マクベス、村家が作ったマクベスっていうのをぜひ見てもらえればと思います。よろしくお願いします。マクベスとマクベスに上を授けるマジョっていうものの存在っていうのが日本の名作マンマン、明日の城という作品がありましてそれにおける主人公の矢木城っていうのが、それの道路地点にあるベンダーというのがそういう存在の端下断片というのが存在がありましてそれに謎らえられるんじゃないかなっていうところで発想を得ましたよね。なので、シェイクスピアル、逆極とこの日本のマンマンっていうもののというのが僕らにしかできないとなっていたのかなっていうのが明日の城がマクベス、それぞれ明日の城が端下断片でマクベスはマジョ、それぞれ言葉のささやけによってアクションを起こしてくるストーリーになっているので僕らはそれを合わせた明日のマジョという作品を見てもらってお客さんに対しての僕らのところのささやきがお客さんがどういう動きをアクションを起こしてくださるのかっていうのが楽しみです。シェイクスピアルのマンマンというものをご覧いただきまして日本の社会の企画として1960年代っていう特集に経済するということを機会いただいているんですけど60年代って明日の城、地下にシェイクスピアルにマクベスそれの二つの企画と企画をさせてみるんですけどこちらもヒーローが出てくるのではあるのかと思うんですねその選挙の企画という人がヒーローっていうのが確実に存在していたのかな今の廃割が出てくる年代だとヒーローになってきたいのもちろん僕は個人的には壊れるヒーローとは言いませんしそれをすると心のどこかにもう一人自分の期待ということでもあるんですけど自分がヒーローにならなきゃいけないんじゃないかまでいかなくても自分がヒーローになれるんじゃないかっていうような期待と同様に共発観念、プレッシャーのものがすごい時代だとその中で僕としてはヒーローっていうものがどういうふうにヒーローになれるかわからないんですけど今ここにいる自分と違う自分っていうのを探した結果何者かになれるんじゃないかなと思って日本人だと自分が一番遠いところでは書いてあるわけでは自分っていうものが見つかるんじゃないかそういう思いで海外全然自分のこと知らない人たちの前で私に見てもらうということがすごい僕らにとってはあなかへ得られない刺激的な期待だと思ってそれを得たいからに海外を行ったからなのでニューヨークの皆さんも僕らを見て僕らから刺激を受けてもらってこういう日本からわざわざ来てパフォーマンスクレーンをして自分たちに伝えてくるものがあるなって持ってくれたらそのお客さんたちもいつもの自分と違う自分っていうのを見つけて機会が少しでもあれば嬉しいなと思います2009年に一度ニューヨークで公演させていただいたんですけれども10年ぶりに最後にニューヨークで公演できることがすごい嬉しく思っています2009年時に来てくれた方もそれから来てない方も多くの方に今の日本の東京で作られたマクベス裏有が作ったマクベスっていうのをぜひ見てもらえればと思いますマクベスのようにマクベスに受け止めさづけるマジプツって言うんじゃないっていうのはアボンの明作マンク明作の状況にもありましてそれに受ける新人工のヤブ記事それを導いていないベルメターそういう存在の単元アンベル存在の記事それに名乗らえられるんじゃないかなっていうのがところって質問を言いましたでまぁシェイクサフェアの儀局とこの日本のマウンガーっていうもののなんて言うことがすごいものっていうのが僕らにしかできないことなんじゃないかなっていうのがあったと明日の情報明日の情報は単元アンペーでマクベスはマージョンそれぞれ言葉の支査焼によってアクションを起こしてくストーリーなんてるので僕らはそれを合わせて明日のマージョンっていう作品を見てもらってお客さんに対しての僕らの言葉の支査焼が伝わってお客さんがどういう動きをアクションを起こしてというのが楽しみですねはいでもこれがアクションのアシュタノバジョーとどんなニューヨークアーティストに話してくれるのか日本社会的企画として1960年以来という特集僕らの作品をお届けするということを機会いただいているんですけど60年内のジョー地下にシェアエクスプレイでマークベストそちらもヒーローヒーローでではあると思うんですねその1960年代ではヒーローだというのが特殊に存在していたと思うんですけど今の我々がこの現代だとヒーローなきゃこの作品のキャベルズシェアエクスプレイうまく楽しみ楽しみ楽しみ楽しみ楽しみ楽しみ楽しみ楽しみ楽しみ楽しみまた、日本では蹴影のことをついて、私たちはとても驚きにくいです。私たちについて、本当にとても元々運命を負いだ!このeebのして20 so called私たちはほとんどいなかったこれに近いものがある私は、私たちはそれを何にしてもそれを変わってくれるそれを知っているそして、私たちは、地下和氏がこれをしたそして、私たちは昇にアップカミングのトレーラーを見ることができますでは、ピーター・エカ・サウルを紹介しますJoko Shuiya from the Japan SocietyJoko is thereKyoko Iwaki, who is also a visiting scholar at the momentand a theater critic, a prominent oneresearcher in JapanThe Segal Center Bridges Academiaand Professional TheaterAmerican and International TheaterWe have a very long tradition also collaborating with Japan's societyIt's a great honor for us to host thisThere will also be a little receptionnot here in the roombecause we will have to prepare for the upcoming eveningbut there's a bar around the cornerit's called the archive barIt's on 36 between fifths and medicsand then I have the address with meso come with me, walk with meor I'll give you the little handoutso you willdelaprate this, I think, real achievementand I think The Segal Centerfor really celebrating the work of artistsbut we also celebrate the work of curators, editors publishers, writersand we think it's a very significant contributionagain, thanks to the Japan Foundationwe have the great Kenji Matsumoto with us herewho has been a great friend of The Segal Centerand also Koji and Kanako are they?Oh, they are hereso also thank you very much for comingand we have the rundown of the eventand the buyers in our programbut now I also have the pleasure to givethe microphone over to American Theater Magazinewho would like to say, of course, a few words about this majorever they put outRussell Denben is here with usbut also Allison Konzedineand Allison will give us a few wordsand then hand the microphone over to Cindythank youvery much, hi, I'm AllisonI'm the associate editor at American Theater Magazineand we are so glad that you are here to help us celebratethe beautiful May, June issue that we put togetherAmerican Theater Magazine is published bytheater communications groupthe national service organizationfor U.S. non-profit theaterTCG has more than 500 member theatersacross the U.S.it's the largest independent trade publisherof dramatic literature in North Americaand we are the exclusive distributorof the Martin E. Segal Theater Center'spublishing wingindividual membership to TCGincludes an annual subscriptionto American Theater Magazineto our content on AmericanTheater.orgIn addition, TCG membershipoffers access to art searchart search job listingsdiscounts on publicationstheater tickets and moreso for some more information be sure to grabcopy of the magazineand there's some membership info insideand I'd now like to introduce youto Cindy Sabilsky, the guest editorand curator for this very special issueso thank youHello everybodyso to get us started tonight againthank you so much for being herethis means a lotthis kind of came aboutwith a conversation I was having withTheresa Eyring who couldn't be hereshe's the president of TCGwe were talking about my international workas a producer and pressand I said I love American Theater Magazineit'd kind of be a dream to write for itand she said well propose to Robto be a guest editorwe don't really have that but why notand amazingly he acceptedand he accepted my proposal on Japanesecontemporary theaterso when that happened then I had to realizeoh I've got to go to Japanand see more theaterand that's when two peoplewere extremely helpfulJapan societyand then Japan foundationwithout whomthis would have not been possible at allboth supported meset up all the interviewsluminaries and you're going to see some of thatwere you watching the video beforehandright so we actually havethe cast and the companyfrom Ashita Nomajo that's playingthrough this weekend at Japansociety it's a combinationof manga which is Ashitanojo and Macbethit's insaneif you miss it you're insaneI've seen about every Macbeth possibleit is my favorite and that is notlipservice because they're herein English so they probably couldn't understandif I said otherwise but the truth of the matteris the show is phenomenalthe company's phenomenalwe had our interview with themand have become very close with a lot of theseJapanese companies so to thatShin and I are making a littlemini documentary from our experiencesand we've got an extremelyrough cut to show you so againnot audio fix nothingwhat this is is a tiny glimpseof the3-plus interviews we conductedwith some of the most important figuresin Japanese theaterwe saw over 20 shows and this iskind of just a tiny tiny taste of thatso please enjoythis is Cindy Sobilsky reporting fromNijojo Castlefrom Kyoto Japanin the next coming weeks we're going to be doingspecial features exclusive interviewswith the most important theatrical figuresin Japan contemporary theater right nowthis is part of a special editionof American theater magazineout in May Junewhere I will be covering the very bestof Japanese contemporary theaterwith several Japanese colleaguesit's going to be very excitingtell us about your thoughts oncontemporary Japanese theaterhow you fit into itand what you hope forfor the future日本語から遠いところに行きたいなと思って海外を拠点にしたいと思って海外の活動してますそれは昼外でて考えると日本語はもっともっと短いなって思ってますなので僕周りの動物世代の劇団もたくさん海外に行って海外を拠点にする同士が欲しいなと思っている次第がありますもっと海外にみんな行けばいいなと思ってます大学時代まず大学時代に勉強していたというか日本の文学者で対策十日読みという承知をしているんですけどそこで総出たてくい総出たてくいそこに文学一説が入っているそれを読んで後ろと世界を文書で描いているそれで見たいはずの最初の機会です実際に文学見て3人使える3人で人形をしているんですけど単に分かれているとかお話がいくつか合成されているんですけど一つのセントで役者さんが演じる何人ようが演じるんですけどそこで何て言うかちょっとした仕草とかリアルに結構役者が大きいところが分かり得るんですけど何もしてないと例えばお茶をたてて自然でちょっとそういう影響を僕のアイティションも言いたいなと僕は全部日本のポントプラゼアスを見たわけではないのでなんとも言えないんですけど一言では言えないんだけどただ日本の金の持っているお互いを認め合おうという精神はやっぱり何かの影響があって世界に伝えていきたいという気持ちはありますただ日本コンテンプラゼアスが全部動画だとはまだ言えないかな今僕は日本が不思議な本当にプロンテンプラゼアスだと思うんですよだからこそアリミでは何かを知らないこともある外の世界の知らないという弱さでもそれが良い意味でお互いを信用しようとする気持ちつながっているところもある今もうちょっと日本は変わりめになっていてどんどん外国人の方が見えてきたときに初めて日本人にはちょっと待てよ変えてるような気がするんですがただ今の日本人の持っている人への思い人の心を読もうとする気持ちというのも大切だとは思いませんやはり世界中ですごく愛してくれているしただ日本は島国なのでなかなか世界でパフォーマンスで世界を回っていくということがなかなかできないんですけどもでも僕の夢はカムイでジャパニーズのトラディーショナルとかポップカルチャーとか色んなミュージックとか色んなものをミクスシャーしてカムイ サムライサムライがフラグシップそれで世界を回ってフラグツアーシアタルあとはオコスムービーそしてスクールもですね今やってることをステップアップさせていって一番大事なのは僕がアーティストとしてもちろんブランディングもしていきたいんですけれどもそれだけではなくて次のネクストジェネレーション作品を残していくっていうことを大事にこれからもみんなと活動していきたいなと思うんですだからニューヨークにもスクール作りたいんですねそしてパフォーマンスをロードウェブやりたいんですはいもう日本の中で一つのずっと僕らはいわゆるブーム一家製のブームじゃなくてちゃんとジャンルとして日本のエンターテインメントの一つとしてジャンルになりたいって思ってるしもっと言うと世界のジャンルJAPANET 2.5JAPANET 2.5 musicalってものが世界のジャンルになるように頑張ってるで今は日本の中で特に若い世代にとっては一つのジャンルとして格好良いとしていてあるというのが今の現状そうするとこれをこのようにこのような日本の世界を言うとそれが人々が非常に日本人とそれが大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな大きな地上的に食べていただけるようなものを何人も意識せずそういうものを作らなければいいねそれともう一つ言うと今本気になって歩いているんですけども日本のいろんなプロダクションがそういう意気分や大変目指して頑張ってる意気分デスノードナーだとかねだから我々は開発のためのインザラン十分にあるんですまずここがありましたねとにかく二十四時間使いたいで使えるわけですそれからいろんな支援会であったり読み合わせであったり場面の典型だったり必要な左右たちはたくさんいるそれからあと海外の非常に複雑なテクニックを使った舞台を完全に再現できる能力を持った技術者があるんですこれまたやっぱり四百人がいますこの人たちをフル回転するということですねとても素晴らしいです私はもう少し more than I expectedこの未来の判断についてとても面白いのですが未来に関しては実際にインティストの仕事に素晴らしいことをすることができます夢で終わらせることが始まりますそれがどのようにドラゴン・ウェブル・ディズニーのシキーの中で10年生徒の学生が参加したりしていますそして今はそうですそうです私たちの先輩たちがそこで我々はいつでも見てくれてると思うんですねその人たちに始まりに正直にしなければなりませんその時点でドキュメントの場面に明日も2時間目のマイクル・シンディーが始まりますでも私はピーターとキューコとヨーコに参加することができます中央にピーターにマイクルフォンの上にまたハル・ラウンドのライフストリーミングにまたハル・ラウンドにシンディーもでもお話ししたいと思いますそれについてスプライズしたいのですが私たちはまずはこれがショチコのキャラクターを見ることができますこの人たちはどのような、このようなキャラクターが見たことができます他の人?誰かが知っているのか?CabukiCabuki is a 400-year-old tradition.日本のテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、古いテータでは、Chow Kabuki, which means extreme or super Kabuki, and what this is, is a fusion of bringing together the old and the new.And then the next one.And on that note, a big thing is high tech.This probably doesn't surprise anybody about the Japanese being very forward thinking with the high tech.So you have companies like Nebrol that use, they're a dance company primarily.We'll use some texts, but incredible video projections.Really the wildest stuff.And this actually is architectural technology.This is from IHI Stage Around Tokyo, which is the second in the world of a 360 degree theater experience.And this was a show called Seven Souls in the Skull Castle by Kekirin Shinkansen.Really amazing samurai drama, epic opera, everything you could want.Revolving around you quite literally.And then we've got the next one.And then this is a piece of actually Antigone.So another, this is from Spock from Satoshi Miyagi-san.This Spock is the Shizuka Performing Arts Center.Oh, it's right here. We have a visual.And this is actually going to be coming to New York in September.So to the Park Avenue Armory.So please everybody mark your calendars for that.What's exciting about this is what the theater companies are doing now.They're going not only abroad in the west.There was Japanese that was in Paris.It was all over France.They're coming to America, but also looking east a lot more.And that's really exciting to see how the Asian nations are now collaborating and having culture exchange themselves.Wonderful.Thank you so much.Peter, I think you wrote a bit about T-PAM and other things.So why should we look at Japanese theater?Hi, everyone.I was asked to, this was part of a whole, I think, big plan to try and get a diverse coverage of various trends in Japanese theater.Because there's so much to cover from the traditional worlds right through to the modern drama.And then also the various contemporary circles of performance that are taking place.So Cindy actually commissioned articles specifically from people to focus on different things.And one of the things that I'm interested in is not so much the Gekinon Shiki or the contemporary commercial work.But I work very much on the theater that came out of the 1960s underground.And what we might call the contemporary theater movement of Japan.So I'm very interested in the playwrights and directors that have come out of that.And also one of the trends I think was that when I started working with Japanese artists in the 1990s.That the trend was to, if you had a successful show to try and tour it to an arts festival in Europe.Or perhaps do a collaboration with Australian artists or occasionally to come to New York as well.But there was very little attention given to the region that Japan is in.And so what I did in my piece for the contribution was to perhaps look at some of the histories of Japan's kind of touring relationshipand artistic relationship to artists in the region.Because what we see is since the 1960s a kind of way in which the first communications were of courseI guess foregrounded by the reality of Japan's history and the wartime memories.And so it was quite an important gesture for a company to go and work with or collaborate with artists in China.Of course China was also in the midst of a very particular time of its history with the cultural revolution.And also looking in the 1980s where people like Hidata Oizawa took his company to Koreaand made very strong relations there.And then I wrote right up to the present day where for the last five or six yearsthe Tokyo Performing Arts Meeting has had a very strong focus on kind of curatingor producing certain kinds of networks for artists to work interregional.And it's been very interesting because I go to that, I tend to try and go to that meeting every yearto see younger artists, the new generation of artists forging linksnot so much with Europe or the United States but actually with artists inSouth East Asia, East Asia and West Asia.And so there is this very strong conversation now I think that is a very interesting onethat is leading to new forms because these artists are collaborating bringing their own traditions and their own histories leading to new kinds of negotiations of language.And also I guess the cultural politics of this are really fascinatingbecause they're pioneering their generation of people who are perhapsimagining a new possibility for the way in which the region can exist.Thank you Peter.How many did you commission? How many contributions?So in total let's see.I had four contributors and then Shoya-san was interviewed as well.So talk about your interview, Yoko, which is also published in the magazineand online, I think even in a longer version.What did you focus on? What do you feel was important that the readers of the American Theatre Magazine knew?I haven't read this print version.No interview, just your interview.Well, that interview was about how I pick up the productionthat I brought from Japan and introduced, I mean a present in.How do you pick?So how you live, you know in New York so well, you're here for...Yeah, well...How do you do that?How do you say this is significant, New Yorkers should see it?Well, yeah.I mean, there are many angles and many criteria.But anyway, the most important thing is thatwhat I brought is something that you don't normally see in this city.Talking about, I mean speaking of in this city, New York, you know,it's plenty of theater, commercial, experimental, large, small, you know,workshops and stuff like that.I still can see things that we don't normally see in this country.In that sense, normally I don't really quite...although I enjoy very much of the production or whatever, everything,I don't quite bring the things which are in my...probably in my language, straight theater.So the beginning, something happens, dynamism, something happens,and then the end, like very linear story.That is usually I don't really bring.And then also the body movement or the relationship between two bodiesor multiple bodies.That's relationship or the piece of the relationship,changing the relationship of the body.That is something that I quite often uniqueness in Japan that you don't really see.That's of course, you know, it's a time, theater is a time based art.So that's how pace, what conveniently called pace,is very important elements to make the theater.So that's another thing.And then of course, actually in a long history of Japan societyand the Japan society's performing arts program,which started in 1953,when I became the director,I was the first Japanese director whose body,whose mother language is Japanese.And body too.Yeah, body.Yes, so 100% Japanese.So the theater is,when you see like a German theater or the French theater, whatever,I think you feel that following the story,following the dialogue,you know, the language is not really about theater.In addition to the music or sound or lighting or the projection or anything,following the language is not about telling you what this theater is about.There are many layers or hidden hint or connotation or references,which is very far connotation.But if you are original Japanese,you immediately click what it means,which actually many elements of the Ashton majothat is happening in Yatsu Japan society.I have a postcard, so please pick up.It's in the program.It's in the program, of course.And then anyway,I'm so accustomed to the commercial when I'm speaking.Yes, yes, yes.But thank you.Thank you.You have been in the Japan society for a long time also.Before you, we presented exquisite, fantastic,brilliant work and really something we don't see.Kiyoko,tell us about your contribution,what you felt American readers should know about Japanese theater.Okay.For me,I'm writing.So where should I start?So my research was on,I think most of you know that in 2011,I had a real huge nuclear crisis with earthquake and tsunami.So it's a triple attack.And from that point on was for me and also for a lot of peoplewho are involved in Japanese theater,the vision of Toyo's reality has changed to a certain degree,depending on who you are.I don't say everyone has changed.Most everyone in commercial theater has not changedwith respective.Most of the people who responded are those people who arerecently called as the weaker strand.There is this word called weak strand right now.So there's those people who are deliberately using their bodiesto convey these literal voices,which are being swept away by these huge money coming infrom Olympics right now.My vision was to portray kind of a negative picture.For instance,if the positive picture was this huge Olympics narrativecoming out from a huge money,huge governmental funding,the other side,the darker side or the weaker sideis the voices that I wanted to introduce through my article.So it's mainly about my article was about robotsor animals or spiritual things,which is actually what human people now want to relate a little bit morethan actually pre Fukushima.Because they,from my perspective,they're being more secluded.I mean it hasn't started like from 2011.It was already starting from this economical downturnthat started in 90s.But then it's becoming more and morebecause of this economical situation,that's happening right now.So people feel threatened by other humansthat they could communicate the same thing,which is a fear actually in Japanbecause we are considered a homogenous society,which is threatening for me,but for Japanese people that's peaceful.And they think that okay,we can't assume now that everyone is looking at the same reality.So they think that if I am having a conversation,for instance with you Frank,we might be seeing a different reality per sebecause this water right here,you might think it's not contaminated and drink it,whereas I could just bring in an avian and say,I'm sorry I can't drink itbecause I think that's not really safe.And there's an invisible division between there.So that kind of invisible realitycould be visualized through theater,from my perspective.Exactly.Animals or spiritual thinking.Before we open up also to the audience,a question to all of you,what would you say to Americanor European theater makers?What can you learn from Japanese theater?What is unique or special?What is something one could pay special attention to?That's something that there are perhapsthe avant-garde like one step ahead.Of course it's a global worlddramatogy is local but also globalbut still is there something you allthink this is something wethe world might know more about.I think the thing that I noticed most of allwith the through line from the absolute fringeto the complete commercial of even showsthat I had seen before like catsis the physicality.So in Japanese theater the cornerstone to meis its corporealities.The only thing is physically.Cats is completely Japanese theater.No but they were Japanese actors.I would mean the acting style.So to me seeing over 20 showsin this span of time from the most fringeto the most commercial of even an American musicalthey all had this same physical presencethat is stronger than I've seen of any cultureand that's the basis of the acting.A lot of that does come from the originsof no and kabuki.And you can see that in the modern worksto that it's so much physically basedso that even in a check off playyou knew of the three womenthough I couldn't understand a word of itbecause it was all in Japanese.The one with the slight hunch was a littlemore shy.The one like that it wasthat obvious and that's kind ofsomething really beautiful that Inoticed throughout every single showthat the physicality is the cornerstone.The representation of the body on the stage.Yoko what do you think isbut you also you havethe panel.What do you think?I mean you are curating the plays.What do you feel is something thatyou say you know this is somethingthat really I've wishedactually I need a little more timeto think about so that's whyvery good.Well it's a very big question I thinkbut just to try and answer itlet me briefly with two perspectives.The first one is history and the waythat Japanese theater engages witha kind of parallel modernity tothe experience of European or American theaterand that's a very profound and interestingthing to think about.The fact that there is alternativeversions of a certain kind ofmodernity that I think are reallyimportant to think about.But the second one I think ismore as an Australian artistwho worked a lot in Japanand the reason why we lookedto make our artistic partnerswith Japan going backto the 1980s and 90sand that was a certain sensibility about spacebecause and I think Kyoukorightly pointed out the factthat there are a lot of artistsand not just performing artistsbut writers and filmmakersand visual artists in Japanthat give us a very comprehensiveand really importantunderstanding of the wayin which we live in aspatial environmental worldand I think that's becomingincreasingly important.I don't know your question iswhat American can learn from Japanese?What do you think is somethingthat could be inspiringand unique about it?Ok, I could tellfrom a very kind ofnegative standpointin Japanbasically I would sayit's not too exaggerationthat's when I sayJapanese doesn't have a high educationfor the theater.University in Japan normallydo not have a theaterpractical study so there'sthere inpractitioning.I mean there are many criticsand writers and stuff like thatbut in the productioningpoint of view of making theaterthere's no higher educationalmost none.It's not really absolutely nonebut none is not exaggeration.So then there's no a methodor discourse,that's cool, anything.That's probably one of thecreation happens in the theaterworld so that's why I saidnegative point of view becauseI don't really appreciate thatacademic productioning systemis not existing.I don't really appreciate it butit might be a kind of powerof a very unique way of expressionis happening.Another thing again in thenegative point of view is thatit's kind of becoming differentwhich probably I mentionedthere's a companysystem so founderwriter,directors ofsame person who formthe company and thenI think that I mentionedthat it is calledI called and then also myformal coding and the well-knowntranslator in the theater makercalled Aya Ogawa also mentionedthat it is like a mafia system.So mafia bosswork with the same actorsand then a mafia bossis responsible that everybodycan have some kind of rolein his creation so he writesthe play and then oh my godFrank doesn't have a rolein this play.I haveto put him on the stageso adding some kind of characterwhich is not really necessaryat all for the plot.but then I have to beroyal because he has beenroyal to me as a mafia bossthe mafia bossso then the great thing aboutfirst great thing aboutis that the director suchwriterdo not reallyhave spent too muchtime forforming his creative teamvery reliablein this countrywriters are really waitingto be picked up by directorswho try your workdirectors always looking forgood actor and thengreat and then workshopsecond time oh he ishired by better joband stuff like that.that's constantchallenge.yeah.So the idea of Japaneseduty art in a way like thehowever as I mentionedartful arts sakepoint of viewI just mentioned thatFrank's role is not reallynecessary for theway of writing the playbut then I have to add it because of the flankand so thenthen also as a directorI know who can do what kind of thingso it's not reallybeing challenged the situationfor your own creationbetween back and forth betweendirector and actorand then director said somethingand then actress said oh no no noit doesn't work I'll do this I'll do thatthat's kind of encounter or exchangeor it's a real differencebut then that is anotherin practicality it's a verya good system but youyou how to say easilyputs the idea into thereality yeah.Kyoku is a comment from you to saywhat you feelI know you also a curator you're curatinga big upcoming festival in Tokyowhat do you feel is aJapanese theaterdiscovered something that is ofインターストですから、正確です。私はアシスティングを作りません。アシスティング。すみません。でも、日本は本当にユニークの世界2の場所でアメリカに勝つことができてアメリカに勝つことができてアジアに勝つことができてこのこのような治療を判断していることに集まったアメリカ人とان日本へ 晶曼はアピソンレチ米の國からアメリカの特徴が並み私は日本には日本の人生である人生はああああああリシアル人生のことを分かっている日本では一般的には国的気味のものですこの国的気味が日本では人生にも大きく戦国感と一緒に共同度でそのために日本から干燥されるDischlossuelist narrative right now.which is happening anywaybut all the people who are living in Japan cannot stand that narrativebecause we were following the American footsteps.And then we are now looking to Asiato see that okay are we still number 1 in Asiaand that is not true either.And then we have to relocate ourselves in Asia alsoand then there are stories because we are getting weaker.多くのアジアの人たちが私たちに彷徨いをするために半世の中に行っているのではないかとそれについては、政治、政治等に関する予定について私たちは今この非常に悪い瞬間でプリズムが多くのグロヴォルシューが東京とアジアの人たちについて日本語と日本語の世界の話が必要だと、それに関しては、日本語の意味を違いであり、そして日本語の見事は、その時代でまだまだありません。ありがとうございます。最後に、日本語の文化文化を表して考えた人は、日本語での文化文化を表して後で、日本語での文化文化を表してまた、新たな文化文化を表して籠を作って、しばらくスタジオを作って、スタジオの言葉をみないといった と思った。新しい印象や誘拠の 作品の前にある、彼らが出てくるのは、今回のジェペントの部分を 作っているのは、アンネメットとマンガンステージに 特徴です。Bizarre and avant-gardeBut because anime and mangaIs such an important part of Japanese cultureSuch a significant and major forceIt's a natural transitionAnd this is something that's been happening sinceThe first shows in the 70sBut really since the early 2000sIs the boomAnd it's one of the biggest markets thereSo that's kind of something excitingBecause it's a newer formOf Japanese theaterThe I think that these daysWell, very recentlyI think that young people started to lookThe inspirational sourceIn Japanese traditional storiesLike no storiesOr at least started toInterest in looking into thatThe significance of Japanese cultureNot just the theaterBut the naturePombing us especiallyIs that really including my generationVery much detached from traditionalSo you go to North theaterAmerican goes to North theater first timeNothing differentFor contemporary JapaneseBut they have no idea, no knowledgeNo education, no nothingBut so thenLike Kinoshita KabukiIt's a contemporary theaterThe stories are all about KabukiAnd a very different way ofYou know, directionAnd then also Toshiki OkadaWhich was commissionedBut then rewrote all theKyongen thing as wellAnd so comparing with what happenedIn this western worldLike taking the inspirationOr the story from GreekGreek classics or ShakespeareOr whatever classicsWe see so manyComparing with thatJapanese theaterHad not really seen that thingBut then I think it'sBecoming more happeningThank youI guess there's a lot of different examplesYou could sayBut the one that I'm most involved withAt the moment isThe work of OkadaBecause I'm working onAn edited volume of essaysAnd play translations of his workAnd he has been one of the mostActive and visible of the Japanese playwrightsFirstly, you know, as a young playwrightWriting about the experienceOf subcultures and youth generationIn the early 21st century in JapanAnd more recently, as a more mature writerWriting very much aboutEcological and political themesTo do with the sense of lossAfter 311, after the triple disasterAnd his playwriting has evolvedI mean, his use of language has evolvedBut so is his concern about languageI think he's got some very interestingPerspectives onQuite philosophical perspectivesAnd sometimes very existentialOn the question of Japanese language itselfAnd how the language responds to traumaAnd how the language responds toThe kind of social experienceThat Kyoko has just so excellently describedKyoko, do you have a thought?Just simpleThere's this thing called monologue theaterComing right now in JapanA lot of people just write long monologuesFor one hourAnd that is called monologue theaterAnd people think that, okay, we don't wantTo listen to your babbling for one hourBut that is how it goesWhen you enter a theater right nowAnd 20-something personIt's writingHe wants to write a monologueAnd that stems from what I said, actuallyBecause after Fukushima, people don'tWant to speak with other person, interactBecause dialogue is all about lyingYou just present yourself as a likable personSo that you won't be hated by the personIn front of youAnd then you're constantly lyingPerforming yourselfAnd then monologue only becomesYour own true loyal feelingAnd so there's this thing called monologue theaterRight nowYou die, who came?We did this Japanese playwright exchangeHis work, of course, stands for thatMichael, if you could put up the lightFor the audience, we're going to go right awayTo question George, maybe you could help usAnd run the micAgain, we are live streamingNot only we will hear you better with the microphoneBut also for our audiencesIt's important that you take the microphoneMaybe introduce yourself as your nameAnd if you take a questionBut it doesn't have to be a questionIt can also be a commentSo a little bit more light on the audienceAnd is there anythingHere, yeahHi, my name is John BremnerI'm a video designer here in New York CityAnd so my question is going toNaturally be one about technologyAnd kind of going back a little bitI found it really intriguing thatWe spoke about how Japanese hasVery little higher education in theaterAnd Cindy, you touched on howTechnological prowessIs embracedWhich I thought was an interestingContrast to here in the StatesWhere we have a lot of pedagogyAnd process and resourceAnd at the same time, I find myselfIn my profession very challengedTo present video in theaterAnd I'm curious to knowDo you see that as a barrierOr like when translating workFrom Japan to the StatesOr anywhere in the world reallyI'm just curious to hear a little bit more aboutHow technology plays a roleIn the translation of the workI think it's a very useful roleAnd thank you for that questionOne thing I noticed andYou all can speak to maybe the same thingOr something differentBut there's a sense of collaborationSo it's not necessarily that someoneWent to university to becomeA videographer for theaterOr to become a technician for theaterOr a videographer for who knows what elseAnd then they collaborateThe same thing is with musicians and actorsThere tends to be a lot of collaborationSo like the company NebrolIt's very, very advancedThey're working in tandemIn this kind of an equal sense with each otherSo it's a collaborative visionKieran, the show that we sawWith the sword fighting and everythingThat one also super, super, super high techAnd LED screens from CanadaFrom one of the most important companies in MontrealSo there's a lot of that coming and goingAnd I think the nice thing about video workIn general is because of language barriersIt's easy to tourBecause you can package it upAnd it does give a visualWhere there might be the issue of the languageSo a lot of these 2.5D musicalsUse a lot, a lot, a lot of video projectionsIt's not really about advancedOr behind or anythingIt's just simply as Cindy mentionedIt's if artistically, creativelyCan collaborate this knowledgeAnd that knowledge togetherFor example, last weekLast week, LysomatixThe group which is reallyConsidered as a top notch of the technologyNot just a projection, but like a droneYou know, many thingsAnd they presented as a dance workAnd then dancers are choreographedBy a choreographer called MikikoAnd then us, one of the rare thingsAt the New York Times reviewI totally agree with thatIt didn't work as a theatricalOr presentation on the stageIt's more of an attractionIn exhibition or something like thatSo then, I would sayWhat we will present next yearIs a dance workThat is directed by TabaimoWho is the visual artistWhose video work is very internationalWell knownAnd rather than itsCoreographer making a workWorking with the visual artistThis is her first tryoutLead the whole thingTo collaborate with the choreographerSo it's reallyIt's not really form ofWho is leading whatBut it's really theHow organicallyDifferent genre peopleCan work togetherSo that'sIt's not really advanced or anythingIt's matterThere's a kind of history of this tooBecause one of the projects I worked onWith some collaborators in JapanA book about the history of the Japanese groupDumbtypeAnd they were active from the 1980sTo the early 2000sAnd they really pioneered the kind ofNew media performance aestheticAnd we interviewed some of the techniciansWho were young members of the companyWho joined a company that had a visionFor a certain kind of interactivityOf media and live performanceAnd they had to invent systemsThey had to work out how toData projector speak to a laptop computerBecause in those daysThey were not designed really to speak to each otherSo really fascinating discussionWith some of the peopleWho became the technical staffBut they had to educate themselvesI'm also thinking about the factThat the Australian performance artistStullark who worked a lotWith robotic interactive technologiesInto and immersing in his own bodyLived for some 15 years in JapanAnd worked a lot with medical techniciansAnd robotic scientistsTo create the kind of interfacesThat he was wanting to createWhich are very kind of post-modernAnd cyborgianBut I think that points to this historyOf the way in which people wouldGo to Japan because the technology was thereBut then work with people to work outHow to make itWork in a performance contextOr even a kind of visual art contextThank youSome more comment or questionYeah, all the way over thereThank you so muchI used to produce theater commercially in JapanAnd I'm curiousSince I've been hereI've seen a lot of intersectionBut we're not for profit theaterAnd commercial theater hereAnd I would like to know how you perceiveThe relationship between public theaterOr not for profit theaterAnd commercial theater in JapanTo all of youI think there are totally two different worldIt's totally different worldIt has to beBut it's really aBig, thick wallBetween two of the worldThe reason why is thatIt's not really about theMonetary system or anythingIt's more of likeWhich one you exposed into the worldAnd then your mind setting is totally differentAnd so in Japan societyFor some reasonsMany reasonsI presented kind of commercial theaterI mean the productions whichConsidered asThe commercial theaterMaybe more than a few timesIt's really amazed meHow much differentThat their mind setting areAnd one of the good examplesIt's quite long time agoBut anyway, that theaterHas one protagonistSakamoto RyomaAll Japanese knowsBut no American knowsSo in order to have the theaterWork as a theater to storytellingWe needed to haveA little momentWho that person isThis is a historical personSo then in order to do thatWe put the kind of animationOf the PowerPoint presentationThen we made itThen it was perfectThen I told themAs I explained to youWe have a littleThree minutes of explanationAnd then they meansThe manager of that commercial theaterWell, actually we have alreadyHired animation creatorPaying in three thousand dollarsAnd then we can't cancel it anymoreBut it is greatThat you have it alreadySo this can be a great helpFor to make that oneAnd then what they brought hereWas exactly the same asMy staff member makeThrough the PowerPointThen they are payingThree thousand dollarsIt's likeIt's just a tiny little differenceOne production has many manyMany many of these thingsWhy do you have to have this payWhy do you have to spend this moneyThat is what I meant byTotally different hereIt's a great questionAnd it was something that really struck meBecause I'm also a producerAnd looking at it in the similaritiesAnd the differencesBecause there's always this nonprofitThere's this commercial you look atIn Europe and in any kind of a placeJapan was not really subsidizedFor a long timeThis is kind of newSo in terms of what we understandIs nonprofitParticularly Europe and AmericaWasn't really happening untilWas it around the 90sAnd so commercial theaterWas kind of the only optionBesides the underground stuffSo the underground stuff was happeningBut it was this vast divideFringe do it yourselfAnd commercialAnd with the commercialWhat I found very beautifulAnd I hope you all got to understandThat with Gekidan ShikiThere is this cultureOf a companyAnd again that can have a negative side tooOf courseBut their actorsAnd just imagine this on BroadwayYou have a job for lifeThat doesn't really happenSo they have this entire dream factoryWhere they're just building showsAnd employing staff all the timeThat's specialI found that the corporate culture thereIs not the way that the commercial theater here isWhich is very cutthroatThey're very supportive of each otherAnd they believe in a deeper messageThey believe in a meaning behind what they're doingNot just money onlySo that's what I've seenThank youLet's take the microphone for youHi, my name is Eric TaylorI'm an artistic director and choreographerBased here in New York CityAnd thank you so much for what you'veAll brought to the tableIt's very enlighteningMy question is as a choreographerWith an extensive background in theaterStarting from when I was a young childHow integral is dance in theaterIn JapanAnd what styles of theaterDoes dance present itselfAnd is Bouto considered theaterOr is that just a dance formAnd from each of youI'd love to hear about thatAbout dancePeter, maybe youMaybe I could do a little advertisement tooBecause we are going to have a conferenceOn Bouto here at the universityOn the 31st of OctoberAnd the 1st of NovemberThere's been a recent publicationThe Routledge Companion to BoutoSpeaking more broadlyThe history of Bouto is very complicatedAnd a fascinating oneBecause of course it beganAs an avant-garde practice in the 60sAnd then spread globally in the 1980sAnd became very popularIn many different places around the worldAnd now we have Bouto companiesOn almost every continent as far as I knowSo the question of what Bouto isAnd what it might becomeIs always under considerationBut it's kind of obsessed with talkingAbout the kind of historyAnd the inventionAnd the reinvention of their own formThere are some crossoversInto more contemporary danceAnd then there are some pushing backAgainst that notionThere are some people who would preserveLike to preserve the kind of presumedBorto that grew upBetween Bouto and other formsOf contemporary danceBut the wider context of danceIs much less familiar withSo I'll defer to the other panelistsFrom thereI used to be a ballet dancerActuallyBallet is the foremost most popularI think formatYes, it sells ticketsIt's quite expensiveYou have to pay like 150 dollarsLike you go to the MetAnd you pay approximately the same amountBut it's still a lot in JapanBecause danceFor most excluding TokyoFor most part of JapanIt's about doing itSo doing either balletOr NihonbuyoJapanese traditional dancingAnd you do thatAnd then you learn it from your masterAnd then you want to see the real masterSo that you go to these kind of performancesWhich are done by mastersSo in that kind of closed circuitIn the world tickets are soldBut apart from thatDance is quite dead in JapanI mean there'sNear zero contemporary danceYeah, I meanIt's just sucksWhy do you think that is?There's no trainingOr the training is deficientThere's no way to goWhat can you go to university for dance?NoNot even for theaterSoThat's actuallyVery much related to Japanese historyOf performing artsBecause actors are lowest rankedHuman beings in feudalism in JapanBut you are laughingBut the real is untouchableRank of the human beingsSo me and my roleis even the lowest in the companyYeah, actuallyTop is theShinokoThird is the farmerThird is the craftsmanThe last is the merchantAnd thenSo anywayWhen Japan became westernizedIn mid 19th centuryIt was westernizedMeans that you knowHigh education systemJapanese run from western systemBut then looking at their ownThere's no wayTo put thePerforming artists into the higher educationSo reallyIt's not a jokeThis is really a reason whyWe still do not haveIt is happening slowlyBut slowly meansAnywayMost of the professional peopleWho are working right nowIs already finished their higher educationSo majority of the peopleWho are makingIs nothing to do with higher educationI think perhaps because of thatJust to add on one thoughtThe dance that I have seenIs exquisiteIt's extremely innovativeOf what's coming from JapanAnd I think partiallyThose who do it againLike NibirōLike DershaneraReally interesting companiesThat again are bringing that senseLook like it's rooted in dancePhysicality even though it's notHow we see itSome of the work that you presentedOf dance has been incredibleBecoming very hard to bringI'll find the new oneTo be honest with youMost people survive abroadThey work in European companiesAnd now AsiaA lot of the dance companiesAre now touring around Asia insteadSo maybe one last questionHiMy name is Manami HoshitaI am from JapanSo I know there are not a lotOf theater education programs in JapanAnd Japanese people do not knowHow to see theatersAnd also I know thatA lot of companies are trying toBring new audiencesEspecially young audiencesBy collaborating with animationOr comicsAnd Kabuki has a lotPrograms withAnime andThey had a performance based onAnime of One Piece and Naruto in JapanAndBut I thinkYoung peopleGo and see those performancesBecause they knowThat specific animeThat specific comicsSoIf theyI assume that if they go toSee another performanceOr anotherOriginal contemporary performancesProbably a lot of peopleFeel likeI don't know what's happening over thereAnd so my question isHow do you sustain the audienceEngagement in audienceDevelopment from thatPointSo you bring up a really good pointAnd I'm glad you mentioned the One Piece KabukiBecause it was something that weDidn't have time for in the videoSo Nomasan, the person of ShochikuThat was a discussion with a friendWho was a manga publisher about how similarKabuki heroes are toThose in manga and animeAnd it was so successfulAnd what he was saying isHe feels it's the most radical thingTo happen to KabukiIn 300 years or moreBecause all of a suddenThe age groupThat was something likeTypically fifties and upWas very mixedSo the way that he saw itAnd whoo whoo whooHello, I guess that's telling us a signSuddenlySuddle Michael, thank youSo what's exciting about that isIt's evolving tooAnd how he viewed itAnd it has been seen as the successIs that it's introducing the art formTo both cross generationsSo the exciting thing aboutMerging them is you still haveThe traditionalists who love their KabukiWho are going to see it, something newAnd then you have those who maybeHave never seen it beforeThat are all of a sudden discoveringHey, actually this is pretty coolSo again, it is sustainableIt seems to meThat the most successfulCommercially right nowIs something that is fusingAnime and mangaI mean again, the wrongsOf 20s to 30 year oldsCome in selling out every singleShow to see Prince of TennisFor the past 15 something yearsSo it's importantAnd it is important to buildThe younger audiences likeThe president of Gekken and ShikiWas saying the audiencesAre dying outThere's going to be less of themSo you need to cultivate the youthAnd that's something thatAmerican producers could think up toThank youAre there tendencies you are seeingHow Japanese theaterCan you make a predictionI see these things coming upOn the horizonThis is something that willActually rise or that mightWe see more of thatIt's a great diversity of activityAnd one of the interesting thingsIs thatThere's moreI mean, I'm really speaking only aboutThe contemporary theater movementNot so much the commercial sectorBecause I don't really know much about thatThere are more contemporary groups Than there were in the pastI mean, we oftenMy work was originally on the 1960sAnd we endlessly citeAnd work on basically four or five companiesAnd we look at the diversity of performanceThat is taking placeAnd not just in contemporary stylesBut also YorkelsProgrammed a lot of young women's voicesFor example over the last two yearsSo there's a whole emerging theaterExpressing viewpointsComing from maybe feminist perspectivesThere's a lot of theaterThat is more in the modeOf theater of the realAnd some very interesting companiesDoing hybridYou know, kind of traditionalTraditionally influencedBut updating it for contemporary contextsSo I don't think we canActually really simply summarize thisSo I always just answer this questionOne of the contributorsIs in the volumeIs in the magazineIs a very distinguished professorNamed Tadashi UchinoWhoseAnd I regularly consult himWhen I go to JapanAnd he just told me onceWell, we can't really say anythingEverybody's doing everythingWell, that's a goodAnd again, thank you allCongratulations on this special issueYoko wants you all to come to see this showIt's in your programPeter, everybodyYoko and Cindy, of courseAnd thank you and also youThanks for comingWe have that little reception around the cornerAnd I have some drink ticketsSo again, it's on 36Between fifth and medicineOn the south side in the middleIt's called the archive barWe are there to celebrate thatSo I hope you will come and join usThank you all for comingAnd congratulations