Crucible bodies : postwar Japanese performance from Brecht to the new millennium

110 Pages·2009·6.45 MB·English

by  Tadashi Uchino.

CRUCIBLE
BODIES
POSTWARJ APANESPEE RFORAMNCE
FROM BRECHTT O THEN EW MILLENNIUM
TadashUic hino
LONDONN EW YORKCAL C UTTA
CONTENTS
vii
Acknowledgements
1
Introduction
29
CHAPTER I-PolitiDciaslp lacements:
TowardHsi storicBirzeicnhigtn J apan1,9 32-98
53
CHAYI'ER 2-Imageosf Ar mageddon:
Japan1'9s8 0Ths'e atrCeu lture
65
INTERLUDEI -From' Beautitfuo'l C'u te':
SeaguBlolo ks2 009 A Noteo nB eautiynM oderan ndP ostmodeJrna pan
© SeaguBlolo k2s0 09
75
Coveirma geH:i ropo1n9,9 7O.i lp ainatc,ry lifci,b regalnadsi sr on2.2 3.x5 1 04
CHAYIBR 3-Deconstruc'tJianpga neseness':
x 122 cCmo.u rteGsayl erEimem anuePelr roti©n 1.9 97T akasMhuir akami/
TowardAsr ticulaLtoicnagl aintdyH ybridity
KaikaKii kCio ., LAtldlR. i ghtRse served.
inC ontemporJaarpya nePseer formance
Covedre sigSnu:n andiBnain erjee 95
CHAYI'ER 4-PlayiBnegt wiaxntd B etween:
ISBN-1(3H B)9 781 90542 2722 InterculPteurrfaolr mainnct eh eA geo fG lobalization
ISBN-1(3P B9)7 81 90542 2746
ISSN 175018 64 llI
INTERLUD2E- FictionBaold yv ersJuusn kB ody:
BritiLsihb raCrayt aloguing-in-PublDiactaat ion ThinkinTghr ougthh ePe rformiBnogd yi nC ontemporJaarpya n,
A catalorgeuceo rfdo rt hibso oki sa vailafbrloemt heB ritiLsihb rary orW hy isA ncieGnrte eDkr amaS tiPlrlo duced?
TypesbeytS eagull BCoaolkcust,tI an,d ia
Printeadn db ounidn I ndiaatR ockwOeffls etC,a lcutta
ACKNOWLEDGEMENTS
121
CHAPTER 5-PopP,o stmoderannidJs umn k:
MurakaTmakia sahnid T Theatre
131
CHAPTER 6-GlobalCihtyi'lsd ren: � � lf �
oft heI ii.trodhuacsta ipopne arieHda a Centuorfjy a paneeT heatre:
The' ChilBdo'dsya' sa S tratoefFgy a ltneisnPes r formance '90s
PartII I( TokyoK:i nokun2i0y0a7,as) ',I ntroduJcatpiaon"n'I:sl l-Fated"
Jliea
trCeu ltuprpe.1' -,1 4.
147
-Chapt1e:r' PloitiDciaslp lacemTeownatrsd:Hs i storicBirzeicnhigtn
INTERLUD3E- NationaIlnitsrma,- nationalism: .t, �
• _·· an, 1932h-a1sb9 e9e8pn'u blishCeadro lMi anr tainnd Henry Bial (eds)
Re-imagitnhiBen ogu ndary
_ '�'t S ource(bNo.eoYwko rkR:ou tle2d0g0e0,p) p,1. 8 5-205.fi rTsvhtee r sion
Ji
thiasr tiwcalspe r esenattte hdIe n ternatBiroencCahotln fereNnecwYe o,r k
158
--�tsity,O ctob1e9r9 8.
CHAPTER 7-Mapping/ZapTp Tihnega tartte h Meo ment
Chapt2e:'r I magoefAs r mageddJoanp:a n1'9s8 0Tsh'e atre Cwualst ure'
mt pu'bliisnTh DeRd4 41() ( 200805)-:9 Th6e. origiJnaapla nveesres oifo n
168
fJi.is
CHAPTER 8-MiyazaAwkaiA of t9e/r1 1: artiacplpee areads' 80N endaEin gektioA rmageddon (G'e1n9s8o0'
PhysicDaelm entainadU ndoiHnigs toirnty h eT Locality 'nteatre andA rmageddFoann taisnyT 'he)a Atrret 4s ( 199767)-:8 6.
'\'.� · Interl1u:'d" eB eauitnyM "o derna ndP ostmodJearpna wna'sf irpsutb ­
184 Lih.ed inW u Hunga ndA ckbAabrb a(se dsAb)o,u Bte au(ty BerlHionu:s oef
r Epilogue: �ridC ultu2r0e0s5,p) p,.2 09-217.
IntercultReuvriasliiAtsfemtd 9e /r1 1 - .C hapt·e3r: ' Deconstru"cJtaipnagn esenTeowsasr"d:sA rticulating
Localaintdy HybriindC iotnyt empoJraaprayn ePesref ormanwcaesf' i rst
196 �blishiendR acheFle nshaamn dPe terE ckers(aeldlsD )is/,O reintations­
Bibliography f:ulturaPrlax is inT heatArsei:Pa a,c iAfiucs,t r(alCilaa yAtuosnt,r aCleinatfo:er r
bl-amaa ndT hc;atSrteu diMeosn,a sUhn iver1s9i9ty9,p) p,.3 5-5T3h.e f irst
202 versiooftn h iasr tiwcalspe r esenatsea kd e ynote aadttd hreeA susst ralian
Index fJramaS nidi�esso ciatAinonnu aMle etiMnogn,a sUhn iverMseiltbyo,u rne,
AustralJiual1,y9 97.
Chapt4e:r' PlayBientgw iaxntdB etweeInn:t ercuPelrtfuorramla innc e
di.e
Age� fG lobalizwaatsfii rosnpt'u blisihnBe jde rTnas mussaenndA nna­
Lena Ost(eernd sP)al,y inBge twiaxntdB etweeTnh:eID EA Dialog2u0e0s1
(BergIeDnE:AP ublicatainodIn DsE AW orlCdo ngre2s0s0,2p )p,6. 7 -7T6h.e
originvaelr siooftn h iasr tiwcalspe r esenatsae k de ynote aadttd hrIeeD sEsA
FourtWho rlCdo ngreBsesr,g eNno,rw a,yJ uly 2001.
Theo rigivnearls ioofIn n terl2uw daesr eaadt' Bodayn dA ncieGnrte ek
Dramaa'n,i, n ternatsiyomnpaols iourmg anibzyet dh eD esmCie ntefro r
AncieGnrte eDkr amaa ndt heM unicipaolfEi ltfyi sina, Elfisina, Greece,
Octob2e0r0 4.
viiTiA DASHIU CHINO
Chapte5r:' Pop,P otsmodernisamn,d J unk:M urakamTiak ashain d"]" INTRODUCTION
Theatrwea'sf irpsutb lishienDd o kkIynot ernatRieovnia1ewl6, ( 2 0031)1:5 -29.
Thef irvsetr sioofnt hiasr ticle-'SupJearp-afnTl:ha itn kianbgo uBto dieisn
Contempora'r'y.J" P erformancweas's reaatdt heA sianC ontemporary
TheatrCeo nferenEcsepa,ln adeS,i ngapoOrcet,o be2r0 02a,n ds ubsequently
publishCeod piwnigt thh Ce ontempoSerlavrIeyds:e, n ta£ntydC ommunity
(SingapoErsep:l ana2d0e0,4 p)p,. 4 3-56T.h er evisveedr siwoansr eaadt t he
CruciBboldei iesas colleocfte isosna aybso ubto dies-in-perfIo rmance
DokkyoI nternatiFoonraulma ,t a paneeln titl'eEads Ats iaCnu lturFalolw :
havew itnesosevde tr hel as1t0 y earmso,s tliynT okyoT.h et italles o
PerformatIinvvee ntiaonndsI maginiEnags Ats iaD'e,c embe2r0 02.
hasp ersonal meaasnm iyn ggr audatiotnh esiinst heatsrteu dies was
Chapte6r: ' GlobalCihtyi'lsd reTnh:e "ChildB'osd"y a sa Strateogyf
FlatneisnsP erformanwacsef 'i rpsutb lishienTd D R5 0(1()2 0065)7:- 66T.h e onA rthuMri llienr1 981th,o ugihtw asn oto nT heC rucibbultDe e ath
origivnearls ioofnt hiasr ticwlaesp resentaett dh e1 0thP erformaSntcued ies ofa S alesTmhaenn .ot ioonf' cruciwbalses 'u ggestbeyCd a roMla rtin
InternatioCnoanlf erenScien,g apoMraen agemeUnnti versJiutyn,e2 004. (ag reastu pportoeftr h ibso okp rojeacntd a GeneraEld itoorft his
Theo rigivnearls ioofnI nterl3u dwea sr eada ta ni nternatsiyomnpaol­ seriwehso)r ,i ghtployi ntoeudt t haJta pahna sb eeni na socicaull,t ural,
siuma tL aokooFne stivKaalm,p nageGle,r manyA,u gus2t0 03. politiacnadlh istorfliucxad lu �ingt hep ost-Wyaera rTsh:i s flux is
Chapte7r: 'Zapping/Map"pi]"nT gh eatrwea's fi rstp ublishiend evidennto t ontlhyr ougiht sp erformanocfe esx istenatnida l
PerformPaarandcieg2 m ( 2006[)ww w.performanceparadiglme.s/naertt/iacrltei­c metaphoribcoadli ewsi thtihne atrfriacmaels b uta lsion t he unveiling
mapping-zapptimnlg]a. nhdl atepru blishiendE dwardS cheearn dP eter oft heo ntologsitcaatlou fsm y bodyw hichi,na dialectrieclaaltt ioo n
Eckers(aeldls T)h,Ee n dosft h6e0 sP:e rformancea,n CdMo endtieam porary Culture
my braiinn,e vitacbilryc umscrwihbaetts h er eadeorfst his book will
(SydneFayc:u ltoy fAr ts and Social Sciencesa,n dU PNeSrWfo rmance
encountientr h ef ollowpiangge s.
Paradigm2,0 06)p,p .7 9-86T.h eo riginvaelr siwoans r eada tt heA sialink
Int hiisn troductIwi iolnbl,e t ellitwnog s tori(easl mossti)m ulta­
AnnuaFlo rum,'S unR isinJga:p anesCeu lturToed ay'S,i dneMyy erA sia
CenteUrn,i versoiftM ye lbourne, 2J0ul0y5 . neouslmyy: o wn (hi)staonrdyw hatI calaln 'ill-fahtiesdt'o orfy
Japan's thceualttrueTr her.o ugahn exploratoifo nt hese two seem­
Chapter 8: The original Japanese vaesr" s'iJo--nti ouw as published
Bashod"e Rekiswhoi" Undo"s uruko to'-9.i1k1o n oM iyazawa Awkoi o ingluyn relatdeids curssiivteeI s h,o pe ywoiul ble gitno u nderstand
Megutt(e''U ndoiHnigs toirnyt h"e]" LocaliOtny :M iyazAakwiaoa ft9e/r1 '1) howt hen otioonfc rucibbloed iecsa nb em adet oo peraitneq uitaen
inE ure(kMiay azaAwkai oS peciIasls u(e2)0 067)2:- 85. unexpectweady .
The originvaelr sioofnt heE pilogue-'FIronmt erculturatolC iosnm­
fusion: Thinking throFuogrhm osPf oT shseiabtlrieent heA geo fGlobality'­ ENTERINTGH EB ATTLEFI(EL1D)T H:E O RIGIN
wasr eaadt ' MakiTnrga ditiRoenm,a kinTgra ditioanni' n,t ernatsieomnianla r
I stilrle membear n interviweiwt ht hes taffm emberso f the
for TheatUetrs a,vN intBhh araRta ngM ahots,aN vationSaclh ooolfD rama,
Departmeontf EnglisLhi teratiunr teh eG raduatSec hooolf
New DelhIin,d iJaa,n uar2y0 07.
Humanitiaetts h eU niversitToyk yooif n 1 981No.t e ntirelyo fs ure
whatIw asd oingI,fo und myself fosri tthteei nngt ranecxea mfo r the
GraduatSec hooTlh.e late PTraokfa.h ashYia suna(r1i 932-2002)
helpemde outw heno neo ft hep rofessaosrksem de whyI h adw ritten
a thesoins A rthuMri lleirn;h iso pinioMni,l lewra sa second-rate
AurnoR's NOTE:T hrougthhobiuosto J ka,p anneasmeeh sa vbee esnp elilnte hde
playwriagnhdnt o tw ortsht udyianttg h eg radualteev eIls .h oulhda ve
Japanese ord(fearm-inslauymrnafi emr)es t, nagmileva esnt .
studiCehde khoovr I bseinn steiafdI ,w asi nteresitnme odd ernr eal-
2 TADASHUIC HINO INTRODUCTION3
istth eat(rteh ouhgehk newp erfecwtelltylh aItr eande ithReurs sian •ban, thee litviesrts utsh ed emocrattihceJ, a panevseer sutshe
norN orwegiaWnh)i.lI e g ropefdo ra na nswetrot hiisn explicable �:i;n (Americaanndt) h et raditivoenrastluh sem odern.
questiPorno,Yf a.s unsaproik uep o nm yb ehal'fI,ta 't so ugqhu estion ;- .-In:t erm'sot fh eattrheo,u gIhc ,a met oa cquiars eo mewhdaitff er­
toa nsweIr,k no,wb utIh avaed iffereonntefo r youT.h es tudoyft he­ .Int backgrouIns dp.e nat y eairn t heU S asa ne xchansgteu deinnt
atries s omethitnhga itn cludmeasn yu nexpecitnetde llecchtaula­l
•ringtonRh,o deI slanidn,1 974a nd1 97.5A. t t heh igshc hoIo l
OlexnfgEoeIsnrt.'mgd sul D cihims cohrt eti ahonandjnl u aesrryatern aidntighln ecig lt aesrtlsaeairxncytcg sou,na sgueGlsrtT eihoenfekg '.·'. ilte(ti nedaetdra,ert th�sel rwueabI .staw atsar,ca cdoiorftfod irtioeonnti g hgs esnt c uhdoeabpnulatt rsht oirciiatp biiaenettt shit,ene gr
andL atiAnr.ey our eadfyo irt ?' i&y forth e foreignteork sn owm orep eoplaen dp icukp m oreE nglish.
Id on'rte membwehra Its aitdoh imt hebnu tId or emembwehra t :rpr.artiCiinps aetveedrp arlo ductiaolntsh,o uIng ehv elra ndead major
.
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followeAdf.t eorn eo fh isg raduasteem inaornst hep layosfH arold . Vble becauosfem y accenDto.p eiyn a Christpmraosd uctoifSo nn ow
.
PintPerro,Yf a.s unari maes tkome ede th im'.W hata rey oud ointgh is White forc hildwraesna sc loasseI c oulgde tt oa ' bipga'r Dto.p ewya s
summer vacahteie onnq?u'i r'eNdo.t himnugc hP.r obabwloyr kiantg *1.osta lwaoynss tagbeu,tn evesrp okuen ttihle v erlya smto menotf
a preparatsocrhyo oflo rh ighs chookli dst,e achiEnngg lis'h ,I' the' pla.Wy hata na pproprrioaltfoeer a foreign-exscthuadnegtneot
answer'eDdo.y ouk nowS uzuTkaid ashwia?sh' i nse xqtu estion. play! TowardS' etnhdoe f t hes chooyle arw,e w ento na dayt ritpo
I'ma fratihdaw ta sa t imweh enI d idn otk nowS uzuTkaid asmhyi ; watchG reoansB ero adway-fmiyr vsits tiotN ewY orCki t.y
knowledogfet heatwraesv erlyi mitreadi,s aesdI hadb eeni nt he In a typicaElalsytC oaslti bercaulr ricultuhmeh ,i ghs chool
provincciitoayflH iroshiEmvae.na fteenrt eraiu nngi verisnTi otkyy o, instruucsteodr' Americtaenx'ts su cha sM elvil'lBea'ersbt yl,t he
Iw asn ota ttracttote hde atre, simpltyh.e abtercea-uwgsaoesin nogt &riveneTrh'o:r eauW'asl daendnM illeTrh'Cse r ucwihbillteee a ching
parotfe verydlaiyffo erm osJta paneasnedI w asn oe xceptIinof na.c t, the AmericSatnu dicelsa sTshi.s w as1 974w,h enN ixoni'msp each­
manyo fu sh ada d ecisrievaes toond isltihkeea toruere: x perience of menta ndt hee ndo ft heV ietnaWma rw erbeu rniinsgs uaensd I w as
ith adb eena vistioto urh ighs choofrlo m oneo ft hosaem ateur liVingw itahJ ewisfahm iliyn a q uieNte,w E nglanmdo,s twlhyi trei,c h
Shingeckoim paniwehsop utu pa n( unbelienvaaibvlmeyo) r alpiltay.y town. Inin ostc asessu,c ha n environmweonutl db e enougtho
We wereb,yt hena,c custotmoeb de inegn tertabiynTV e ds howasn d '.Americaniaz 'ep'o obro'yfr om a FarE astecrno unt.Ir ,hy owevearm,
'cooHlo'l lywofoidl mLsi.v teh eatwraest hursi ghctolnys idetrobe ed not tsouor eM.y one-yesatrai yn t hilsi beEraaslCt o asatt mosphere
ap uritanical devicmeo rtalole s'spotrnoess at cuhd'e nts. gavmee enough confaisda e pnecres obnu ta,tt hes amet imei,n cul­
Thisw asd urintgh e1 970asn,d I hadn o cluaeb ouetv enitns catead m orec ompleaxn da mbivalfeenetl itnogw arAdmse riacnad
TokyoI.w asb orni nK yotion 1 957a ndm ovedt oH iroshiamtta h e thin'Agmse rican. IfW ehlwatat s n otn ecessanraitliyo naplriisdtbeiu ct
ageo f1 0M.y fathehra dl iveidnt heU S ando urh omew asi mbued morea ne xistehnatbiiaatlsi, tw ei:Ice o;n stadnitslpyl amcyesde flrfo m
witahd istin'.Acmtelryi can'h efl eiekleA;dm ericTVa ns howasn df ilms whats eemetdo b et hed ominasnotc ioculctounrfiaglu raatnidoi nt s
andw e livead f airWleys ternizleidf Aef.t emro vintgo t hem ore practimcaan!i festawtiitohnwishn i cIh w ass upposteodc ompletely
provincciiatloy.f H iroshimtah,at seonfse el itifuseml,l ebdy contaimny sealnfd f eesle curIde i.d nk'nto ww hyb uti tc ertagianvley
Westernivzaeldu e'sa,l ienamtee frdo'm my immediaetnev ironment. me as en�oef 'idenatnidit nyt ellectubayla lpwraipyduset timnygs elf
Ih ada lwafyesl tth aItd idn otn ecessabreilloynt goa nyp articular outsitdheed ominaanntd t hem ainstreIat mh.e refoarceq uirtehde
socioculctounrfiaglu ratIi woans;a lwaynse gotiattihnesg p aces habiotf b einsge lf-refalnedxc irviet iecvaelnw hene veryoenles e
' betweedni fferpeonlteo sf v alusey stems-ptrhoev invciearlst uhse arounmde seemetdo b ev ermyu ch' ini't .
..
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'
4 TADASHI UCHINO INTRODUCTION 5
AN 'ILL-FAT'E HDISTORYO F JAPAN'S THEATREC ULTURE( 1)TH:E ORIGIN
atioans,w ew ilslo ond iscusFosr) a. l ontgi mJea,p anh adn o
2006,
AsI w ritteh iisn troducitnSi eopnt ember Japanc'osn teomprary lt heatnroer,a nyp ubltihce atraensdt, h eatwraesn otp arotf
theatcruel tusrheo ulbde p rouodf iitnsc redinbulmeb eorf p roduc­ educatiTohne. a esthegteincr ecsh osetno h eleps tablainsdh
tionasl thougnha,t uramlolsyt,n f t hema rec oncentriantu erdb an lida'tset ructouffr eeesl i(nRga'y monWdil liamfso)rt3 h ee lite
arease,s peciianlt lhye capitoaflT ockiytyoN .o tu nliBkreo adwoary them iddlcel aswse rem usicv,i suaarlt asn dl iteratBuerfeo.r e
theW estE nd,T okyoi sfi llewdi the noughp laywrigdhitrse,c tors, ldW arI It,h ee ducatiionnsatli tuctoinotnrsi buttoti hnegn ational
actoprrso,d ucaenrdst heatre-tgooc eormsp riasnee stablitshheeadt re p-ajiect ofi dentity-conswterruetc hteTi ookny Soc hooolfM usiacn d
indus.tI rnty ermosft hes pecigfiecn roef' LitTthleea traec'c,o rdtion g ·bh.eT okySoc hooolfFi neA rtT.h esec amet ogethaefrt etrh eW art o
2005,
a veriyn terespteirnsgo nsaulr vceoyn ductdeudr ing therwee re · ht:m theT okyoU niversoifFit nye A rtasn du,n tivle rrye celnytt,h eatre
2,038 1,639
performandcoense b y theatre grTohuipsss .uIr vey wa:s nevear p arotf i tcsu rirculumI.nc4 o ntralsitt,e radteupraer tments
included ptrhoodsuec titohnawste req ualifbiyet dh ef ollowing con­ W�owinEgu ro,Amerimcoadne lwse rei nstalilnme adn yn ationaanld
ditiopnesr:f ormweidt hitnh em etropolairteaoanf T okyaon dr un­
private universities.
5,000
ningfo r sevedna yso r lessa,n dt ickeptrsi ceudn der yen
. Thust,h eatwraesn ota parotf t hek nowledge reoqfJu aipraend' s
43
(approximatUeSld yo llaTrhse)s.ec onditions etnhasttuh repe rdo ­
odtural eolrim tied dlcel asisnt hep ost-Wdaerm ocratiyzeianrgs . It
ductiocnasm eu ndetrh er ubroifct hea mbiguoudselfiyn e'dL ittle
naturalfloyl lowtehda nto form ofp ubliscu bsiwdays a vailaabtl e
Theatraen'd,i ti sh ardt ok noww hetheorrn ott hewye rec ommer­
eithetrh en atioonrat lh el oclaelv eIlno. t heArs iacno untrbieecsa,u se
cially feasibilnTe o.k yLoei,sv piencgi ianlt lhyel asfti vyee arosrs o, of theierx perienocfce osl onization, traditiogneanlr epse rformance
one does ahnua nvdee niasbelnes oeft he growing odfot mhaet ihne ­
coulsdo metimbee(s anadr es tiplrli)v ileIgnJe adp.a nh,o weveartt, h e
atrien dus,tw riytthh eatcruel tugrrea duarlelcyo gniazsea dni ntegral
dawno fm odernizaitnit ohnel atnei neteecnetnht_u, tr ryaditipoenra­l
parotf t hes ocilailfo eft heu rbamni ddle-cFlraosmst .h eg loscsoym ­
formancgee nreess,p eciKaalbluyk wie,r ceo ndemneads' old''f,e udal'
mercitahle atorfeG si nzaan dS hibutyoat hel iterally lititnl e theatres
or' vulgTahri'sa. t titcuadues etdh er isoefs ever'anle wt'h eatmroev e­
ShinjuaknudS himo-kitaztahwearie,ss 2 o methitnowg a tcehv erdya y
mentwsh icihn t urn contrtiobt uhteee sdt ablishomfte hnetg eneric
.. oft hey ea.r
notioonfS hingekKia.b5u kwia st hem aint argoeftr eformd urintgh e
Despitthei ism pressoifoT no kyaos a theatcrie,t w yeh avet ob e nineteenctehn turiyn termso fc ontenatn dt herwee res everal
cautioiunus n derstantdhienagt re cuslotcuiroep'osl piotsiictailo ning attempatt's m oderniztihnegg e'n re-feoxra mplwei,t thh es o-called
withJianp anc'usl tuhriaslt .oJruysatsw em ustn otl ossei ghotft heatre 'TheatrRee formatMioovne mentT'he.r ew ereev ens omea ttempatts
cultur'ei'lsl -fdaetpeldo'y mewnitt htihne m atrioxfJ apanm'osd erniz­ establisah 'imnogd ern' natthieoan�(a l1 873-17848,a6n d1 906).6
inga ndn ation-buislodm iunsgtw, e n ota ssumteh atth erwea sa sim­ Buta ltlh eseeff orftasi lwehdi leea c'ho lodr'' feudfoarlm' o ft heatre,
ila'rf ortunlaitnee'pa rro gressoifoh ni stoarsyt herwea si nm any facedw itthh ed angeorfe xtinctdiiosnc,o veirtoeswd n w ayo fs urvival.
Westernna tion-swthaotseess o ciopoliticaaln dsi ynsstteimtsu tions
Shingeoknit ,h eo thehra nda,s a genertiecr m, usually connotes
Japana spirteodd urinigt sn ation-buiplrdoicnegsB se.c ausoef
modertnh eatirnew ,h icthh et erm' moderni'sa lmosatl waeyqsu ated
diverpsoel itreiacsaoln asn dh istorciocnadli tiwohniscI hd on oth ere
witthh ingWse sterTny.p icoaflt hiisd eolowgayst heT sukiSjhio -gek­
havet hes pacteo a rticultahteea,tc ruel tuwraesn evear p arotf t he 1924 (1881-1928)
ij(oL itTthleea tree)s,t7a bliisnh ed by'OsaKnaaoir u
nationparlo jeocftm odernizatnioornw asi ta componenotf (1898-1959)
andY oshHii jikata whoi nfamouasnlnyo unctehda tth ey
Westerniziant iJoanp (aenx ceppte,r hapisn,a negatiwvaey w hich
woulpdr oducoen lyW esteprlna yisnt ranslaTtihooung.ht heiwrass
resulitnes do met raditifoonramblse inrge gardaesod b jecotfds r astic
thefi rsatn ds inceartet emtpott ranspltahnett h en-fashioLniatbtllee
6 TADASHUIC HINO INTRODUTCION 7
TheatMroev emenitnt heW esit,tt ooakn oth4e0ry earfsoJ ra patno sibtiylb,iy gonaersel efttob eb ygoneTosd.a yi st od,aa ynd
haviet osw nv ersioofln i ttthleea tre movemenrte,f eurtsrouea adsl ly tomorriosaw n othdear.y As ist pyicaslhloyw bny C happies
AngurTah eatMroev emenTth.iBsd ichotoamnyd /otrh ed ialectical drawbny·G rooveviisnit ohnik,si nodf s pacpee,o plwei thout
relatbieowtnese nt hem oder(nn eawn dp rogresassit vheeW) e satn d anyd iffereinncf ee atuhreeisg,h atn,dt asptreo pagtahteem ­
theo ld( traditainodnc aoln servaatsiJ vaep)adn i dl enad certain selvaessi nterchangaenadcb hlaer actebreliensgbssy l, i ving
degroeefc reatainvdpe o litical energy to Japbaunt' s theatre culitnut rhees, a mek inodf h ousew,a tchitnhges amek inodf 1V
thse taittes efolrmf o,s otf i tmso dernizhiinsgt, os reyldofme lant e ces­ showlsi;s tetnoit nhges amek inodf m usiwce,a ritnhges ame
sittyoa ppropreiiatthefe orr imn tiot nsa tional purnoljievkciets su,a l kinodf c lothaensds, p eakiinntg h es amek inodf v oicaen d
artm,u siacn dl iteraTthuero en.le yx ceptsieoenm tso b ed uritnhge tone(I2O0 0917-:8) .11
pre-WoWralrId I y eawrhse nt hmei litagroivsetrn mebnatn neadll le ft­ t:
Ifw ec hangtehd ep assatgoeJ apadni dn ota ndw ilnlo tc onsti­
isSth ingperkaic tiacnedts h9e r,ep bayradolxlibyco,at ahc knowledged
'l ut"et heatrIe w"o,u'ls du rehlayv et oa grewei tthh er esotf w hat
andde nieSdh ingeskoic'iso poliintfilcuaeln ces.
'S aw.:arag�ia yAsn.d t haitse xacwthlayIt m eanb yt heatcruel tu'riel'ls-
�.
Thusa,tl eafrsotm a ne xternpaelr specjtuisavtsew ,em ayo bserve fatedh'i stionrJ ya pan.
vario'uisl l-famtoemde'n tasn di nstanicnte hseh istoofryJ apant'hse ­
atrceu ltuwreem ,a y also notcani coen lwbyhe da ets criabsoe udt ra­ ENTERITNHGE B ATTLEFI(E2L)TDH: E A PPRENTICESHIP
geouosu tburasntdbs r eakthroTuhgesh esn.so efb otuhn predictability
.' MrS uzu[fkaid ashiisl] o okifnogar n i nterprPertoeYfra.,s 'u nsaariid ,
andh istoriircraels ponsbiebcialmtiert ayd emaorfJk asp ant'hse atre
smilihnigvs e rgye ntslmei l'eH.ei sd irectEiunrgi piTdheBes' a cchae,
cultutrheo ugihtw asn evearb lneo ra llowteocd o nstiatnui tnet egral
mixiAnmge ricaacnt owrist hhi osw n.T'h awta sf ivyee arasf tSeurz uki
parotf t hen ational imaigtir neamtaiionanes;da kinodf d istilled
movehdi cse ntorfea ctivfriotmTy o kyot ot her emotvei lloafgT oeg a
reflective/rmeifrrraoscrit tioevf te h eo ngoihnigs torpircoacleo sfs in ToyamaP refectiunr1 e9 7As7 .I h avmee ntionIed di,dn otk now
socieaclo,n omaincdp olitrieclaalt tioown hsi cphe rsoannadl/ coorl ­ whoS uzuwkais n orw hahte w asd oinTgh.e J apanese tIh kneewa tre
lectainvxei etainedds e sirweesr aed dedu,n censoareesdt,h eticized,
'a tt het imwea sl imitteosd o meS hingeaknidt oN oda HidNeokdia;
(mis)artiacnudpl artievda toirzs,eo dm etimceosl,l ectivized.
· Wass tial slt udeantot u ru niverasnidIt h ya ds eehni wso rokn c am­
NoiS awaravgiis,ua arlct r itriecf,et rots h efa iluorfec onstructing .p usI. w ast oltdo m eetS uzukaitt hec offseheo pi nsiIdmep erial
ad efinabplueb lgiecn roef' visauratil'nt hep ost-dWiasrc ursspiavcee : ;,Theatwrhee rhee w asd irectSitnegp hSeonn dheiSmw'ese nTodde.y I
Therteh,ep owerre latbieotnwse neonto nlhyi gahr atn ds ub­ dida,n dt ootkh jeo b.
cultbuurate l seov eroyt hegre nrfer,o mma ngaf,i gurianneds , That assignmleanutn chmeyd i nvolvemientn htep racttihcael­
graphdiecs igtnoc ontemporaarrtay,r ea tp arw iteha ch atrweo rldI .s penotn em ontha tT ogaV illaagtet,e ndeivnegr y
othearn,dn oo ne geinspr rei vilientg eerdm osfi tvsa luAen.d rehearsaanldw elcomiAnmge ricaacnt ofrrso mt heG raduaAtcet ing
asif respoi;tdtiotn hgi 'st horoluagchok f d epthe'v,e ry work Programamtte h eU niverosfiWtisyc onsMiinl,w aukTehee.ni ,n1 982,
ofa rits r educed/rettora e galtietdt esrliinscguk r faacnedi, n Suzuaksike dm e toa ccompahniymo na US touwri thhi cso mapny.
realtihteyr,ie sn od ifferbeentcwee tewon- andt hree-dimen­ WasedSah o-gek(iWjaos eLdiat tTlhee atrpee)r formetdh el egendary
siona.Tl hietd yisappearoafdn ecpet thh,el acokft hickniess s TheT rojWaonm einnS tL ouiasn dC hicagIonN. e wY orkS,u zupkeir ­
a kinodf m isee na bymeo ft hep sychsitcru ctuorfpe s eudo­ formedT heT rojWaonm eantt hJea paSno cieatnydT heB acchataLa e
socieHteyn.c ev isuaarltd oesn otc onsti'thuitset bourty ' Mama.F ora b ilingpuraold uctoifTo hneB acchIas eaet,v ernyi ghitn
refracittsssi mulatIinto hnifo.sr matinoono, n et akreess pon- thef ronrto wa sa prompatsen re,i thSehri raiKsahyio k(op laying
I
I
r
'
INTORDUCTION 9
8 TADASHUIC HINO
tA·lop:iJ
citiTehse. members thhaerd i ghttov otaen dd ecidweh ich
DionysainudsA gavei nJ apanesneo)r ToHme wit(tp layiPnegn theus
pr'9;ductiq_ntsh ewya ntetdo s ee.
inE nglischo)u ludn derstawnhda tt heo ther swaaysi nOgf. c ourse,
they understooodt heetrah crho ugphh ysiccaoln tabcutt a ccidents .-� In.t hem.ea ntimeT,o kyow asi nt hem idsotf t he' LitTtlheea tre
borun'.J
could hoacvceu rrDeudr.i ntgh es ta,ty herwea sa na cademciocn ference -stidloln 'ktn oww hati tw asl ikeev ent hougIhw ritaeb ouitt
onS uzukwio'rsk h ostebdyt hJe apaSno ciewthyi,c Rhi chaSrcdh echner quite ·osfitmepnlb,ye cauIsw ea sn ott herdeu rinmgo sto ft he1 980s.
andt hel atVei ctTourrn era ttendIed di.d n otk nowt heinra mest hen There was.a-decdiisffievree nicnte h ec ultucrlailm ate bewtwheaetn
nora bou'tp erformasntcued iewsh'i,cw ha ss tiilnlt hep roceosfsc on­ wash appeniinngT okyaon di nO kayamaI.n O kayamafo,r instance,
solidatiitnsgea lsaf n a cademdiics cipline. Okayam<JS himinG ekijdoe cidetdo i nvitNeo da Hidekain d his
CQ\ll papy.N ote ntirseulryte h aNto daw ould darnaa wu dienhciesp, e r­
Suzukwia sp reparianng I nternatiTohenaatlr Fee stifvoarlt he
fPnn ancew'a sa ssignae mdu chs malltehre at(rteh ree gulpaerr form­
summero f1 982a tT ogaa,n dI wasd eepliyn volviendt hep repara­
<l!PCes� ualltyo okp lacien a hugep ublimcu ltipurphoaslewl i tah
tionTsh.e first ITnotgearn atioTnheaalt rFee stiwvaasla histiocral
cap.aci-oWf .almo1s,t8 00N)o.d a·,w hoh adb eenp erformiinnga
evenwti thS uzukpie rsaolnloyr ganiziitna gn di nvitibnogt ht radi­
steamsym alslp acoen t heu nivercsaimtpyu si nT okydou rinmgy uni­
tionfoarlm s( NohR,o yaMla skeDda nceo fB hutaann do therasn)d
versidtayy s,s uddenbleyc amae cultuircaoln T.h e smaltlh eatirne
thea vant-ga(rTdaed eusz KaRnotboerr,Wt i lsonM,e reditMho nk,
Okay�Il}.aw asfi llewdi tmho rey oungp eoplteh anu suamla,k inmge
TerayamSah ujOit,a S hogaon do therasl)o,n g wai stiht e-spepceirf­ic
awaroef a decisgiavpeb etweetnh et raditiSohnianlg eaknid t hec on­
formanbcyeJ ohnF ox'Wse lfarSet atIen ternatifroomn alt heU K.I f elt
Iw as beeixnpgo setdot he enwtoirrleod f p ost-Waavra nt-gaarldalet tempoi:�'rLyi tThtelaet ret'h awta sb ecomipnogp ulaanrd r ecognized
asa legit;irpatthee atprrea ctiincT eo kyo.
once, biontt hh eW esta ndi nJ apan, alongs omweit trha ditional
formIsh adn otb eeni nteresitnue ndt itlh en( seCeh apte2r) .
AN 'ILL-FAT'EH DISTORYO FJ AP.A 'SN THEACTURLET UR(E2 )TH:E A PPRENTICESHIP
Aftewro rkinagtT ogaf ora whilIe ,w rotae M astert'hse soins
.
Att her oootf t hi'si lfla taen'd t hec onsequenbtiizaalr nraet uroef
EugeneO 'Neialnld v erlyu ckigloyta tenurepdo sitiionn1 984a t
·
As Japan.'tsh eatcruelt ulriee tsh ep robleomf t heatre-makaisna g p ri-
OkayamUan iversittyh.e atcruel tuirsae l mosetx clusilviemliyt teod
vate/privpartaiczteidN ceev.e rtheltehseso,r eatl,il cytheatrteo b eh as
TokyoI,w asf orcedb eta ow ayfr om thep ractitchaela twroer ladg ain,
ano pe:qm ediumi nw hicahn yoncea np articiipnao tred etro s uggest
thougIh c amet o learn tahbeoo rugta nizationalo fS phoiwnegre ki
the
possibiolfai cthyi evai cnge rtadieng reoefi nflnucee.
durinmgy six-yeraers ide(n1c9e8 4-8i9nt) h acti tSyh.i ngeeksit ab­
lishtehde so-croaelnl (e'dt heaftorrwe o rkerssy's)t eamf tetrh eW ara, Openp articipaitskei yo ni nt hed evelopmeonftt h eg enroef
netwoorfkv olunt'etehre aatprper eciation' orgfoar nSihziantgieoknis 'Angura LiTthetalteer 'i nt hep ost-Wyaera rs. Anhgausbr eae nl oosely
witah n ation-wsiudbes cripstyisotne wmi,t eha chl ocasle ctor loosely used ovetrh el as4t0 y earosrs oa,n da,s S hingewkaisu sedi no pposi­
connectweidt thh eo therAst.t heO kayamSah imiGne kij(oO kayama tiotnb K yugek(iO ldTh eatreo)f K abukain dN oh,A ngurhaa sb een
CiviTch eatrey)o,u cobuledc omae memberi fy ou gathaetrle eda st andi ss tislolm etimuesse di no pposittiooS nh ingeAktit .h eb egin­
lI l threpee oplteo f orma grou.pY oup aida na nnuaslu bscripfteieo,n ningA,n gurwaa sc allAendg ura-engeki-'UndeTrhgeraoturnaedn' ,
andy ouc oulwda tcfihv eo rs ixp roductiao ynesa rI.tw asa volunteer abbrevi.pntiecdk namgei vetno u ndergroutnhde atprrea ctitcheast
organitziaosno y ouw eraes ketdo h elopu tw itohn eo ft hep roductions emergea,dsa movemendtu rintgh el attpeartr o ft he1 960Thse. 1960s
(workiantgt het heaturseh,e ritnagk,i ncga roef a rtidsutrsi ntgh eir wer.ea.d ecadoefr apiedc onomgirco wtlhe,db yt heL iberDaelm ocratic
Party,
staayn ds oo n)E.a chy earp,a rticipcaotmipnagn ipeusb lishae tdh ick aIJ.d.thgirso wtsho,v isiabclhyi evientd h ep hysicraelc onstruction
volumceo ntaining detailedo nit nhfewo orrmkatsth ieocyno u lbdr ing o(largceirt iweass, accompabnyia e sde nsoefg rowinnagt ionparli de;
10 TAD AS HI UCHINO INTRODUCTION 11
econompirco spersieteym etdo g uarantteheer etuornf a ' greanta't ion limitseodc;i ewtaysn otc hangebde cauosfet heiwro rkn ord idi te ver
aftetrh ed evaasttinegff ectosfl ositnhge W ara ndo ft hee nsuioncgc u­ acknowletdhgeei erx isteansca e v itaanld i ndispenspaabrlotef c ul­
patiobnyU S forcesFo.r peopllei viinngt hadte cadteh,o ugthh et erm turoer politiAcnsg.u raw asc onsideare dd ireecxtp ressoifot nh e
1968
cano nlbye u sedm etaphoricallychaassj anpeabvnee erno fficialcloyl ­ zeitgoefit shte generatiionwn h,i crhe aplo litaincdsa esthetics
onizeidt,w asa 'postcolomnoimaeln'tw itpho litieccaoln,o miacn d overlapapneddw eres ometimceosn fuseAdn.g uraa,nd t hey outchu l­
cultuirnadle pendefnrcoem t heU S'sd omineeriinnflgu encaevsi dly turoef {whiictwh a sa partw,a sa,t m ostt,o lerabtyet dh eu rbamni d­
soughatf teirnm anyf ielidnsc,l udtihnegc ultural. dlec laasssa patteorfnb ehaviotuhrat th ep articipwaenrtees x pected
The nameA ngurwaa sa lsuos edb ecaumsaen ye xpeirmentpaelr ­ to' groowu to f'.As them ovemenitt seclafno nlbye r epresenbtye d
formancewse ret akinpgl aceq,u itlei ter,a 'lulnydergro-uinnd t'h e charismamtailce fi gureis.,e e.x ceptioanratli sgteinci usoefsp atriar­
basemenotfns e wlbyu iblut ildiinngT so kyo-anbde cautshee A ngura chalr elatioAnnsg,u raT heatraet this stwaagseo bviousal y
'1 imaginatwiaosnu nderstoaos' du ndergrowuintdih't tsh eatraincda l private/pripvraatcitzitechdea r te flectegde ntdheehr i erarcphrieess­
perfoarnmcei deas fundamenotpaplolsyet dod ominanmti ddle-class enti n� ocieatsay w holeC.e rtai,tn hleyt heatwraesh istoriicmaplolry­
valueIsd.i osyncfriagtuircse usc ha sT erayamSah uj(i1 935-K8a3r)a , tantp:r actitisoonuegrhsnt e wk indosf t heatsrpea ce (ifnosrt ance,
Juro( 194)0,S- uzukTia dash(i1 93)9,S- atoM akoto( 1943a-n)d , thepye rformiendt entsa)b,a ndonetdh et hen-dominpasnytc hologi­
somewhalta teOrt,a S hogo( 1939-2e0m0e7rge)d .H ijikaTtaat sumi calr ealiasnmd i tlsi nenaar rratsitvreu cture, cetnhtear catloirz'esd
(1928-o8n6eo) f,t heo riginaotfoB rust ohw,a sa lsao partof t he· bodyi nt heipre rfoarnmcea nda ttracted younger Byac uodni­ences.
movemenAtn.g uriasc haracterbiyiz teusds eo ft hea estheatnidct sh e scioupsolsyi tiontihnegm selavtet sh ep eripheorfcy i vsiolc ietthye,y
politiocfs b othW estern avant-g(ahridgihms omd ernisamn)d intendteodm aintatihnei magoef t ransgreasnsdis ounb vershioown­,
Japanese tradfiotrim(osKn aablu aknid N oh)t hrougcho llectcirvee­ly everr omanttihce iirn tentimoanyss eemn ow.T hati sw hyt hekye pt
atedp hysicpaelr formancwehsi chr esisitn,t erartoega nd,i nm ost askintgh ee ssentqiuaels ti.oW'nh,a ti st heatrbeo?'t,hi nt heipre r­
casensu,l lidfyo minanmti ddle-cvlaalsuse s. formanpcrea cticesi·nta hnedid ri scursoiuvtep uts.
Mosto f Angura'psa rticipwaenrtesu niversgirtayd uates (or
ENTERINGT HE BATTLEFIE(LD3 )OP:E NINGU P
dropoutdse)s,p ittheef actth aatl most nooftn hee mo fficiasltluyd ied
theatarsea na cademidci sciplaittn hee u niver.sA intgyurwar itings Ther eablr eafko rm e camew henI w asa blteo g eta FulbriGgrhatn t
1986,
andp erformanecmebsr aceadni maignayr bondw itthh oseex cluded tos tudiyna graduadteeg reep rogrammient heU S in ata time
from thet hen-emergsioncgi opolistpiaccuaes lu alrleyf errteoad s a n whenI wasn otr ealsluyr aeb ouwth etheIr w antetdo c ontinmuye
ideologcilcoaslu orfe' post-dWeamro cracayn'o ,ffi ciaaln da uthenti­ studiyn l itercairryc lDeesc.o nstrucwtaisbo enc ominag ' fadi'nJ apan
catevde rsioofnd emocrawchyi cth heU S occupatiofnoarlc ehsad whilder amas tudioers t heatsrteu diebse,c ausoef t heh istorically
brougthotJ apana ndw hicwha sl ateirm plementbeyJd a panetshee m­ determined posoiftt ihoenaitcnrugel tuirnJe a panw,a sa lwaykse patt
selves. thep eripheorfyl iterary sMtyu rdeiaesso.fon r studyintgh ea t
DepartmeonftPe rformanScteu diaetsN ew YorkU niverswiatsay c ci­
The emergencoeft hef irsgten eratioofAn n guraa rtiswtass
dentaYla.l Uen iverswiatscy o nsidetroeb dea tt he cutetdigneog f c rit­
deemeds candasl-osuomeo ft hemw erei ntentionsaol,il nyt heir
icatlh eorbyu ti td idn ota ccepmty applicatwihoinc hn,a tura,wl alsy
publidci sturbaonfsc oec i-eatnyd theiarc tivwiatsyr eportbeydt he
tob ea blteo c ontinsuteu dyitnhgep layosf E ugeneO 'NeilAl f.e w
massm edian otn ecessairnit lhye 'art' seicntt ihoe'n n ebwusIt'n .
othe.rE nglidsehp artmednitdsn ota ccepmte eithaenrd s oI chose
termosf p ractisriensgi statnoac ned s ubvertmianign strevaaml uiens
NewY orkU nivesri.tTh ye DepartmeonftP erformaSntcued iweassi n
thep ublidco mainh,o wev,et rheisrc opoef i nfluewnacsen ecessarily
12 TADASHUIC HINO
INTRODUCTIO1N3
thep rocesosf forming the discipline iStcsheelcfh.n erR,i chard
the couratgoeg ivuep m y tenurpeods itiIor ne,l uctawnetnltby a ctko
BarbarKai rshenblatt-GBirmobolkeMstc tN,a mara, MicKhiarebly
.Japainn t hes ummero f1 987.
andM arciSai egweelr ea lpla rotf i tP.eg gyP helajno inetdh efa culty
Lookinbg-acka tm y firsetx posutroep erformasntcued iien1s 986
thasta mea cademyieca .r
and 1987I,a dmiItw asn otm atureen oughi,n tellec,tt out aalkeli yn
The MA Programmwea sfo r twoy earasn dw e hadt ow ritae
everythtihnagwt a st aughtth erNeo.r w asI suroef w hicahc ademic
Mastert'hse siIs h.a da seriopurso bleamt fi rsitn c omintgo t erms
directIiw oonu ltda ke arfetteurr ntionJ ga panW.h atw asc ertawians
witthh em ater.iI anlt hosdea ysm,o sts tudenhtasd a socisacli ence
thatI couldn o longer reimnat ihne v eryc onservasttiuvdeoy f
backgrouwnhde reamsi new asp urelEyn glish listteurdairIeytsw .a s
Americtahne atarsae l itergaernyr e-hIa dt of inadw ayo utM.y accu­
'betwetehne atarned a nthropol(osgeySe'c hechn1e9r8 2t)h,a mto st
mulationb ootfha rticulaantdeu dn articulated kdnuorwilnmegyd ge
oft hec lassweesr ea imeadt I.n o neo ft hea ssignreeda dimnagt erials,
timea tN ew YorkU niverslietdmy e tot hinokf w aysi nw hicphe r­
Ic amea crotshse w ord' performattihvemi etayn'i,n ogf w hicIhc ould
formancsetu diceosu lbde ' usefuiln'J apaneisnet elleacntdua acla ­
notf indi nm y English-Japdaincetsieo nIa wrays.p erhapas l ittle
demicco ntexts.
morep riviletgheadnt heo thebresc auIsa el reahdayd a tenurpeods i­
tioant a Japanuensiev ersiifIt c yo;u lndo ta djutsotm y newi ntellec­ AN 'ILL-FA'T HEIDSTOROYF J APA'SN THEATRCEU LTUR(E3 )O:PE NINUGP
tuaeln vironmeIn cto,u ladl wayrse turTnh.e fi rsste mestwears h ell
Wh':!nA ngurwaa si nfu llb loowmi tiht fsi rgsetn eratoifpo rna ctitioners,
ande,v ent hougIhw asl iviinngN ewY orkI,h adn ot imteo w atcahn y
Japawna su ndergoian pgh asoef r apiedc onomgirco wtthh atb,yt he
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remaiinn taucntt itlh eb eginnionftg h e1 990s.
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fores,t artiend1 986w henI t ookS chechnecro'usr sIe a.l shoa vet o
emerged dutrhien1 g9 70asn dt he1 980sh,a dt ow orkw ithitnh is
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ina private/prievnavtiirzoendm eBnetc.a uosfet hihso,w evetrh,ea es­
'IssuaensdM ethodisn P erformanScteu dies'.
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Is omehogwo tt hrougahlt lh eo thecro ursaensd t hen exste mes­
paradi'g1m2t)h,ro ughm ostly permseoannasol f t ransmisswieorne,
terw entu nexpectewdellyIlh .a ds omet imteo w atcphe rformanicne s
eventuanlaltyu ralainzdei dn ternaliintz heecd r eative imagoifn ations
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granfto ra notheyre arI. w asw illitnogc ontinbuuet u nfortunately
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OkayamUan iversdiitdny o ta pprovmey extensiAso nId. i dn oth ave �
pressuorfie n stitutionaalnidaz paptrioopnr iafromt iotnh e mainstream