2014.7.1 Text: Akiko Inoue Photo: Masamasa Nishino
Editor, Critic, Freelancer. Hosted by BricolaQ. Born in Kochi City in 1977. Moved to Tokyo alone at the age of 12 and started living alone in Tokyo. After that, he moved around, and after working for a publishing company, became a freelancer. In charge of editing the magazine “Expo”, the Musashino Art University public relations magazine “mauleaf”, and the Setagaya Public Theater “Caromag”. Co-edited with Chikara Tsujimoto, Book Guide as <Architecture> (Meigetsudo Shoten). Co-authored with Kyoko Tokunaga, "The Strongest Theory of Theater" (Asuka Shinsha). Currently residing in Yokohama. Involved in the launch of Theater Center F.
Junya Noguchi｜Junya NOGUCHI
Kukangendai: Junya Noguchi Junya Noguchi (guiter/vocal) Keisuke Koyano (bass) Hideaki Yamada (drums)
Formed in 2006 by three current members. Performing songs produced with editing, duplication, repetition, and error-like ideas in the form of a three-piece band. It features a humorous and stoic live performance that brings about twists and loads. In recent years, as an experiment in performance, he has been working on the construction and practice of a live form in which the entire time flowing in a live performance emerges as a single rhythm while moving back and forth between multiple grooves/songs running in parallel.
This time, which is the second in the series, Noguchi from the three-piece band Kukan Gendai, who is also an acquaintance of Mr. Fujiwara and whose name is also known for collaborations that transcend genres such as Chiten, Norimizu Ameya, Kakuya Ohashi, and Rollo. Mr. Junya (gt/vo) was invited as a guest, and the theme was "Drunkenness and Awakening". Mr. Mutsumi Keda and Mr. Mai Tsuchiya, who accompanied the 1st guest theater company Karagumi for the recording on the same day, joined without notice, making it a deep night where the perspectives of music and theater intersect. Below is the main story.
Before that, Cheers! !
Fujiwara: My image of Noguchi-kun is just a drunk guy (laughs)
Noguchi: Lol! I have never seen Mr. Fujiwara drunk.
What kind of band is Kukangendai?
Fujiwara: Kukangendai's live performances start with a three-piece look at each other in a "three-square state". For example, you've performed live at Chiten no Fatzer, and you've collaborated with a variety of performing arts artists, but they're looking for elements that aren't so-called theater accompaniment music (*accompaniment) .
Kukangendai's music has the power to evoke concentration in the moment, and I think that's "awakening." For example, I think that the feeling of indulgence when watching a certain theater work, like "Ah, I'm going to cry...", is similar to the feeling of getting drunk and intoxicated, but in Kukangendai, I feel that "the more you get drunk, the more you wake up". right. But Noguchi himself has a strong image of drunkenness, so I've been wondering what the gap is.
Noguchi: Actually, the style of playing with three people facing each other is also a device that does not get drunk. I think some people may say that our music can't be danced to, but I'm trying to make music that people can dance to and have a good time drinking, so when we get drunk (with music), we play. I can't do it. It's that arrangement with the meaning of "Let's do it without getting drunk".
Fujiwara: I see. I'm very conscious of that.
Noguchi: I thought it would be more fun to get involved with music that felt like I was being moved by something, and how to perform live.
Fujiwara: People who have never listened to it may misunderstand when I say "fit into a mold", but there is absolutely no element of existing band music that fits into a mold.
Noguchi: In that sense, it's actually the opposite. The “kata” I just mentioned has a meaning similar to pitching form. Even if you discover a new way of throwing, it's completely different from concentrating on throwing after practicing and practicing it to the point where you can do it well, and concentrating on improvising and throwing with a new form. We think that it is good to exercise by first deciding the form by ourselves and then trying to follow it.
Fujiwara: Is there anyone you used as a reference?
Noguchi: Quite a lot. There is also something like "It's a ripoff!" I'm not ripped off at all (laughs).
Fujiwara: Ah, I couldn't get enough of it, and it ended up like that...
Noguchi: Yes. But it's like, "That's interesting, isn't it?" (laughs)
Image provided by Chiten
Eating and running incident occurred? !
Fujiwara: By the way, how is your drinking life these days?
Noguchi: When I first met Mr. Fujiwara, I was still a university student, but I feel like I'm finally getting rid of that college vibe (laughs).
Fujiwara: As expected... (laughs)
Noguchi: I made a lot of mistakes, and now I'm thinking, ``I'm going to settle down.
Fujiwara: I've witnessed the scene of that failure several times (laughs).
Noguchi: Sorry for the inconvenience...
Gatsu vinegar miso appears here.
Noguchi: Ah, really good!
Fujiwara: Vinegar miso is also good! (Towards the counter) "General, it's delicious!"
Admiral: Ah, thank you.
General (slightly shy)
Noguchi: Come to think of it, I went to Fukuro (*Ikebukuro's popular pub) by myself the other day, and when I checked my wallet after ordering, I only had 100 yen... Thanks to that, I don't remember the taste of the first beer at all (laughs)
Noguchi: In the end, I thought I was going to withdraw some money at an ATM, pretending to go to buy cigarettes, and when I started out, the lady at the store was kind enough to introduce me to a convenience store that was a minute's walk away. But I knew that convenience store didn't handle my bank, so I dashed to a distant 7-Eleven (laughs).
Fujiwara: Ah, that 7-Eleven over there.
Noguchi: Yes. I ran, but it took more than 5 minutes, so it was so slow that everyone was rumored, "Didn't he eat and run?"
Noguchi: So when I opened the door of the restaurant and went back to my seat, I heard a voice in the distance saying, "You didn't eat and run, did you?" (laughs) I had a brand new cigarette in my hand.
Illustration : Kanae
Fujiwara: But I think it was rather expected. (laughs)
Once, I happened to be at the scene of eating and running at the counter seat of a certain bar, and suddenly I thought that the uncle was hula and left, and at that moment, the old woman in the bar shouted, "Eating and running! !!” I yelled.
Noguchi: It really goes up, that (laughs)
Fujiwara: Then the young people at the store jumped over the counter and chased me, and I was caught without a second thought (laughs).
Noguchi: Eh! I got caught!
Fujiwara: Yes. I was surprised. I ate and ran away... like.
Noguchi: Going back to what we were talking about earlier, don't you feel like you've seen a nice spectacle?
Fujiwara: After all, everyone has high expectations. That's why I think it was fun for the people who were there for 5 minutes during Takenokuchi-kun's time as well. It's like "I wonder if he ran away~, what's up~".
Eating and running away is "awakening"
Fujiwara: Putting aside eating and running away, in line with the theme of this time, "Drunkenness and Awakening", even though he was basically drunk, the customers at the store at that moment were wondering if Noguchi would come back. I think I watched it with a certain sense of tension and awakening.
Noguchi: I see. I gradually came to understand what Mr. Fujiwara meant by "awakening."
Fujiwara: But well, let's be drunk today, let's be drunk. I'm in drunken mode (laughs)
*Although it has already been mentioned, this is the second recording for Mr. Fujiwara this night.
Noguchi: Well, let's go to Hoppy.
Fujiwara: There are three colors, white, black and red.
Noguchi: Then red.
Fujiwara: Excuse me, please give me a set of Red Hoppy!
Here, the famous cheese steak!
(How to eat) Add Tabasco to your liking, cut by hand and eat.
Noguchi: Eh, do you cut it by hand?
Fujiwara: Eh, seriously? Amazing, this commitment of the master.
Noguchi: Solid? this. picture? a! Got it!
Fujiwara: This is good. It's not even pizza. What is it, it's delicious! !
The cheese steak was the trigger for the two members of the Karagumi Theater Company (Mr. Mutsumi Keda and Ms. Mai Tsuchiya) to join the conversation.
Fujiwara: For me, it's forever. The only thing stopping me is the last train. And the last train won't stop me...
Keda: “The tracks continue forever”!
Karajuro x Kukan Gendai? !
Fujiwara: What did I forget to ask the two Karagumi members at the first event ? Isn't it?
Keda: I learned how to play the piano, so I can play it fairly well. But from my point of view, as someone who does theater, I think it's cheating because it suddenly comes to mind without even using the word "music".
Fujiwara: I know, that (I'm drunk) . But, of course, there is a compatibility between theater and music.
Tsuchiya: I think so. When I think about why dramas are written as "songs," I think it's because there is something that connects music and theater.
Fujiwara: I feel that there is something in common between musical scores and plays in the sense that they contain certain instructions.
Tsuchiya: There are assigned roles for sound, and music also involves communication in the same way as theater. like a session.
Keda: Jazz is the easiest to understand.
Fujiwara: I'm dreaming about it now, but if Kara-san and Kukangendai are mixed, I'd like to see it. It may sound presumptuous, but... no, I think it's possible.
I think Karajuro's indigenous energy is imbued with a certain lyricism. what will happen I'm sure you can't just get drunk with lyrical music. I think that getting drunk means "shifting one half of one's body into another world," but listening to Kukangendai's music when you're inebriated by a story or space takes you to yet another world. like……
Kida: That's amazing.
Noguchi: This is especially the case with Kayokyoku, but there is a feeling that Gaan comes with a “face”. When I worked with Lolo 's Naoyuki Miura, there was a scene where an unpleasant sound was played along with the song, so I played Takuro Yoshida's song in the middle. At that time, Miura-kun said, "The reason I can only use popular songs is because I can present a picture frame that says, 'This is the song.'" In other words, in my interpretation, since Kayokyoku consists of "faces", even if a part of it is scraped off, the listener can somehow remember the parts that were not heard. I don't know.
Fujiwara: I see.
Noguchi: But that's what makes it difficult when we try to do the same thing. I can't create a face collision condition very well. So I thought, why not collage different songs. So recently, the way we perform live has changed a bit. I thought you were able to create an antagonistic relationship between the "faces", like a collision between the song and the noise.
Raw Theory of Music and Theater
Fujiwara: Your latest album “LIVE” embodies that kind of antagonism. At first glance, Kukangendai's playing style seems to be stoic, but when it's combined with the stage, it shows a tremendous ability to communicate, so I hope everyone will listen to it.
* Kukangendai “LIVE” now on sale! Click here for details.
watch youtube here
Keda: Are you conscious of the idea of “destroying”?
Noguchi: There are quite a few people who say, “Let’s dislocate him here,” because if we continue like this, it will turn out like this.
Keda: Like breaking the pre-established harmony?
Noguchi: Yes. At first, how do you break down the existing songwriting method as a rock band with guitar, bass and drums? When I thought about it, I started experimenting and changed direction. By the way, rhythm was the keyword from the beginning. The rhythms of the bass and drums are fixed, but the guitar is playing a completely different song.
On the contrary, this time I started to create a consistent rhythm, and in the end it turned into a four-on-the-floor like dance music. Everything comes from the desire to dislocate, but recently there are more and more moments when I don't know what is dislocated and what is the main reason.
Keda: “Nama” (nama = live) is such an amazing thing. When it comes to re-enacting dozens and hundreds of plays written by Juro Kara, what to do to maintain the state of "life" is to create a state of flow that is not a pre-established harmony. right. How far can a so-called actor go “live”? We're going to create a real situation where you don't say, "Oh, you're talking there." Listening to it now, I wonder if this is the same.
Noguchi: There is probably something that resonates with you.
Keda: It's the same with theater, isn't it? All Teyuka plays are like that.
Noguchi: In theater, there is the word reenactment. There are countless bands that have been playing the same song every time for about six years. Bandman doesn't have the idea of being in a rut because it's a repeat performance. Rather, the songs I did after a long time are good. So in that respect, theater and music are natural, but they are completely different. But after being aware of that difference, when I replayed a play from the past several years ago, the struggle to bring out the feeling of 'raw' resonated with me.
Keda: I have to work a little harder on theater, but I think that music is overwhelmingly conscious of "life" because music touches people's hearts directly.
I'm sorry. Because music comes (to the heart) with "doon". Also, you can save one thing in the sense that you don't need to watch the music. For example, when a musician makes the sound “ra”, it will be “n”! ! (Impressed) ”, but it is useless if we say “ra”. Because you have to understand it first.
Noguchi: But I think we are probably in the same anguish. After all, the effort to create a "ra" that moves people is the same as the story of whether it is "raw" or "raw". It's the same with putting out "la", but it's a very difficult task to put out "la" that reaches the listener.
Kida: That's right! Yeah, it's great work.
The "murmur" of theater
Noguchi: I saw a play for the first time at Hi-Bye 's "Recycle Shop KOBITO" through Mr. Fujiwara's blog and Mr. Atsushi Sasaki 's introduction. At that time, it was the first time I experienced simultaneous conversations with about 7 actors all talking about different things. So I thought, "I really want to do this, but I can't...".
In theater, when an actor stands on the stage and speaks, each person's lines become a mask. But with music, even if the drums hit something by themselves, it doesn't make a difference. So it's almost impossible for Kukangendai to have multiple conversations at the same time, but if the actors are there and they all say different things, the commotion will come to life as a song.
Fujiwara: That may be true.
Noguchi: It's difficult to express that kind of feeling with three instruments as a live performance of a song. That's why I was so jealous.
Fujiwara: Erasing yourself and showing yourself are both interesting aspects of being an actor, aren't they? Actors are likely to be interested in other people because they have to play someone who is not themselves, but at the same time, I think they have a hard part to share, "But it's me."
Keda: Yes, there is.
Fujiwara: I think that “Zawameki” is the combination of both extremes.
Noguchi: Each actor has a name, a real name, and a number of character names. For example, if three actors talk about something that recently happened at the same time, that alone will create a commotion.
Keda: Is the reason why the music can't create a commotion is because it's inside the do-re-mi-fa-so-ra-shido?
Noguchi: Or rather, I think it's because when people with ears hear the sounds produced by various kinds of instruments, they have a strong ability to turn them into a single piece of music. But with the one rule that the lines of the play occur at the same time, it is possible to hear different things in different ways. In music, even if you do different things, you can call it an ensemble, or you can think of it as one thing, but in theater, if multiple people talk about different things, you'll think, "Huh? Did you just say different things?" I think
Keda: I see.
Noguchi: Yeah, no. Because I have a role to play.
Keda: Well, I don't like difficult stories, but it's really interesting.
"24 Billy Milligans" appearing while drunk
Fujiwara: Shall we return to drunkenness and awakening here? I think it's important that "events happen", and it's the same with the eating and running incident just now, but when you're drunk, a lot of things happen.
Noguchi: The important thing is that when you're drunk, your attention to events is zero. Right now, I think you're dealing with drunkenness as the antonym of awakening, but I still don't quite understand what it feels like to be drunk.
Fujiwara: Ah... In short, awakening means that something is happening. Conversely, drunkenness is a state in which nothing happens. Whether it's theater or live music, there can be a kind of euphoric state, but in that case the "events" that I think of don't happen. I think it's just a state of consuming what you like.
Noguchi: I see. But I think it's more interesting to talk about "drunkenness is also an ant" instead of thinking that drunkenness is evil. Isn't that great? I think there is also a story called.
Keda: I love myself when I'm drunk. There was a time when I thought I was sorry that I didn't remember, but I've already entered the "I'm fine" period.
Noguchi: Does that "I'm fine" mean that the drunken me is "not me"?
Keda: It's hard to think about that, so I try to think that there is a book called "24 Billy Milligan".
Noguchi: There is a drunken self, but there is also an awakened self.
Kita: Yes. It's okay, I'm here.
Noguchi: All of them could be me, none of them could be me.
Kida: Yes. Even if I'm annoying you, I'm not killing anyone, so I wonder if it's okay.
Fujiwara: That might be true, yes.
awakening = provocation
Noguchi: Going back to the theme, if you say, "Isn't drunkenness good?"
Fujiwara: But I think awakening is absolutely necessary.
Tsuchiya: I think I need it too. You can't communicate without awakening.
Fujiwara: I think that awakening means giving stimulation. Isn't that important? I think I'm not interested in getting drunk and feeling like, "That was fun." If I'm this drunk now, I can't convince you, but...
Keda: I think that there are states of drunkenness, awakened state, and normal state, and if awakened is a special state, it is no different from drunkenness. I don't trust it at all.
Fujiwara: Maybe I just want to say, "Awakening is necessary." I think what Kukangendai is doing with music is a kind of provocation. for how we listen to music. To the ear, the brain, the sight. I also think that one of the jobs of an artist is to do such provocations. That must be true in your plays, and Privileged Body Theory was also a kind of provocation to the existing theatrical situation at the time. When I say provocation, it might sound like I'm picking a fight, but in short, I think it's about interacting and communicating with the people in front of you. I mean, don't ignore that.
Noguchi: Yeah, if provocation wasn't important, there would be no cultural communication at all.
Fujiwara: That's right.
Noguchi: In other words, the state without it is drunkenness.
In my interpretation, for example, when a middle school student who doesn't know anything about a band called A gets excited and asks, "What is A?" I think it will be a provocation. But in terms of the relationship between me and Mr. Fujiwara, I think that a conversation that ends with "A is dangerous" and "It's dangerous" is drunkenness.
Fujiwara: Yes. That kind of talk will be gone when you're sober. I want to go to the core more than that.
Noguchi: I see.
Noguchi: The core for Mr. Fujiwara.
Fujiwara: Yes, maybe there is. But maybe not... (← Intoxicated)
Noguchi: I'm completely awake right now (laughs)
Fujiwara: …They're counterattacking. I was planning to drive Noguchi into drunkenness...
Noguchi: I'm the first one today, so I have plenty of time! By the way, this is a provocation, completely (laughs)
Fujiwara: Yeah, it's completely eaten. Dangerous.
Tsuchiya: What is this timid feeling? (laughs)
Fujiwara: Right now, I'm losing 7:3. But for me it burns.
Tsuchiya: Please lose, Mr. Fujiwara. lose properly
Keda: No, but Mr. Fujiwara is the type who wants to do his best.
Noguchi: Yes. I want to receive it, I want to parry it as a technique. But it seems like I have to accept it first (laughs)
Fujiwara: This is drunkenness and awakening. So drunkenness and awakening actually come at the same time. It 's this this. Drunkenness and awakening come at the same time! !
(In the middle of the story, I couldn't collect any more, so it was time to take pictures.)
Keda: So? what happened to this It doesn't solve anything.
Noguchi: …I don't really understand either.
Fujiwara: That's right...
Staff: Isn't it LOVE?
Fujiwara: No, I think you can't clean up with LOVE.
Noguchi: But we're holding hands here.
(Fujiwara-san and Noguchi-san holding hands)
Tsuchiya: What is it?
Keda: Yes, I understand that you two are on good terms.
Fujiwara: Well, I really like Noguchi-kun.
All: LOL! ! !
And the two of them returned to Kashimada Station on good terms.
Here is the shop information
This time I was taken care of by "Tachinomi Yume"
Closed: Sundays and public holidays
Address: 1133 Kashimada, Saiwai Ward, Kawasaki City, Kanagawa Prefecture
Access: 2 minutes on by walk from Kashimada station
Business hours: 17:00-24:00 *You can enter after 10:00 p.m.
The kindness of the general who sees through the sticker on the toilet
And here is the food we had this time.
> Stay tuned for next time!
Click here for vol.1 "Evil Places and Underground" .
■ A role-playing drama set in the southern half of the Keihin Kyuko Line written, directed and edited by Chikara Fujiwara.
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“blanClass × Theater Center F Joint Project Promenade Theater | BricolaQ [Theater Quest / Keikyu Fumizuki Edition]”
7.12 (Sat) Doors open at 13:00 Start at 13:30
*Meet at blanClass in Idogaya. A tour-type performance that travels around the Miura Peninsula
▷ Click here for details
■ Kukangendai LIVE
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"Kukan Gendai x Chiten" 9.1 (Mon) 18:30 Open 19:00 Start ＠Super Deluxe
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