 So, welcome everybody back to the Martin's Theatre Center here at the Riding Center. CUNY, I think, almost everybody has been here before in so many of the readings, so I will not have to say all of it. It's the CUNY Bridge Academy and Professional Theatre International American Theatre and it's our second Japanese playwrights project. And I think we have the truly brilliant performances, great scripts, fantastic directing, really also very good acting in the short times, very, very high quality and I think it speaks very clearly to the potential of contemporary Japanese theatre making and so few exchanges do happen. There should be many, many more and again we would like to thank Japan Foundation for making this happen but they wouldn't have said yes, go ahead, you know you're going to do a good job even so we don't know fully who will be the writers that would not have happened. They also truly value an exchange. It helps us also many, many other programs so it's a fantastic organization that really is there for the art. It's something also Japan I feel can be very proud of. It's a great example of global thinking and in the context of theatre. So, now we come to the closing performance of Sataro Ichihara and we had her as the beginning. You all remember that fantastic show Christine put together to have the closing performance, a question of fairies and we have an actor who came from Paris who in here to present this show she has done the show in Yokohama with Sataro. It's the first time it's performed outside of Japan and we think both of them are great talents and it's a great honor to have them here and as I think is a good final point or exclamation mark at the end, if you have a cell phone take it out and let's make sure it's not on, it doesn't ring. I think I put mine on at the last, it was off. And again, thank you so much for coming and let's enjoy the performance. I think it's an hour and a half, perhaps a little bit more, we'll see and there will be a very short discussion afterwards and then we all would like to invite you for the archive bar which is on 36th Street just around the corner for a drink with everybody involved to celebrate the success of this truly remarkable exchange with two advisory boards in Japan and here in New York so it's really a big effort and I think but it was very much worth it. There's also a questionnaire the Japan Foundation asked us to look at and so if you would be kind enough also out of respect for their really great support of the project let's write some of your comments and thoughts and it would be a wonderful contribution. So thank you and now we are going to start. Thank you. Hi. My name is Kyoko. I'm an actor of the theater. I usually live in France but I've been back to Tokyo about twice a year and when I come back, I think it's like this. You know, there's a line train. When I'm on it, I think that the faces of the people around me are really similar. I was wondering if it was actually like this. And then I found something like that on the internet and then here is the main train station. I'm holding my feet like this. There are a lot of people here and the outside world of these people is so vast that I feel like I'm in a very strict state as a creature. It's really like a scientific analysis and there are results like that. On the other hand, there are people here but the outside world of these people is like a similar feeling like a costume or a costume. But in the same way, I feel like I can live here comfortably. So the main train is the enemy of the main train and it's similar. If you think about it, the faces of the people on the main train and the appearance of the people are similar to each other. That's why I'm going to start with a raku-go. Raku-go! Bruce! Oh no. Raku-go is a good job but there's not a single person who can do it. Don't look at it. Don't look at it. Bye bye! Bye bye! Recently, in the convenience store, I've been told that I'm going to the convenience store. I want to work at the convenience store if I can't make a living. I can't do it. I want to go to the convenience store. If I can't go to the convenience store, I'm going to commit suicide. It's a convenience store. I'm going to make a living. I'm going to commit suicide. I want to tell you that even if you're not a baby, people who can't eat their meals should die. Of course. For example, if you're a baby, you can't eat meat because you're a baby. In human times, even if you're a baby, you can't eat meat because you're a baby. You can't eat meat because you're a baby. You can't eat meat because you're a baby. You can't eat meat because you're a baby. And you can't eat meat because you're a baby. You can't eat meat because you're a baby. The ingredients are part of your family, but humans are supposed to be naturally active. For such humans, someone is nee. If you eat it, you get out of the flesh. Those who can't eat can't slope up on their own. It's not easy. Luck is a cheap thing. Why? Because he has the power to be attractive. If you look at him once, he forgets about it. He looks like a chocolate, but he is different from a chocolate. He is similar to a chocolate, a strawberry, a pumpkin, a yellow, and a yellow. He can eat chocolate, but he can't eat chocolate. He has a long time with his child, and he is not old. He is dying of thirst. He shows it. He doesn't die often. He is not old. Today, you will see which face you will look at. Mirai no Aka-chan no Morashita-unchi, Mirai no Nairo-jin no Morashita-unchi. Which one will you choose? I choose Mirai no Aka-chan no Morashita-unchi. He eats, shows, and tries to live. He is a person who has a future. He eats, shows, and tries to live. He is self-satisfied. For example, he has an opinion on what to do if it is his face. Of course, he is dead. He is a person who doesn't need it anymore. He can't eat anymore. It is a proof that he is dead. When he is dead, he is told to his body not by God. It is a proof that he is dead. He is told to his body not by God. It is a proof that he is dead. I don't want to live. I don't want to see the nature of his body. I don't want to see the nature of his body. What does he do for? What does he do for? He can't kill him. He is in a bad mood. He is said to be more sad when a person dies. He can't eat anymore. He can't eat anymore. He can't live. He can't live. He can't live. If you think you can do it, you will lose your job more and more. If you do this, you will erase the old man and completely erase the old man. Ah, then if I kill the old man, the company will be like this. Ah, I'm hungry. Let's go home. We are the two old men, but we will go to the house from middle school. Now, we are going to be like the old man, and we will feel the charm of his face. The old man's face is the best of health and the best of the world. His face has been used in a way that is so. In that way, we will enjoy the health and the best of our lives. It is impossible to survive until now. This is the real death. There is no such thing as the fate of the Buddha. If you change your mind, you will die. There will be no such thing as the fate of the final destination. There will be no such thing as the fate of the final destination. The Buddha of the other side is still alive, but he fell into the shadow of the electric field. It is impossible to survive. He went to theawa forest. He was angry. Everything was broken. After he changed his mind, he took a nap on the second and fourth floor of the temple. After taking a nap on the second and third floor of the temple, he was buried on the next floor of the temple. He came back to the temple, and his hair was all over his body. He came back to the temple and he got a exercising coat. I will never be able to stop eating this! I won't be able to stop eating this! It's not a dream, I will never be able to stop eating this! Bye bye! I will make you pay for your sins, but I have an opinion that you are a dung. I will punish you to death. I have no idea what you did to me. It's just not enough! You always eat the same food in a normal way. You eat your own food. I am worried. But I know that you are going to die. You will be worried that you are going to die if you eat your food. You eat that food and you will be out of your mind. Yes! I will eat your food. 三十個の玉子が詰まってる ランションシケナル 安全な場所に置いておくのです 頼ばかれる 三十個の玉子から 三十匹の赤ちゃんが生まれ その赤ちゃん一匹一匹が またでたなぶらうたれて すぐ立ち 見っぱのうつのえがり その時がくれば ちゃんと初情 むなさほです 一緒のうちに 最大九百匹の それぞれ九百匹の あげて逃げられていたのですが それないぞ 足をばたばたさせながら 苦しんでいる それをもう一度たたく そしてもう一度たたく そしてまたたたく もしねるとわかっていても たたく たたく たたく たたく ということがあります オーストラリアには 人口の三百匹のカンバルが 接続しています わがやには わたしとおっとに対して 何百匹のごきぶりが 接続しているのでしょう 済みに ほっくりをかぶて ましたら わたしはうらしに なんためたのくせ お金をためて ひっこしがしたい どこでもいいらめようの近くでなければ 船のにおいがしなければ それが現状 金はないことはわかっていました おとのかろうやのような場所で 老人の排泄物を 片付ける仕事が 通じしつないで そっぱにすばりよのむしごとより どうして給料がやすいのですか ふっこわたしは なんでも はなしこだけなのです めんどくさくあったのです お家の人だって そうでしょう 受け入れてるのではなく 否定するのではなく めんどくさかったのです じしゃぶらみを なんこしものみれば わたしの話を きたいるのか きたいないのか おとも わたしは わたしは わたしのベゼネに 手を入れて ふれて きました わたしをしたいと おうちに ました さきは運動 ぶそくでなかなか ねむれな わたしたちの こうびは きねられた ブログラムは こらす運動です ないもじゅうせいし さんらんすることが できるのです おなかのなかに はいてきた せいしを のみこみ それはすこひとつ じせいさせ くりかいしくりかいし さんらんをするのです しかもめすしか いない場合でも せいしょくかのな あったんせい せいしょくという ときぶりも おいのだそうで ずうじょうの後輩にくらば ふいじょうのういじょうのある たまごはうまれる確率が たくかくなるのですが そんなにまでどうして そんなにふえようとするのですが いきようとするのですが いなくたらたら自分の仕組みに しさがって たかい足の動き そして意外な なまたたかさ いきものの ごきぶりにもあり ただに のごをていて いずいで しゃわをあびても そのごきぶりの なまたたかさは はなれなくて ねむれなくて てんきをつけた えやで まちをつくりながら おきてた ぼくはまちをつくる すまぽのアプリをする そこでまちをつくったところで えみはないのに ひとさし指で いえをたてたり はたけをたがやしたり おみせをしらいたり そのはいちをかえたり なんじかもなんじかも まちをつくることは やめられない このまちは どこに あるのか いなに もやっちゃ えっとして まちをつくっていた そこでまちをつくったところで えみはないのに なんじかもなんじかも まちをつくることは やめられない うとなりのテレブルのパソコンで なにかしょりをつくってる さなりまんが びんぼうゆすりをしている かかとずっとじゃ うちをしてもやめない なんじかもつくっていた いつもたいていました このいろんひょうさなら いつつもいらないのに 出ていたわたしは その気持ちに きょうかんをしました こきぶりたちは くるしみながら しんでいのでしょう げんばくのとうか ながさきや ひろしまのようなことが わたしのみえなり このいろんひょうとうか ごきぶりのせかいで おこっています そこでは おとうさんやおかあさんが ちたばしながら しんでいっかだわれて じなばたしながら しんでいく しょうれんのおきぶりがいます しょうがくせいのころ しゅうがくりょうこうで ひばくしたきてのはなしに そうときは なにおこってるのか わからない しゅうじつこ �げんばく ということをおきかざれ ああ そういうものにあったので やとはいうわかった というはなしがありました ごきぶりも同じように なにおこってるのか わからない という状況 あるのかもしれません ってもごきぶりも同じように ときぶりできろごっても ああ ちょうと思っていきもんだ でるでしょう っていうかほとんどそうでしょう よんだからひとばけたでき 練習とか嫌です あちにきていてほしい 気を見つけろが 難しいのではないですか わたしは きもりをすってしまいました そうか ごきょうからや どこそばなしをし っているのだから だれだーって そんなものを みたくないのです ってだけしているのか なにも知らず きのうごきに ぼくはうごかされている そう 外側に たりぃじという場所が ああ だれかの おもいつきで作ってるものの中で じぶんのからだを かえられていることにも きずけず ぼくはその中に いきていることしか できないのか いじょうのあるたまごから うまれた いじょうのあるごきぶり いじょうのごきぶりが おだしの家では でるようになったのです まるで いのようだし ねこのようなのです ぜんぶのペットの いいところを かなさなえたいきもの のごきぶりでした わたしは いじょうのごきぶりに おいしい餌をあげて きさしておなじとね ねむりました こんなにかわいい いきものをみたことね いじょうのごきぶりは いじょうだから ものすごく からだが どんかん しょうかく きゅうかく みかく ちょうかく しかく ごかん すべてが じるいのごきぶりより どんかん どんかん だから しることが できなかったのです バルさんに ぜんぜ はなせず しぬということが できないのです とゆうかもしかすると しんでるのに どんかん すぎて それに きゅういていないので いきてることになってるのか もしね いじょうのごきぶりは いじょうだから わたしたちの もりかい できない いじょうな いきかた おしてるのです バルさんに おこたかれる 日のために その日 その日をみこして いじょうのごきぶりは いかくきゅうかくみかくちょうかくしかくごかす ふつうじょうのごきぶりは かんしゃしてるおし ふつうじょうのごきぶりは たべもないなとき じしたつし そのしがいを いじょうのごきぶりにさしだし いじょうのごきぶりを まもることさしていた ふつうの日に そんなえて ふきぶりは うこれまで いきのびてきたのです That's it! You're the one who's going to have to do it! That's it! Before that, I was thinking of doing the last one. If you don't have one leaf, you won't be allowed to eat meaningless food. But there's nothing left to eat. There's only one leaf. There's nothing to eat. It might be okay to eat whatever you want. But this is the last one. If you think this is the last one, you'll have to do something. I heard the story of a person who was worried about the same thing as me. That person liked meat when he was young, so he put it in the plate at the end of the plate and put it in the arigani and put it in the grilled meat. But it's a few thousand yen for an old man who can't do the same thing as me. If that's the case, it's a relief, isn't it? And it seems like it's a relief. In the end, there's nothing to eat or eat, so I couldn't eat it because I had no choice, but to put it in the arigani and put it in the grilled meat. That's all I saw. That was the last plate. I felt so lonely hearing that. Thank you. I would like to ask you to eat a mango like this. I was chosen to eat my mango at the end of the plate. And my heart was filled with peace. That's great. Well then, I would like to introduce you to how to eat a delicious mango. Do you know Raita? Raita. It's a salad that is often used in Indian recipes. It's a spicy salad that is easy to eat in India. It's like a spring break salad. Today, I would like to make a mango salad. Let's start with the ingredients. This is a mango salad. Do you think that people who use mango salad are not a spring break salad? That's right. I think there are a lot of people who use plums to make a mango salad. Actually, mango salad is also a salad. Some people may not like mango salad. Actually, mango salad is more refreshing than a spring break salad. So it's good for eating. I would like to throw away the ingredients. I would like you to use mango salad for various things. Well then, let's go back to the table. This is a cucumber salad. Cut it into 1 cm pieces like this. And this is a cucumber salad. Actually, Emi-chan made it. Sorry, everyone. I'm Emi-chan. Emi-chan. Emi-chan. Emi-chan. I think it's a good idea for young people to get to know each other and get to know each other better. Well then, add black pepper, and a little bit of cumin. And put it all in the mango salad. Yes. And mix it well. It's done. It's easy. I hope you will try it tomorrow. Now, I saw something like this in Yoshiko-sensei's words. She said, she is happy enough to eat her own organs. What is this? Well, what is this word? Well, some people who live in a certain area will get to know each other. In other words, the producer and the consumer will get to know each other and get to know each other better. Well, I think it's a good idea for young people to get to know each other better and get to know each other better. Everyone, what do you think if it's a mango salad? If it's a mango salad, it's not a vegetable salad. Isn't it a vegetable salad? Because you will get to know what you ate with your own body. It's not that safe. Well, I'm sorry. Can I ask you a question? Yeah, please do. Do I know my body best? Who knows your body best? Who knows your body best? Question of the hour. Yes. This is a good answer. That which is self-produced and self-sustaining knows my body best. You think who knows your body best? That which is self-produced and self-sustaining knows my body best. The answer is me. Yes! Thank you. The answer is yourself. Your body knows your body best. I think you should think about it. Oh, thank you. I'm sorry. I'm sorry. Also, this is hard to say in English. It's a mango salad. It's a mango salad that's different from what we eat with our body. It's a mango salad that's different from what we eat with our body. In other words, the taste of the mango on that day is the taste that I want to eat on that day. Also, I don't know if this is a good example, but there are people who sell herbs in the garden of their own house. That person uses the water that he used in the water of the herb. And what happens when you do that is that the herb comes out of the garden of the friend and leaves the friend's body on that day and grows the herb that has the effect on the friend's body. This is a really magical story, but rather than making a mango salad, I was very impressed. So everyone, if it's a mango salad, it's self-order, self-made. Isn't that right? So, if you have any questions, please, if you can answer them, I'll be happy to answer them. I'm going to ask you why Mr. Yoshiko started this once. I think some of you already know it, but I think it's a new story so if you have any questions, please, if you can answer them. So, this is Mr. Yoshiko and Mr. Yoshiko and Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko and Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko Mr. Yoshiko 全ての苦しい症状が出て、本当に辛くて、私はもう耐えられなくて、近所の病人に駆け込んだんです。 そして、お医者に処方された構成物質を進められるまま飲んでしまったんです。 今日は大変多忙な毎日を食られていたんですね。 皆様、ご存知だと思うんですけれども、構成物質とは体の中にある金を、 構成物質ですね、金を殺してくれる薬です。 こちらの構成物質、風のような悪いことをする金も殺してくれるのですが、 冷蔵覧金のような良いことをする金を殺してしまうんです。 はい、そうなんです。つまり、先生の場合、医者に処方された構成物質を飲んだことにより、 地図の中にいる冷蔵覧金をも一緒に殺してしまったんですね。 では、ここで毎日のこととなりますが、冷蔵覧金の説明の方、させていただきたいと思います。 冷蔵覧金とは、冷蔵覧金さんが発見した四周規模の女性の質に宿る入産金です。 四周規模の女性の質には、女性ホルモンの働きにより、 こちら、グリコウゲンが出現します。 そして、冷蔵覧金は、このグリコウゲンを営業に一つにするまで、 そして、このグリコウゲンは分解されると、 入産を出し、質内を賛成に保ってくれるんですね。 質が賛成に保たれることによって、 缶次第金などの繁殖を抑えてください。 つまり、先生の場合、構成物質を飲んだことにより、 質の中にいる冷蔵覧金をも殺してしまい、 その結果、質の中のバランスが崩れ、 缶次第金が増殖、 缶次第を発症してしまったんですね。 皆さん、缶次第にあったことがある方はご存知だと思うんですけれども、 こちらの缶次第、マントが大変にかゆい、 そして、酒カスのようなおり物が出ます。 先生も、この缶次第のかゆみに大変苦しまれたと聞いております。 それでは、ちょっと情報がたくさん出てしまったので、 皆さんは何か質問は大丈夫ですか? いつでも質問が時に随時聞けます。 それではですね、今日は、 男性の方もいっぱい出しちゃってますね。 ありがとうございます。 男性の方に、男性はマンフルトを作れないんですか?って思って、 冷蔵覧金は女性の質に宿る乳酸菌ですので、 男性は作れないですね。 よし子先生は女性でしたので、 マンフルトは女性の体から生まれた血へということになります。 でも皆さん、金というふうに考えてみるとどうでしょう? 金というのは、 全ての人間、 全ての生き物に共通して存在するものですよね。 ですから、 今日は女性に宿る冷蔵覧金でしたけれども、 そこから金にまなだしを向ける、 そして意識を変えるというのは、 女性も男性も関係なく、 全ての人間、 全ての地球上に住む、 全ての生き物に共通する知恵ではないでしょうか? ですので、 ぜひそういった心づのりで 聞いていただければやばいです。 男性でもマンフルトのものを 作ってみたいと思いなかった。 素晴らしいです。 ぜひ男性の体で でも男性にも 蝶の中に乳酸菌はいますので 蝶でマンフルトを作れるかもしれないですけれども 取り出すときに便になっちゃってるかもしれません。 ぜひ男性の体でも作れるような食べ物を 研究して聞けていただければ幸い。 そんなことが起きれば幸いと 私どもは心から苦っております。 それでは続きの方見ていきましょうか? 言えない。どうぞ。 しかし私はマンフルトが とても嫌わかったんです。 それを振りますと あれは小学5年生の時ですね おそかよりこさんという友達から エロエロメーデンスペシャル みんなの体験告白語という 雑誌を渡されたんです。 その雑誌には その頃の私と同じような年の妖女が 先生とか 兄とか 父とか あとペットのビーグル剣とかとして 成功者の体験団があって というような議論語の表現を 無償的に覚えてますけど そういう妖女の身の前の世界を 一辺させてしまう危険な雑誌でした。 今はないと思います。 もう早からなってますよね? 私はよくわからないんですけど たかんな時期でしたから エロエロメーデンスペシャル みんなの体験告白語 というようなような 繰り返し読んでまして いつも読んだ後は その頃使っていた机の 一番上の紙のかかる引き出しに 閉まっていたんですけど ある日油断して 出し放しにしてしまって 母にその雑誌を 発見されてしまったんです 母は厳しい人でしたし その頃ちょうど 少女がレープされた事件があったので 母はそれを一一倍 悲しんでおりましたので 忘れられないんですが あんたはレープマトリッションよ 流れて たかんな時期にあった 私にとって ほんとにつらいことでした 苦しくなってしまうのだ 先生は この事件をきっかけに みっぺきしょうになられてしまわれます マンゴルトを作る前の先生は さっきんさっきんさっきんといて マンゴルトとは 正反対の考え方をお待ちでした 例えば お酒を飲む方 きつえんしゃ 容器の方 障害者 ふとってる方 そういう方などがいると ふけつなもの とし きらった と聞いております そういう方が 近くにいるのを見つければ 息を止め 手洗いをしに その場を離れたそうです まあそれは ほんとに 間違ってることなんですけれども でも あんなことがあったのなら 仕方のないことかもしれないですよね 先生は 自分は清潔だ ふけつな人間とは違う そう 思い込むことによって 自分自身を守ったんです いこうる よいこと まあ こちらは 先生のように けっぺきショートまではいかなくても 世の中の大多数の方に いつの間にか 目ついてしまっている 考え方だと思うんですけれども そういったグッズ テピカジェルとか ハブリーズとか たくさんおられてますよね でも 皆さん 世の中は ほんとに そんなに きたないのでしょうか ほんとに さっきに リコール よいこと でしょうか それでは この価値観に いま一度 疑問を持ちながら 続き 見ていきましょう さあ お願いします あるあさ母に あんた感じだ と言われまして わたしは ほんひあわせたらたらですよね だって 生病なんて たっけ検えされるかもしれないです だから なんで感じだだと わかったのかというと 洗濯の時 感じだ独特の さけかすのような おりもののついた わたしのパンツを みられてしまったからなんです わたしは もう 心臓が とびだしそうでしたけど ははは 軽別せずに 冷蔵庫から よぐると そっとだして これを ぬりなさい といったんです わたしは ははに とおりに マンコに よぐると すーっと ぬてみました すると すぐに 感じだは なおってしまったんです なに苦しんでた 感じだなのに この日を さかえに あたしは ははと わかいし けっぴきしょうも なくなって いままでの あたしは なんなったのか っていうぐらい いきるのが 楽になったんです 世界との ちょわです ちょわが 人間を こんなにも 楽にするんだと あたしは 身をもって 感じました よかったですよね 先生の おかあさまも 感じだになられた 経験が おわりだったのかな と おさしします それでは みなさま 感じだになったこと あるかた いらいます そうなんです 実は この感じが 女性の 90% あることの ある病気なんですね そして その原因の えっと あ、しません 女性の 5人に1人 5人に1人が かかったことも ある病気なんですね そして その原因の 90% 以上が 風や ストレス 先生のように 構成物質を 飲んだこと による ごもなんです つまり 成功症の あるなしに かかわらず 誰でも かかる 可能性 振るきから 家庭に ちたわるのが こちら と におこです しつないに 乳酸菌を おさめます すると 感じだきの かしむを かくれます いかがですか こちらですね かならず のを 使ってください 感じだ I love Kato, so if you call me Kato, I'll cheer you up. If you have any questions, please leave them in the comments. Are you okay? Thank you. What do you think, everyone? I didn't kill the gold in the dark cloud, but I succeeded in fixing the kanjida by putting the gold on top of it. By the way, this kanjida, the kanjida gold is a super gold, so it doesn't disappear from the body at all. So you don't have to worry about it, you just have to come and see it. Well then, I'll leave it to you. I'll kill you right away. If you can fix the kanjida by putting the gold on top of the body, you might have become a handkerchief. Let's see what you think. The wind is strong. I wish I could get used to the kanjida, but it's hard to get used to it. It's hard, but you just have to wait for it to cool down. I think that the gold doesn't have to be good or bad, but it has to be useful. Everyone, let's think about what's good and what's bad. I woke up, and I thought I'd try to make yogurt with my own body. Because yogurt's acidity doesn't work in the way of the cold, so it doesn't work in the way of the cold. If you look it up, it's the same as both. It was the gold of the Rakuto-bacchilus group. If you don't have any questions, please leave a comment on how to make a mango. There are a lot of people who know me tonight, so there are a lot of people who know me, but today, there are some who are curious. Please pour the milk into a bowl. And here. It's thick with a special lid, but I think it's about 40 degrees. The temperature is about 8% of the gold. It's done. There is a limit to the size of the mango, and it's about the size of the amount of food you eat at your own table. This is today's mango. Of course, this is my own mango. I made it for everyone separately today, and I made it by sharing it with my friends and friends. Actually, each of these mangoes have a different taste. My mangoes are the best. Do you want to try this today? There are about three people here. Only three people. Today, there are a lot of people who are special. I think it's more important than the taste. How is it? Is it good? It's very sweet. It's nice. I put in the plant. By the design of the plant, a change occurs. A new plant is born. This is my new form. I made it by myself. And it was absorbed. We are very self-sufficient. We are very humble. Many people say that the mangoes are dirty, or that they feel bad. Where does it come from? I've been talking for a long time today, but I'm not going to talk about dirty things again. If there are people who are doing it, please tell me. I think it's better to use milk instead of milk. I want to change my mangoes every day. I'm not pregnant yet. I'm going to have milk this time. I'm going to have a baby next year. I'm going to have a baby next year. I know that even if you put the mango in your mouth, there is no harm in health. I don't think it's dirty at all. Even if you put it in your mouth, you won't get hungry. I don't think it's better to put the mango in your mouth. And you can say, don't play with food. But I'm not really playing. I'm eating. I want to tell you about this technology and wisdom. I've been doing it for a long time. Where is dirty and dirty? Everyone, do you have a lot of things? I'm sorry, but I've been doing it for a long time. I'd like to end it here today. This is a letter from the teacher. It's a letter from the teacher. If you don't have it yet, please take it. Thank you for coming today. Thank you very much. I was thinking about going to hell or going to hell. But the answer is no. The person who went to such a place is not alone in this world. The person who died from the living side of the living That is, I thought about what would happen to the dead. Even if I was killed, it wasn't a strange age. But I couldn't eat the food and I was taken to the mountains. I know that. And the dead will become dirt. If I die like this, the amount of dirt will increase. If that happens, the earth will become dirt. The number of dead living things will increase. The amount of dirt will increase. The amount of dirt on the mountain is not too much. It will turn around. When I was born, the amount of dirt on the mountain is different. The dirt is less. The dirt is always on the earth. Now I am human. But the whole thing is balanced. That is why I am taking balance. I am part of the earth. All of the earth is myself. To make it easier to understand, If your body is the earth, It is the existence of one of you. It can be said to be that much. It is a small and big existence. Is it all right? Yeah. That was quite a stunning evening performance. It is the first time outside of Japan, in Yokohama, I think. What are your impressions? I did an operation on the sub-title. I don't know what to say. I did run the sub-title, so I am kind of in a daze. How was it performing in Yokohama? We've had this production up three times. The biggest difference in doing it here is that Usually the second act, the musical section is I perform it with a live pianist. So today was the karaoke version. In terms of that second act of the Cockroach act And also the third one with the seminar We've never had such a strong reaction from an audience. I am positive or negative. I am just trying to take it in. Maybe to both of you, what did you see? I would love to know the reaction in Japan to Vaggert. It's totally different, but There are people who get angry. And there are people who are happy. Whether to laugh or not to laugh When a man laughs, a woman feels bad. There is a feeling in the room where People aren't sure whether they are allowed to laugh or not And there is also something that happens when If the men laugh a lot, then the women feel bad about that. But today's laughter was really the biggest reaction we've ever had. I could really sense that the audience was really easing into the piece And was able to fully accept and react to the show. It was really refreshing to have this reaction here Because often in Japan, a typical reaction is for people to Stiffen up with their hands folded across their chest And be like, what are they trying to do here? What's the message of the show? What's the message of the show? What's the message of the show? What's the message of the show? What are they trying to do here? What's the message that they're trying to say with this piece? For me, the Dakugou performance, the first part, was really interesting. I was interested in why you chose that form to work with Because it's a really nostalgic form But it's also a slightly reactionary form in a certain way Sometimes, I don't know if people agree or not But it was very interesting to choose that form Which is usually performed by wajisans, like old men kind of thing And to use it in that way was very interesting I thought it was a really strange sense of value To make it appear on the stage I thought it was necessary to add something more To add something more of a fiction setting To add something more of an action So I added something more of a Dakugou So that first section, Ugly Bitches It's about these two women who are supposed to be so ugly Beyond comprehension But in truth, the spectrum of beauty or ugliness Is a completely subjective and ambiguous thing So in order to kind of hold that topic on stage I felt that we had to put another conceit of stage Within a stage, like a heightened sense of performance Something that we talked about in rehearsals In traditional Rakugo, there is only one storyteller And the performer occupies the space in which That one performer can play Even if it's a man, a man can play a woman Or a ghost can appear So it's an art form that depends solely on text And the imagination So we felt that it was really well suited For what we were trying to explore I thought it was an incredibly layered performance It was about dying, about cockroaches The ugliness, you know, this... If I remember right, also the Indian voodoo That came out after World War II Where you showed your burnt skin The ugliness was put in front of it But it's all contradictory It's like a wild ice hockey game It's hard to follow You know, it's not supposed to laugh One of this ambiguous space in between It's kind of an outrageous cabaret But also a satire of self-help movement And television shows It was a kind of a serious message So it is truly hard to grasp Almost like a new form It's not stand-up comedy It's a very complex... I like it very much So how did you develop it? Did you improvise this? Do you have any ideas? And you worked with Kyoko? How do you write how did that come? So initially, my main performer Kyoko had the original idea That we should create a piece around the theme of caregiving Caring for the elderly And I thought that that was a really worthwhile topic To explore as well And it just so happened coincidentally That there was an incident in Japan Where someone murdered many disabled people And what was pivotal for me about that incident About that murder incident was that I discovered within myself something that... I empathized with the murderer And somehow, before I realized it The ideas behind eugenics Had kind of planted themselves in me And I found that from there, that would just lead to a string of other ideas Other topics like abortion and disability rights And just this idea of eugenics Or the purity of this species Just led to a wide range of topics So really, I just followed this line of questioning myself As to where had these ideas come from and planted themselves in me And just following that exploration Let me derive this play And I kept refining the script And we came up with this three-act structure Where the first act was answering to the second Or the questions that the first act and the second act were asking Were answered in the third So really, all three parts work together as a cohesive whole It is obviously... I'm not trying to please anybody It is obviously subversive It's a kind of a radical piece It's, you know, it's accusatory But also, in a way, self-mocking How does that get produced? How is the reaction by venues? Is that easy to find audiences? I mean, in Japan, it's not like we have much money But we do have the freedom to create whatever we want So as long as we don't set our goals too high Then we're pretty much able to create the kind of work that we want to And the way audiences look at it The way they perform, the way they act, the content It's really different So the way audiences look at it I think it's really easy to do Especially for the first time that we produced The world premiere production of this piece It was a double bill with Keniko Fumoa The Favonius fruitless fable that was presented yesterday And I think that because those two pieces Are so different stylistically And in terms of content I felt that there was something neutralizing about that And made it easier for me to perform, actually Thank you It's totally unique work Highly original work I wouldn't see that coming out of a New York downtown scene Or European scene It is quite remarkable to see a handwriting And it will be most interesting for us To follow your work and your career And thank you for coming here so early I just want to do some thank yous at the end Maybe we give one or two questions to the audience We still have our reception at the archive bar So we can't take it too long And I think we took advantage of your patience It's already over two hours So a short question I just want to have a quick comment This is really luxurious to see this production here Since maybe three or four months ago Satoko was coming to my city And I was moderating the discussion That's the first time she told us about the play And then we tried to take the play In our festival in Indonesia And we got support from the Japan Foundation To translate it into Indonesia But now watching the performance in Japanese Is also luxurious because we got the Ryan We got all of everything Which I think it must be something like Lost translation also if you translate it into Indonesia So thank you for this really great performance Thank you Christine maybe for you How did you see that piece You directed the I feel so like right now Like I'm in love with Satoko's aesthetic Because since she both wrote and directed this piece It was really amazing to see the text Living inside her vision Of how it should be on stage So kind of a beautiful marriage Definitely would be interesting to see How New York production is thinkable And how it would look like I think people would come I mean it would also you know Have your work to work it through Because extremely complex play And Peter you had A question finished? So I'm just We're moving now to the closing Remarks then I guess So I'd just like to make some remarks Just about the season itself Which has been quite an extraordinary achievement Which has largely been Frank and Aya So I think first of all I'll be round of applause to both Frank and Aya Frank on the curatorial and production side Of doing some wonderful translations as always The best translators of Japanese plays Or the best translator it plays into English perhaps Extraordinary work and over the two days We've seen some really remarkable performances And it's been a great pleasure to see them And to thank you to all the artists Who've come here all the way from Japan And from Paris and from elsewhere And from Brooklyn and Queens Wherever else And thank you to the audience But also thank you to the sponsors The Japan Foundation The support from the Japan Society And thank you all And we'll see you again soon And maybe the team Oh thank you to the team The single team Ken Wave You know which is you know Ilayda Yuchan, Michael And Stanley And Caroline And all the volunteers And the visiting scholar as well So it was a very big production Anybody who presents five readings In two days is a lot But with all that complexity Of two continents It went remarkably well And I really would like to thank our team It's outstanding And this was just done in a couple of hours Next to other things What we saw right now So it is stunning actually What we did But it's really also inspired by all of you And June and everybody Who came here so again Thank you so much And let's go to the archive You all have to come On 36, number 40 So you go up Make a right from Fifth Avenue It's in the middle It's called the archive And again a great applause And what a performance I'm very amazed