The Unending Quest of Minoru Betsuyaku,
The playwright who has laid the foundation of Japanese theatre of the absurd
Minoru Betsuyaku, a playwright, novelist and essayist, was born in 1937 in the former Manchuria(present northeast China) during the Japanese occupation. In July 1946, a year after the sudden
Soviet invasion of Manchuria, his mother succeeded in boarding a repatriation ship with her
children. The family arrived at Sasebo in Kyushu, then spent two years in Kochi, Betsuyaku’s
father’s hometown and in Shimizu, his mother’s hometown, and finally settled down in Nagano, themountainous area in the middle of the mainland Japan. The family remained in Nagano until
Betsuyaku graduated from high school, and then moved to Tokyo. Betsuyaku entered theDepartment of Political Science and Economics at Waseda University in April 1958, but soon
involved with the Free Stage [Jiyu Butai] theatre group (later renamed as Waseda Little Theatre) heformed with his classmate Tadashi Suzuki, left the university before graduation. Stronglyinfluenced by Samuel Beckett’s “theatre of the absurd” [Fujori-geki], both Betsuyaku and Suzuki
pioneered postwar Little Theatre Movement in Japan. In November 1961, Betsuyaku got a job in
the office of an independent trade union but he continued writing plays for the Free Stage after hewent off his duty. He left Waseda Little Theatre in 1968, and in 1970 he married actress Yuko
Kusunoki who has been an indispensable partner in many productions of Betsuyaku’s work,
especially in her small theatre group, the Snail Theatre Group[Katatsumuri no Kai] (1978-99). In1971 a daughter was born. Betsuyaku began to work with people from the New Theatre [Shingeki]that had a long tradition of the socialist realism from the pre-war period. In Betsuyaku, the border
between the post-war Little Theatre and the New Theatre is blurred.
Since his debut play A, B and a Woman [A to B to Hitori no Onna] in 1961, Minoru Betsuyaku
has written over 130 plays that have been produced, in addition to essays, children’s stories,criticism, and screenplays. Betsuyaku’s plays have been performed by many theatre groups,including the Literary Theatre [Bungakuza], the Circle Theatre[En], the People’s Art Theatre[Mingei], the Theatre Office Kiyama [Kiyama Jimusho], and the Theatre Office Natori [NatoriJimusho]. He is Japan’s leading playwright of the “theater of the absurd” and a social critic.
It is evident that Beckett’s pseudo-couples influenced Betsuyaku’s characters. A, B and a Woman
explores a destructive interdependent relationship between Mr. A and Mr. B (Betsuyaku’scharacters are often nameless, just labeled A, B and C or Man 1, 2, and 3). Like a tree in Beckett’s
Waiting for Godot, a telephone pole is often set in a bare stage of Betsuyaku. Betsuyaku’s plays arefilled with lots of absurdities that happen in the everyday lives of the common people in Japan, andtherefore not that abstract as Beckett’s world. His second play, the major work The Elephant [Zo](1962) depicts another disastrous interrelationship between two atomic bomb victims at a hospitalin Hiroshima; one who has an indomitable spirit who wants people to remember what happened tohim there, and his nephew who fears people’s prejudice against Hiroshima victims and warns him
not to go out of the hospital. No one in Betsuyaku’s world has done anything all that bad but anindividual is powerless and easily becomes a victim. Byoki [Sick] and Uketsuke [The Receptionist]show such misfortune and victimization that happen in our daily lives. Although Betsuyaku does
not deny Beckett’s influence upon him, he alters the original play to suit the time and situation. In
his Godot Has Come [Yattekita Godot], two tramps are aware of the fact that Godot has come, butthey are unable to “experience” or grasp the reality of what the arrival means. Betsuyaku explains
why he altered the situation of Waiting for Godot like that:
In “Waiting for Godot,” it is fundamental that Godot will never appear. In today’s Japan,
people only rarely have a chance to experience something in reality, but they get a hugeamount of information from different sources, so they may understand things intellectually1without having any actual experience of them. Therefore, I thought that if Godot came today,
people would not be able to meet him or experience the drama of the meeting. People
nowadays understand the meaning of waiting for Godot but not the experience of meeting him.
(Betsuyaku interviewed in “When Godot finally arrives” by Nobuko Tanaka, The Japan Times,March 22, 2007)
Betsuyaku also explains why he revises a classic in the same article:
Plays should be altered to suit the situation or place or community, and I encourage people tomodify mine and sometimes ask people to do them in their local dialect. Theater is about
anding down tradition and converting it to fit its current context.
Awards: In 1968, Betsuyaku won the 13th “New Theatre” Kishida Kunio Drama Award forhis plays The Little Match Girl [Match-Uri no Shojo](1966) and A Scene with a Red Bird [AkaiTori no iru Fukei](1967). In 1971, he won the Kinokuniya Theater Award for A Town and aBlimp [Machi to Hikosen] (1970) and Alice in Wonderland [Fushigi no Kuni no Alice] (1970).
The following year, he won the “New Artist” Award of the Ministry of Education’s SelectedArtists Encouragement Awards for The Revolt of the Breeze Tribe [Soyosoy-zoku noHanran](1971), and in 1987 the Yomiuri Literature Award for his collection of plays entitled
The Story of the Two Knights Travelling Around the Country [Shokoku wo Henreki Suru Futarino Kishi no Monogatari] and Other Plays (1987). In 1988, his play Giovanni’s Journey to His
Father [Giovanni no Chichi e no Tabi] (1987) won the Minister of Education Award for theArts. In 1997, he received the Cultural Award of Hyogo Prefecture and in 1998 the Special
Award of the 39th Mainichi Art Award. In 2007, he received the Kinokukniya Theater Awardfor Godot Has Come [Yattekita Godot](2007) and If a Dog Turns to the West, Its Tail faces theEast [Inu ga Nishi mukya O wa Higashi](2007). In 2008, Godot Has Come [Yattekita Godot]
won the 11th Tsuruya Nanboku Play Award and the Asahi Award.

Sick [Byoki] Premiere: 1981
A nurse (Woman 1) calls Man 1 to halt and asks, “Are you not sick?” Man 1 answers “I am notsick.” Then a funny and quaint conversation starts between them. During their heated exchange,
Man 2, who looks like a tramp, appears. The three of them, selfishly asserting themselves, keep
talking at cross purposes. The ramble goes on when a doctor (Man 3) comes and joins them. Man 3
further dislocates their argument. Man 1, painted into a corner, finally becomes sick and lies down
on bed. Left alone on the street in the end, he grumbles, “Help me, God…What did I do?” This isan excellent piece of work, a dry comedy, which illustrates those who cleverly evade responsibility
by driving a good person to a corner.

The Receptionist [Uketsuke] Premiere: 1980
When Woman 1 is working at the reception desk of a charity organization, Man 1, a company man,passes by. Woman 1 calls him to halt, asking questions such as “Are you single?” and “Are younear-sighted?” As Man 1 responds to her unguardedly, she starts to demand relentlessly from him“donations for refugees,” “a membership fee for the Euthanasia Society,” etc. This is a masterpiecethat exposes the loneliness of a man by comically illustrating with refined humor the process of an
ordinary man involuntarily becoming an easy victim of a charity organization.

Godot Has Come [Yattekita Godot]

Premiere: 2007

This play borrows the dramatic setting of Beckett’s Waiting for Godot to create a new latter-dayversion. The Godot that Vladimir and Estragon have been waiting for so long finally appears one
day. The two are aware of the fact that Godot has come, but they are unable to “experience” orgrasp the reality of what the arrival means.
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