmitted is different. I want to become such an actor who can express every expression to the customer without discomfort and clearly.
[Shishokura] It is an actor with legs on the ground. For example, Mr. Kurori Tree? Just stand that person, the whole space in the atmosphere You can communicate. Also, although it is not aiming, there is a moment when you are acting and feel "sympathizing" with the performers. I can not tell what you are feeling … but I want to cherish the emotions of that moment.
【Maruyama】 It is an actor who can convey feelings naturally. I would like to honor performances that make customers really appreciate such expressions such as fun, sad, angry.
【Matsumoto】 Theater is "art of words". And the impression is born where words try to express things that can not be expressed in words, such as human mind and emotional subtleties. I would like to continue pursuing that "I will constantly draw the hearts of men and things I only have to imagine by doing the words."
As a goal of the theater company, it is overseas performance. The name "Brainstorming head office" was also aware of the fact that it would be active overseas. By attaching Kanji to "Breaststroke Main Store", I had the identity of becoming a Japanese company and wanted to make an active part in the world. In addition, the word "breaststroke" was in mind that Kosuke Kitajima, a former swimmers' national team representative, was an active player. If you develop your skills, you can overcome the differences in physique and motor nerves and compete in the world. It is surely the same thing in theater.
In the not far distant future I would like to show off my performance on overseas scenes.
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Breaststroke head office 4th performance "Boku"
Concert schedule: Friday, February 16, 2018 – February 19 (Monday)
Place of performance: Waseda Small Theater Drama Hall 1-101 Totsuka-cho, Shinjuku-ku, Tokyo 169-0071
Starting: Friday the 16th (Fri.) 19: 30, Saturday 17th (Sat) 14: 00- / 19: 30 ~, Sunday 18th (Sun) 14: 00 ~ / 19: 30 ~, Monday 19th (Monday) 14: 00 ~
Tickets: advance sale 2,500 yen on the day 3,000 yen pair ticket 4,000 yen student 1,000 yen cultivate ticket 2,000 yen
【Reservation on the day settlement · Bank transfer reservation】 Quartet Online
【Reservation with Credit Settlement】 Theater Pass
Contact: email@example.com or 090-4099-2941
Breaststroke head office member · Suzuki Otori's appearance work "A gentleman looking at a hill"
Concert schedule: Wednesday, March 7, 2018 – March 11 (Sun)
Place of performance: Kitagopia Pegasus Hall, Osaka 11-11-1 Kita Ward, Tokyo 114 – 8503 5F
Opening: 7th (Wed) 19: 30-, 8th (Thurs) 14: 00- / 19: 30-, 9th (Fri) 19: 30-, 10th (Saturday) 14: 00 ~ / 19: 30 ~, Sun 11th (Sun) 14: 00 ~ / 18: 00 ~
Tickets: advance sale 3,500 yen 3,800 yen on the day and 1,000 yen for high school students
For inquiries: 03-5912-0840 (J-Stage Navi)
AreaYokohama City (excluding the Bay Area)