TheatreYearbook

国際演劇年鑑 2023

2023

Theatre Yearbook 2023Theatre in JapanPublished in March 2023Japanese Centre of International Theatre Institute (ITI/UNESCO)
c/o Kokuritsu Nohgakudo (The National Noh Theatre)4-18-1 Sendagaya, Shibuya-ku, Tokyo 151-0051, JAPANTel: +81-(0)3-3478-2189 / Fax: +81-(0)3-3478-7218mail@iti-j.org / http://iti-japan.or.jp© Japanese Centre of International Theatre Institute 2023All rights reserved. Requests for permission to reproduce materialfrom this work should be sent to the Japanese Centre of International Theatre Institute.

Commissioned by the Agency for Cultural Affairs, Government of Japan in fiscal 2022under the Program for Nurturing Upcoming Artists Leading the Next GenerationEditor-in-chief Niino MorihiroDirector in charge Sota ShujiEditors Kakihana Rieko, Goto Ayako, Konishi Michiko (Office Miyazaki),Tada Shigefumi, Nakajima KanaEditorial Staff Ayada Shoichi, Iki Terumi, Sakurai Takumi, Nakayama Kaori,Murakami Rie, Yamada Maria, Yokobori MasahikoTranslators Alan Cummings, Ishikawa Mai, Valerie Frasier (Office Miyazaki),Eleanor Goldsmith (Office Miyazaki), Sumida Michiyo, Donncha Crowley,Tony Gonzalez (Office Miyazaki), Mark Oshima,Matt Treyvaud (Office Miyazaki), Richard EmmertProofreaders Ouchi Junko/Ogino Tetsuya/Simon Siddall/Shiraishi Mitsuko/Matthew Horn/Hirano Miyako (Office Miyazaki), Andrii Nastiuk,Tada ShigefumiArt Director and Designer Kubo SaoriPlate making Yubido Co., Ltd.
Yamamura Printing Co., Ltd.
Printing Sankyosha Co., Ltd.
Binding Wincam Co., Ltd.
Printed in Japan

ForewordThe Japanese Centre of International Theatre Institute is a public interest incorporated foundationand belongs to the international network of National Centres and professional organizations in approximately eighty countries and regions that constitutes the International Theatre Institute (ITI),which is a non-governmental organization under the umbrella of the United Nations Educational,Scientific and Cultural Organization (UNESCO).
The preamble of the UNESCO Constitution begins with the famous phrase “since wars begin inthe minds of men, it is in the minds of men that the defenses of peace must be constructed.” Article3 of the standing rules of the Japanese Centre of International Theatre Institute stipulates that thepurpose of the Centre is “to contribute to the development of culture and realization of peace inJapan by deepening mutual understanding and facilitating the creation and exchange of theatreand dance based upon the purpose of the UNESCO Constitution.”The Japanese Centre has published the Theatre Yearbook since 1972. Starting from 1997, it hasbeen published in two parts: “Theatre in Japan” (English version) for readers outside Japan and“Theatre Abroad” (Japanese version) for domestic readers. The yearbook has been published onlinesince 2014.
Also funded by this program, we have staged readings every year since 2009 to introduce remarkable plays from around the world as part of our research activities to promote international theatricalexchange. In 2022, we continued the “Theatre Born in Conflict Zones” series for the fourteenthconsecutive year, this time featuring a play by a Ukrainian author. Unfortunately, as members ofthe team caught COVID-19, the reading had to be canceled, but the script will be published inJapanese translation for the first time at the same time this yearbook is published.
Although we are still seeing waves of infection in this, the third year of the COVID-19 pandemic,signs that the world is moving toward recovery are also apparent. On the other hand, Russia’sonslaught against Ukraine continues and chaos reigns across the globe, against the backdrop ofnew movements emerging in the countries referred to as the Global South.
I believe this last year has been one in which members of the theatre community have asked themselves a fundamental question: what can the performing arts do in the unstable times of the 21stcentury? This year’s Theatre Yearbook features many contributions demonstrating the ways in whichmembers of the global theatre community have explored this question.
Thus the publication of the Theatre Yearbook has laid a firm foundation for activities that seek togain knowledge of the relationship between Japan and the world, to deepen mutual understandingby positioning Japan within the global network, and to realize cultural development and peace.
We look forward to your continued support and cooperation with the activities of the JapaneseCentre of ITI in the years to come.
March 27, 2023In commemoration of World Theatre Day

Nagai TaekoPresidentJapanese Centre of International Theatre InstituteCONTENTS005 Shots from the Performing Arts in Japan in 2022

The Japanese Performing Arts in 2022038 Noh and Kyogen Oda Sachiko

047 Kabuki Yanai Kenji

054 Bunraku Kameoka Noriko

061 Musicals Hagio Hitomi

068 Contemporary Theatre Yamaguchi Hiroko

076 Children’s and Youth Theatre Ota Akira

083 Japanese Classical Dance Hirano Hidetoshi

093 Ballet Urawa Makoto

100 Contemporary Dance and Butoh Tsutsumi Hiroshi

109 Television Dramas Ota Shoichi

Developments in Japan and Overseas in 2022116 Creating stages amidst warInterviews with the directors of three Ukrainian theatres / Interviewer: Marina Kotelenets140 Continuing Creating After Leaving My HomelandAn interview with director Timofey Kulyabin / Interviewer: Uchida Kensuke153 A Retrospective on the Fiftieth Anniversary of Okinawa’s Reversion to JapanThe Rich World of Uchinaa Shibai, a Theatre Reflecting Okinawa’s Turbulent History /Hosoi Naoko, Kinjo Shinji, Senaha Takako, Kakihana Rieko185 What We Learned Digging Through Rare Materials from the Early Days of the ITI Japanese Centre2023, the fiftieth anniversary of the first issue of the Theatre Yearbook, as a gateway / Sota Shuji

Special Feature200 “Theatre Born in Conflict Zones 14” Director’s notesDoubting what you know, relating indistinguishability / Ikuta Miyuki206 Companion Volume “Theatre Abroad 2022” in Japanese208 ITI Centres«Editors’ Notes»• The articles in this publication report on the performing arts in Japan from the previous calendar year.
•N ames are presented in the respective style of their country/region of origin. For Japanese names, theorder is family name, followed by given name. The names in the contributor profiles are presented with acomma and in the following order (except for individuals with only one name): family name, given name.
• Titles for traditional Japanese performing arts (Noh, kyogen, kabuki, bunraku, Japanese classicaldance, etc.) are presented in the following order: Japanese title (English Title).
• Other titles of works are presented in the following order: English Title (Japanese title).
• The English play titles, theatre venue names, and other formal names are the official ones or, when noofficial English name is available, newly translated for this publication.

日本の舞台芸術を見る

Shots from the Per forming Ar ts in Japanin 2022

Noh and Kyogen

Special Project Performance [Rediscover Noh and Kyogen] Kyogen Hakamasaki (A Hakama Pair Becomes Two)Okutsu Kenichiro, Nomura Matasaburo, Okutsu Kentaro (from L to R) Photo provided by National Noh Theater

Special Program of Noh Performance [Rediscover Noh] Kamo Monogurui (The Madwoman of Kamo) Kanze KiyokazuPhoto provided by National Noh Theater

“All-Japan Noh Caravan!” in Toyota Hanaikusa (The Battle of Flowers) Photo: Harada Shinji

Revival Noh Viewing Program Awade-no-mori (The Labyrinthine Forest) Daughter: Kato Shingo, Monk: Komuro Tomoya,Merchant (father): Yasuda Noboru Photo: Shingu Yumi

Noh and Kyogen

Yokohama Noh Theater The 2nd “Three Old Women” Program Higaki - Ranbyoshi Otsuki BunzoPhoto: Ogata Misako, provided by Yokohama Noh TheaterTheatrenoh performance in TokyoDojoji - Hyoshi-nashi no kuzushi Mikata ShizukaPhoto: Maejima Yoshihiro

Shibuya Noh 2nd night NonomiyaUzawa Hikaru Photo: Ishida Hiroshi

Ancestor Festival: The 300th Anniversary of the Birth of Nomura Manzo I Kyogen Furyu Chichi-no-jo furyu yorozu-no-shikiPhoto: Akasaka Kumi

KabukiSukeroku yukari no edozakura(Sukeroku: Flower of Edo)Ichikawa Danjuro Hakuen ©Shochiku

Yoshitsune senbonzakura,Kawatsura Hogen yakata(Yoshitsune and the Thousand Cherry Trees,The Mansion of the Priest Kawatsura)Onoe KikugoroPhoto courtesy of the National Theatre

Yoshitsune senbonzakura, Tokaiya(Yoshitsune and the Thousand Cherry Trees, act 2)Kataoka Nizaemon ©Shochiku

Furu amerika ni sode wa nurasaji(The Rains of America Will Never Dampen My Sleeves)Bando Tamasaburo ©Shochiku

KabukiToryu Oguri hangan (The Modern Story of Oguri Hangan) Ichikawa Ennosuke (L) and Ichikawa Emiya (R) ©Shochiku

Yoshitsune senbonzakura, Kawatsura Hogen yakata (Yoshitsune and the Thousand Cherry Trees,The Mansion of the Priest Kawatsura) Onoe Kikunosuke Photo courtesy of the National TheatreBunraku

Musume Kagekiyo Yashima nikki (The Blind Kagekiyo in Exile) Takemoto Chitosedayu (L) and Toyozawa Tomisuke (R)Photo provided by National Bunraku Theatre

Hana no Ueno homare no ishibumi (The Self-Sacrifice of Otsuji) Toyotake Rodayu (L) and Tsuruzawa Seisuke (R)Photo provided by National Bunraku TheatreBunraku

Genpei nunobiki no taki (The Nunobiki Waterfall) Takemoto Shikorodayu (L) and Tsuruzawa Tozo (R)Photo provided by National Bunraku Theatre

Kanjincho (The Subscription List) Yoshida Tamasuke, Kiritake Kansuke, Yoshida Tamaka (from L to R)Photo provided by National Bunraku Theatre

Morimura Kiritake Ningen (Human) Joruri Project Shin kyoeikitan (New Strange Tale of a Mirror Reflection) Morimura Yasumasa (R)and Kiritake Kanjuro (C) Photo provided by the Executive Committee of Morimura Kiritake Ningen Joruri Project ©Fukunaga Kazuo

Bunraku muso keishoden (Bunraku Dreams: A Tale of Succession) Ninin Sanbaso (Two Sanbasos) Yoshida Tamanobu,Yoshida Minohisa, Yoshida Tamaka (behind the fan), Yoshida Tamayuki, Yoshida Tamao (from L to R) ©Katsura Hideya

Musicals

Hairspray Toho Co., Ltd. Photo provided by Toho Theatrical Division

The Boy and the Beast Shiki Theatre Company Photo: Abe Akihito

Guys and Dolls Toho Co., Ltd. Photo provided by Toho Theatrical Division

Musicals

Before the Flood It’s Follies Photo: Iwata Eri

Tokyo Love Story HoriPro Inc. Photo: Tanaka Aki

Contemporary Theatre

hana—1970, The Day Koza Burned HoriPro Inc. Photo: Miyagawa Maiko, provided by Horipro Stage

Waiting at Rycom Kanagawa Performing Arts Theatre (KAAT) Photo: Hikiji NobuhikoContemporary Theatre

Katabui, 1972 Theatre Office Natori and ACO Okinawa Photo: Sakauchi Futoshi

May 35th P-Company Photo provided by P-Company

Tales of Poverty Komatsuza Photo: Miyagawa Maiko

Leopoldstadt New National Theatre, Tokyo Photo: Miyagawa Maiko

Contemporary Theatre

The Ghost Is Here Parco Stage Photo: Miyagawa Maiko, provided by Parco Theater

The dodo falls Takumi Theater Company Photo: Okamoto Naobumi

Spirited Away Toho Co., Ltd.
Photo provided by Toho Theatrical Division

Harry Potter and the Cursed Child TBS and HoriPro Inc. Photo: Miyagawa Maiko, provided by TBS and HoriPro Inc.

Children’s and Youth TheatreLa feuille les feuilles La Strada Company, at Kitakata 21st Century Theatre 2022 Photo provided by La Strada Company

The Twin Stars: Chunse and Pose’s Big Adventure in the Sky (Futago no hoshi Chunse to Pouse no daiboken)Studio Polano, at the 50th Summer Holiday Children’s and Youth Theatre Festival Photo: Studio Polano

Uncle and the Big TreeTheatre Company Nanja Monja,at the 2022 Great Exhibition ofPerforming Arts with Children in KofuPhoto provided by Theatre Company Nanja Monja

Rudolf the Black Cat Gekidan Tanpopo, at Kids Circuit in Saku 2022 Photo provided by Kids Circuit in Saku

Children’s and Youth Theatre

Eleven Hungry Cats La Clarté Puppet Troupe, at the 29th Children’s Theatre Festival in KishiwadaPhoto provided by La Clarté Puppet Troupe

Beauty and the Beast Theatrical Group EN Photo: Morita Kozo

Japanese Classical Dance

Shotaro no KaiAya no Tsuzumi (The Damask Drum)Hanayagi ShotaroPhoto provided by Hanayagi Shotaro Buyo Kenkyu Jo

Onoe Kikunojo no KaiYamata no OrochiOnoe KikunojoPhoto: Kato TakashiJapanese Classical Dance

Maki no Kai Kurokami (Black Hair) Shida Maki Photo: Shingu Yumi, provided by Ryukyu Buyo Choyo School

81st Tamamikai, Gojo Tamami Recital Orphée (from L to R) Nakamura Kyozo (Perséphone),
Gojo Tamami (Orphée) and Fujikage Shizue (Eurydice) Photo: Video Photo Saito

BalletLes Misérables Tani Momoko Ballet Photo: Haneda Tetsuya

Fukagawa Hideo version of Don Quixote Theatre de Ballet Company Photo: Okamura Masao (Osaka Tes)

BalletASUKA Asami Maki Ballet Photo: Shikama Takashi

25th anniversary of New National Theatre Giselle (new version) National Ballet of Japan Photo: Shikama TakashiLa Bayadère Tokyo Ballet Photo: Yoshikawa Koujiro

Cinderella Jinushi Kaoru Ballet Company Photo: Obana Aoi (Office Obana)

Contemporary Dance and Butoh

Starting Over Condors Photo: HARU

What Cagliostro Dreamed in the Castel Sant’Angelo Kasai Akira / Tenshi-kan Photo: bozzo

End Dairakudakan Photo: Kawashima Hiroyuki

Opera Orpheus and Eurydice Teshigawara Saburo (production, choreography)© Hotta Rikimaru / New National Theatre, Tokyo

Contemporary Dance and Butoh

Oni Noism×Kodo Photo: Murai Isamu, provided by Niigata City Performing Arts Center Ryutopia

Opera Einstein on the Beach Hirahara Shintaro (direction, choreography) Photo: Kato Hajime세월 (Sewol) Kedagoro Photo: Kusamoto Toshie

Good Cow-ken Suichu-megane∞ Photo: Maezawa Hideto

Contemporary Dance and Butoh

I Can/Can’t See You From Here Now Kurata Midori (direction, composition),organized by Daimaruyu SDGs ACT5 Executive Committee, bench Co. Photo: Kato Hajime

Formula Moriyama Mirai×Nakano Nobuko×Ella Rothschild Photo: Hirabayashi Takeshi