Japanese Culture in New York - Chopsticks NY

“What I keep in mind is the unification of style and realism.”

Although he is best known internationally for his Japanese-language productions of Shakespeare plays and Greek tragedies, director Yukio Ninagawa works on original, contemporary pieces as well. For the first time after the acclaimed Modern Noh Plays in 2005, he will return to the Lincoln Center Festival this July with Musashi. At a rehearsal of this production in Japan, he shared his thoughts on the project with Chopsticks NY.

You have brought your plays overseas many times, and most of their stories––for instance, Shakespeare’s plays––are relatively familiar even to non-Japanese audiences. But Musashi, which you’ll direct at Lincoln Center this summer, is so Japanese. Is it a challenge for you?
Yes, it is. Musashi takes the form of a jidaigeki (Japanese period drama) while telling about a modern subject. In other words, we are trying to incorporate a classic Japanese performance style into a modern play and create something entertaining. This play bears a truly contemporary message: how we can break a chain of vengeful reactions. I hope we can bring this message to American audiences.

That’s a really difficult theme.
Very much so. Logically and emotionally, everyone hates tragedy, I think. But nobody can solve such problems in a logical way. That is the very point that Mr. Inoue [the playwright of Musashi, Hisashi Inoue] really struggled to convey. He ultimately plotted the story of the dead people’s wishes. The spirits of the dead lose their way and wander around the world of the living. So, the dead people’s wishes construct the framework of the play.

It might be hard to understand for people living in a culture of “an eye for an eye.”
Indeed. Those who support “an eye for an eye” and rationalize violence may think our logic is just emotion. But what other logical solution can you find than ending vengeful reactions with a sort of hope based on Asian or Japanese sensibilities?

I believe people here are becoming interested in such sensibilities more and more after 9/11––like Buddhism, for example.
That’s very understandable. Musashi is actually set in a Zen temple. The structure of a temple is quite similar to the stage for a Noh play. We intentionally overlap them. Also, the play follows the outline of Mugen-Noh [a genre of Noh in which storytellers live in an unrealistic world]: A traveler comes to the land of the dead, and the dead people tell their unresolved issues to him. In this case, Musashi and Kojiro come to the Zen temple for a duel, but the dead people’s spirits wandering around the temple try to convince the two sword masters to stop. Then, Musashi and Kojiro decide not to fight each other, and this helps the dead to release their unsettled spirits and eventually leave the temple. So, it’s based on a truly Japanese structure. I hope this will be accepted by audiences in New York.

What can they expect in Musashi?
There is an interesting dance sequence. While the cast members do combat training, it gradually transforms into dance. It’s a short sequence, but we put a lot of effort into that scene, joking around “Let’s go on Broadway!” Well, New York makes me really nervous, to be honest. Because it’s the mecca of show business and the best entertainment is there, the audience expectations are very high. I’m encouraged in a way because I want my play to be well received there! [laughs]

You have already established your style, which can be called “The World of Ninagawa.”
I have a feeling that the audience in New York will enjoy it. But still, I can’t deny that I’m nervous. When I bring my version of Shakespeare, for example, I’m more confident that it will be well accepted; Musashi, however, is a new play with Japanese cultural aspects. I can’t predict how much it’ll be understood … In New York, a variety of new plays and musicals are introduced, and the audience is accustomed to new styles, so it’s really hard to appeal to their critical eyes. I really like New York, and this makes me more nervous, even awes me.

Do you think we will see more Japanese plays performed internationally?
I don’t know. The masterpieces written by William Shakespeare and Tennessee Williams, for example, have the power to move even Japanese people. Likewise, I would think that what Japanese make has the possibility to be understood by people in America and Europe. I think such universality exists beyond the language barrier. Also, what I keep in mind is the unification of style and realism. We do not find many stylized theater performances outside Japan. On the other hand, stylistic elements play important roles in Japanese theater, although we lack “realism” as defined by a European sensibility. In my opinion, if we unify these two elements with a modern perspective, there is a possibility that Japanese plays can be understood at a universal level.

Would you say you have had this philosophy your entire career?
Yes. It’s like I am growing flowers in Japanese soil with seeds from Europe and bringing these flowers to European countries to enjoy. In this sense, Musashi is a flower blooming in the soil of Japan, but at the same time it owes a debt to European theater as well. So, I want the audience to see the blending of these two aspects.

Would you recommend some destinations or things to do in Japan for Chopsticks NY readers who are planning to visit?
I think it’s interesting to see Japanese high technology. One place that symbolizes this element is the scrambled street-crossing viewed from Shibuya Station. Every time I come back from foreign countries and see the 360-degree panoramic view of surrounding hi-tech images and screens in Shibuya, I’m reassured that this is the city of advanced science technology. On the other end of the spectrum, there are the cities like Asakusa and Kyoto that represent Japan’s spirituality. In Kyoto, for example, various religions coexist in a chaotic way, but its atmosphere explores genuine spirituality. I like visitors to see the dichotomy.

The one represents functionality and the other spirituality.
That’s right. Those two aspects are necessary. We are blessed with modern science while having cities that just explore spirituality. The atmosphere of these cities is held by a completely different mindset than the electric city, Tokyo. We cannot live without either one of them.

It might be said that since we have this dichotomy, we can express the two aspects of Japan, as you do.
It might. When I was invited to Europe—to Italy and Greece, to be specific—I was told, “We’ve been introduced to Japanese traditional performing arts like Kabuki and Noh plays, but your play has the culture containing Sony and Honda.” So, I want them to see the intertwining faces of scientific advancement and Japanese spirituality.

That makes sense in the Ninagawa World.
Certainly.

——— Interview by Hideo Nakamura

Yukio Ninagawa Born in Kawaguchi, Japan, in 1935, Yukio Ninagawa first joined a theater company in 1955 and later established his own  company in 1967. His directorial breakthrough was Romeo and Juliet in 1974, which received national attention. His repertoire ranges from contemporary to non-Japanese classics and modern plays, including those of Shakespeare and Chekhov. In 1983, he was invited to Europe with Medea, and since then he continues to do oversea tours every year. In 1984, he established Ninagawa Studio (Ninagawa Company) to produce experimental productions with young group members. In 2006, he founded a new theatrical group for people over 55 years old called Saitama Gold Theatre. In addition to theater projects, he directs films and serves as the art director of Saitama Arts Theater and Bunkamura Theater Cocoon in Japan and as one of the artistic directors for London’s Grove Theatre.

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Musashi

Musashi, a Noh-inspired play that depicts a ruthless hunt for revenge, circa 1600, between two samurai, features both intense drama and riotous comedy. Famed playwright Hisashi Inoue begins the saga with a showdown between Musashi Miyamoto (Tatsuya Fujiwara) and Kojiro Sasaki (Ryo Katsuji), after which Kojiro is fatally defeated. The legend historically ends here, but Inoue continues to develop the plot. In this production, with its lush evocation of the countryside, the pair unexpectedly meet again six years later at a Zen temple and agree to a rematch.

Performed in the David H. Koch Theater of Lincoln Center from July 7–10
Info: Lincoln Center
http://new.lincolncenter.org/live/index.php/lcf-2010-musashi