KAB Dialogue インタビュー/対談

Kyoto Art Box  
J→ E

鼎談 松本雄吉+三浦基+橋本裕介 「都市と演劇」

Three-Way Dialogue: Yukichi Matsumoto, Motoi Miura & Yusuke Hashimoto “Theater and the City”




Hashimoto: Did using texts by these writers cause any actual changes during rehearsals?


Miura: Till now my work has been about using the filter of translation to look at how to articulate a foreign text into our Japanese, into our words. But using texts by Japanese writers means you do not need to translate. Yet the concrete work with these texts that don’t require translation turned out to be very tough. When citing work by Minoru Betsuyaku even just a little, I thought I understood his work simply because it was Japanese. Thinking you understand like that is dangerous. When staging Chekhov or Ibsen, I don’t understand the texts at all. And that’s the default. I try to understand the texts at an intellectual level by reading notes and even for dialogue that is emotional, there are parts that I do not understand to a certain extent. How to trace this – or not to trace it at all? This is my main work. For writers, you can be on a par with them. With Japanese writers, particularly someone like Osamu Dazai who is from Aomori, I know his context really well since my parents are from Akita. I kind of understand at the surface level and so my interpretation is lyrical. If it was Russia or Norway, I could maintain equidistance. But with Aomori, how am I to understand it in terms of how I work? When I tell the actors that this part will be lyrical, this part a yearning spirit, I then have to explain the reason too [laughs]. A characteristic of my recent rehearsals is that I have to give presentations to the actors.