KAZENOKOâ S
THEATRE COMPANIES e c a l p y n a ! ! o e t r o a g n e e r W re child e h w Memanbetsu
Sapporo
Akita
Fukushima
Hachioji
Kyoto
ã»
Tokyo
Gifu Fukuoka
Hiroshima
åç
Trunk Theatre
åç
Okinawa
Hellow Maruchan
Nikkori Po kkari Za
Kazenoko Theatre Company was founded in Tokyo 1950 with a mission to produce high quality theatical experiences for children.
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Today Kazenoko has bases in eleven different cities throughout Japan, seven of which are Theatre Companies, four offices and a play laboratory. Since Kazenokoâ s international debut at the Hamburg Childrenâ s Festival, in 1975, they have performed in twenty-four countries across Asia, Europe, North America, Oceania and Africa. Kazenoko has also initiated many co-productions with international artists both in Japan and abroad.
Kazenoko-Hokkaido company (Sapporo) E-mail : kazenoko-hokkaido@remus.dti.ne.jp
Kazenoko-Tokyo company (Tokyo) E-mail : Tokyo@kazenoko.co.jp
Kazenoko-Tohoku company (Fukushima) E-mail : kazenoko_tohoku@ybb.ne.jp
Kazenoko-Chubu company (Gifu) E-mail : toukai@kazenoko.co.jp
Kazenoko Nationwide company (Hachioji) E-mail : all@kazenoko.co.jp
Kazenoko-Kyushu company (Fukuoka) E-mail : info@kazenoko-kyushu.or.jp
Memanbetsu Experimental Village Akita Oï¬ce Hiroshima Oï¬ce Kazenoko-Kansai company (Kyoto) Okinawa Oï¬ce E-mail : kazenoko-kansai@k5.dion.ne.jp ã»Laboratory(Tokyo)
åœè¬ãšããŠã®æŒå ã¬ã¡ããã
Theatre: Medicine for Life The Annual Magazine of ASSITEJ 2012
INDEX 2
Note from the Editor ç·šè ãŸããã by Marisa Giménez Cacho ããªããµã»ãžã¡ãã¹ã»ã«ãã§
4
Asaya Fujita ãµããããã Keynote âTheater as Nucigusui(Medicine for Life)â åºèª¿è¬æŒãåœè¬ïŒããã°ã¹ã€ïŒãšããŠã®æŒåã
12
Tsuguo Hase é·è°·è©å€« For Children Who Have Suffered from the Great East Japan Earthquake and Nuclear Accident: A Report of Disaster Relief Operation by Performing Arts 倧å°éãåçºäºæ ã§è¢«çœããåã©ããã¡ãž èå°èžè¡ããšãããŠæ¯æŽããŠããããšã®å ±å
16
Michiko Ishii ç³äºè·¯å Earthquake Disaster, Nuclear Power Accident, and Theater Education at Iwaki General High School éçœã»åçºäºæ ãšãããç·åé«æ ¡ã®æŒåæè²
22
Portforio; Childrenâs Theatre in Hospitals åçé ç é¢ã®åã©ããã¡ãšæŒå
31
ASSITEJ: Theater as Medicine for Children and Young People of the World ã¢ã·ããžïŒ âåœè¬ ããã°ã¹ã€â ãšããŠã®å ç«¥éå°å¹ŽæŒåãŒäžçã®èå°ãã
34
Suzanne Lebau -Canada- ã¹ã¶ã³ãã»ã«ããŒïŒã«ããïŒ The Child Soldiers and Me... The child soldiers and all of us who love children åã©ãå µãšç§âŠââåã©ããæããç§ãã¡ã®åé¡ãšããŠ
38
Lucina Jiménez -Mexico- ã«ã·ãã»ãžã¡ãã¹ïŒã¡ãã·ã³ïŒ A Rhythmic Revolution in Mexico Dance, theatre and music for a culture of peace ã¡ãã·ã³ã®ãªãºã é©åœââå¹³åãšããæåã®ããã®ãã³ã¹ãæŒåãé³æ¥œ
42
Toril Solvang-Norway- ããªã«ã»ãœã«ãã³ïŒãã«ãŠã§ã€ïŒ Taking Back Time and Space âæéãšç©ºéãåãæ»ã
46
Wolfgang Schneider -Germany- ãŠã©ã«ãã¬ã³ã°ã»ã·ã¥ãã€ããŒïŒãã€ãïŒ Theatre for Development A challenge to cultural policies in the performing arts çºå±ã®ããã®æŒåââèå°èžè¡ã«ãããæåæ¿çã®èª²é¡
50
Nick Boraine -South Africa- ããã¯ã»ãã¬ã€ã³ïŒåã¢ããªã«ïŒ Rehearsing Forgiveness èš±ãããšã®çšœå€
54
Myrta Köhler -Germany- ãã«ã¿ã»ã±ãŒã¬ã«ïŒãã€ãïŒ An Act of Healing? âPrescription Theatreâ in Germany çãã®è¡çºïŒââãã€ãã«ãããâåŠæ¹ç®ãšããŠã®æŒåâ
58
Kim Peter Kovac -USA- ãã ã»ããŒã¿ãŒã»ã³ããã¯ïŒã¢ã¡ãªã«ïŒ Voices from the Field of Disability Arts é害è èžè¡ã®åéããã®å£°
ASSITEJ Executive Committee Yvette Hardie - South Africa - President Ivica Simic - Croatia - Secretary General Maria Ines Falconi - Argentina - Vice President Stefan Fisher- Fels - Germany - Vice President Kim Peter Kovac - U.S.A. - Vice President Noel Jordan - Australia - Treasurer EC Mermbers Asaya Fujita - Japan Diana Krzanic Tepavac - Serbia Etoundy Zeyang - Cameroon Imran Khan - India Marina Medkova - Russia Marisa Giménez Cacho - Mexico Nina Hajiyianni - United Kingdom VigdÃs Jakobsdottir - Iceland Stephan Rabl - Austria - Advisor Dora Jelacic Buzimski - Croatia - Executive Asistant Publications Working Group Asaya Fujita - Japan Dora Jelacic - Croatia Kenjiro Otani - Asistant of Mr. Fujita Kim Peter Kovac - USA Marisa Giménez Cacho - Mexico Advisory Committee Ashis Kumar Gosh - India Lola Lara - Spain Megan Alrutz - USA Tony Mack - Australia Wolfgang Schneider - Germany Young Ai Choi - Korea Zbigniew Rudzinski - Poland ASSITEJ Magazine Marisa Giménez Cacho - Editor for the International Asaya Fujita - Editor for for Japan Kenjiro Otani - Managing Editor Hisashi Mizuno - Bansei-shobo Translation into English and style correction for the International Jill Rod Advice for the International Maria Jessen Design Kenjiro Otani Hisashi Mizuno Japan publisher Bansei-shobo For the Publisher ASSTEJ International Peradovi eva 44 11. 10 000 Zagreb. Croatia www.assitej-international.org Published and Printed in Japan ISBN978-4-89380-432-7
1
ç·šè ãŸããã /NOTE FROM THE EDITOR
2011幎5æã«ã³ãã³ããŒã²ã³ãšãã«ã¢ã§è¡ãããã¢ã·ã
One of the important results following the General Assem-
ãžïŒåœéå ç«¥éå°å¹ŽæŒååäŒïŒç·äŒãªãã³ã«äžçäŒè°ãæ©ã æ¶ãã å¢çãè¶ã㊠ïŒBuilding Bridges, Crossing BordersïŒ ã
bly and the Congress âBuilding Bridges, Crossing Bordersâ held in Copenhagen and Malmo in May 2011, is that ASSITEJ now
ã«ãããæ倧ã®ææã®äžã€ã¯ãã€ãŽã§ããã»ããŒãã£ãŒãæ° ããäŒé·ã«è¿ããæ°ããã¡ã³ããŒãäžççäºã«å ãããã¢ã·
has a new president, Yvette Hardie, and an Executive Committee visibly renewed by the addition of new members.
ããžãç®ã«èŠããäžæ°ãéããããšã§ãããã âæ°ãããªã£ãã¢ã·ããžã¯ãããŸã§çŽ æŽãããæ©èœãæãã
The association seeks to define a new profile by continuing with the policies and projects that have worked well throughout
ãŠããããªã·ãŒãšãããžã§ã¯ããç¶æããŠãããšåæã«ã ã ãã«æŽ»çºã§å æ¬çãªéãŸãã«ãªãããã®æ°ããæ¡ããããžã§
the years and by preparing and implementing new initiatives and projects that we hope will make ASSITEJ a more dynamic
ã¯ããææ¡ãå®è·µããŠããããšã§ãæ°ããããæ¹ã暡玢ã㊠ãããŸãã
and inclusive association. Some of the important initiatives from the previous period
åæããåŒãç¶ãã§ããéèŠãªå®æœäºé ã®äžã«ã¯ã æ§ã 㪠åéã®äŒå¡ã®å ¥äŒãå¯èœã«ããèŠçŽæ¹æ£ã æ°ããäžä»£ã®ã¢ã·
include the constitutional changes that permit different categories of members, the efforts to attract new generations to the
ããžãžã®åå ãä¿ãåªåã èžè¡å®¶ã®ããã®æ°ãããããã¯ãŒ ã¯ã®æ§ç¯ããããŠæ©é¢èªã®çºè¡ãæããããŸãã
association, the active development of new artistic networks and the creation of a magazine.
ãããŸã§ã®ããã€ãã®åºçç©ã®çºè¡ãçµãŠã2010幎ãäž
After several books published, in 2010 the Executive Com-
ççäºã¯æ©é¢èªã®åºçã決ããŸãããååœã»ã³ã¿ãŒãéã ãŠããŸã2011幎ã®äžçäŒè°ã§ãé åžããŸããã®ã§ãç®ã«ã
mittee decided to produce a yearly magazine, which many of you have seen since it was distributed widely through the centers
ãæ¹ãå€ãããšæããŸãã âä»æãæã ã¯2014幎ãŸã§ã«å¹Ž1åã®ããŒã¹ã§3åã®äºã«
and during the Congress in 2011. We have decided to continue with the bilingual magazine
åœèªã«ããæ©é¢èªãåºçããããšãšããŸããã âåå·ã®å 容ã¯ã2åã®äžçããŒãã£ã³ã°ïŒä»å€ã®æ²çžã§ã®
project and we intend to produce three issues, one a year from now to 2014.
ããžã ããŒã»ãã§ã¹ãã£ãã«ãš2013幎å€ã®ãªã³ãã§ã®ã·ã£ ãã¢ã»ãã§ã¹ãã£ãã«ã®æãã«éå¬ïŒ ããã㊠2014 幎 5 æã
The issues will be linked to the themes of the two International ASSITEJ meetings, the Kijimuna Festival in Okinawa
ã¯ã«ã·ã£ã¯ã§ã®ã¢ã·ããžç·äŒãªãã³ã«ãã§ã¹ãã£ãã«ã«åã ããŠãããããã®æŒåç¥ã®ããŒãã«æ²¿ã£ããã®ãšããŸããã¢
this summer, the Shaxpir festival in Linz in the summer of 2013, and the Congress/Festival in Warsaw in May 2014. ASSITEJ
ã·ããžã¯3ã«å¹Žèšç»ãç«ãŠãã«åœããã幎ããšã«çŠç¹ãåœãŠ ãããŒããã瀟äŒãšåãåãã ã芳客ãšåãåãããããŠãèž
has created a structure of engagement over these three years, focussing in each year on areas of âFacing the societyâ, âFacing
è¡å®¶ãšåãåããã®ïŒã€ã«å®ããŸããã âä»å·ã®ã¡ã€ã³ããŒãã¯å€§éçœãšããã«ããçŠå³¶ã®åååçº
the audienceâ, âFacing the artistsâ. The main theme for this issue is a result of the dramatic
é»æäºæ ãšããå£æ» çææãåããæ¥æ¬ã®åçãªäœéšã«åºã¥ ããã®ãšããŸãããèžè¡å®¶ãçœå®³ãå±æ©çç¶æ³ã«å¯Ÿãã©ãå
experience undergone by Japan due to the devastating consequences of the earthquake and nuclear disaster of Fukushima.
ãåãã 圌ãã®åœ¹å²ãåã©ããã¡ã«ã©ã®ããã«ååããªåœ±é¿ ãäžããããã®ããæ€èšããŸããã¿ã€ãã«ã¯ãã¬ã¡ãããã ã
It discusses how artists react to times of crisis or disaster, and how their work can positively affect our children, this is also linked
æ²çžã®ããšã°ã§ãåœã®è¬ããæå³ããŸãã â倩çœã§ãã人çœã§ãã倧çœå®³ã®å±é¢ã§ã¯ã 瀟äŒã¯ãããã
with a Japanese concept Nuchi Gusui, which means the âmedicine of lifeâ.
ã«åŒãè£ããã 人ã®åœã奪ãããŠããŸããããªæ§ã ãªäºæ ã« æã¡ã®ããããŸãã ãã®ç¶æ³ã§èžè¡ã¯ã©ããªåœ¹å²ãæããã®
In the face of catastrophic events, whether natural or produced by man, society is overwhelmed by different types of phe-
ã§ããããïŒâèžè¡å®¶ã¯äœãã§ããã®ã§ããããã âä»å·ã¯ãŸãã¢ã·ããžå çåœã®æ¹ã ããèšäºãæäŸããŠãã
nomena that tear apart the social fabric and severely damage peopleâs lives. What role should art play? What can the artists
ã ããŸãããã«ããããã¯ãæŠæäžã®åã©ããããŒãã«äœå ãæžãããŠããåäœå®¶ã®ã¹ã¶ã³ãã»ã«ããŒã«ããèšäºã ãã
do in this context? From the international part of the association, this issue
ã®äžæ¡çãªçŸå®ã«ã€ããŠåã©ããã¡ã«èªãããšãã§ããã® ãã ããã€ãããã¯ãåã©ããã¡ã«åå Žã«è¶³ãéã¶ãã奚å±
includes: From Canada, an article by the playwright Suzanne Lebeau, who deals with the subject of the children of war and
ããå¿æž©ãŸããããžã§ã¯ããè¡ã£ãŠããå°å ç§å»ã®ã°ã«ãŒã ãšå ±åäœæ¥ãè¡ã£ãŠãããã°ãªããã¹ã»ã·ã¢ã¿ãŒã®æŒåºå®¶ã
writing : can we talk about this preposterous reality to other children? From Germany, an interview with the director of the
ç·šè ãŸããã
2
Note from the Editor
ã¹ããã¡ã³ã»ãã£ãã·ã£ãŒã»ãã§ã«ã¹ã®ã€ã³ã¿ãã¥ãŒãã¡
Grips Theatre, Stefan Fischer-Fels, who in collaboration with a
ãã·ã³ããã¯ãã«ããã»ãžã¡ã³ãºãã³ãã«ããšè¡ã£ãŠãã èžè¡æè²ãããžã§ã¯ããšã極ããŠæŽåçãªåœå¢ã®è¡ã§è¡ã£
group of pediatricians implemented an eloquent project to encourage children to go to the theater. An article from Mexico in
ãŠãããã³ã¹ã»ã¯ãŒã¯ã·ã§ããã§ã®äœéšã«ã€ããŠã®èšäºãã åã¢ããªã«ããã¯ãããã¯ã»ãã¬ã€ã³ã«ããã察ç«çãªç€Ÿ
which Lucina Jiménez talks about the art education project with Conarte and her experiences in dance workshops in the context
äŒã§çŽäºã«èŠãããããå°åã«ãããŠãæŒåãéããŠå解 ãšèš±å®¹ãä¿é²ããè©Šã¿ãè¡ãçµç¹ã âã°ããŒãã«ã»ã¢ãŒãã»
of an extremely violent border town. From South Africa, an article by Nick Boraine in which he describes the work of the Glo-
ã³ãŒãã¬ãŒã·ã§ã³âã®æŽ»åã«ã€ããŠã®èšäºãããã«ãŠã§ãŒ ãã㯠2011 幎 7 æã«ãŠãã€å³¶ã§èµ·ãã 70 人ãè¶ ããè¥è
bal Arts Corp, an association that, through the theater, promotes reconciliation and forgiveness in areas that have suffered con-
ã殺ãããäºä»¶ãåãæ±ã£ãã âããã©ãŒãã³ã¹ã»ãããžã§ ã¯ã 22/7âã«é¢ããèšäºããå ã¢ã·ããžçäºé·ã§åèªäŒå¡
flicts that have polarized society. From Norway, an article about the Performance Project 22/7, which deals with the murder of
ã§ãããŠã«ãã¬ã³ã°ã»ã·ã¥ãã€ããŒã«ãããæŒåãšç€ŸäŒã® çºå±ã«ã€ããŠã®èšäºããã¢ã¡ãªã«ããããã ã»ããŒã¿ãŒã»ã³
over 70 young people on the island of Utoya in July 2011. An interesting article by the former ASSITEJ president, now honor-
ãŽã¡ãã¯ã«ãããæŒåãªãã³ã«ãã³ã¹ã®é害è ãšã®é¢ãã ã«ã€ããŠã®èšäºãããããŠãã¢ã«ãŒã³ãã³ã®ãã£ãã£ãªã
ary member, Wolfgang Schneider, on the theater and social development. In addition, from the United States, an article by
ãªãã£ã³ã¹ã»ã«ã³ãããŒã®ç é¢ã«ãããæŒå掻åãåçãš ãšãã«çŽ¹ä»ããèšäºãæ²èŒããŸãã
Kim Peter Kovac on theater, dance and disability. An album of photos about theater in hospitals with a note from the Titiribióticos
æ¥æ¬ããã¯ããµãããããæ°ãéçŽããèšäºãšããµãã æ°ã«ããä»åã®äŒè°ã®åºèª¿è¬æŒãæ²èŒèŽããŸãã
company talking about their work in Argentina. On the part of Japan, our colleague Mr. Asaya Fujita has
ä»å·ã¯ããžã ããŒã»ãã§ã¹ãã£ãã«ã«åãããæ¥æ¬èªã»è± èªã®äºã«åœèªã§ç·šéããŸãããŠã§ããµã€ãã§ã®ããžã¿ã«ç
compiled the articles and written the corresponding editorial note. This edition is presented in English and Japanese within the
ãäœæãäºå®ããŠãããŸãã
framework of the Kijimuna Festival. We hope to be able to offer a digital version on our website very soon.
ãåç¥ã®éããã¢ã·ããžã¯äžçäžã§å ç«¥éå°å¹Žã®ããã® æŒåã®åªããèžè¡æ§ãè¿œæ±ããå°éçèžè¡å®¶ã®åäŒã§ãã
As we all know, ASSITEJ is an association of specialist art-
ãŸãèžè¡çãªè³ªãé«ããããã«å ç«¥éå°å¹ŽæŒååéã§å®è·µ 掻åããããããã§ãã·ã§ãã«ãªèžè¡å®¶ã®ããã®åäŒã§ã
ists who seek artistic excellence in Theater for Children and Young People around the world. It is an association that works for the
ãããŸãã âäžçäžã«ã¯ãæŒåãæè²ãçºéãè¡šçŸãçµ±åããããŠå
professional artists in this branch of the theater in order to raise the artistic quality of this practice.
調æ§ãä¿é²ãããããã®éå ·ãšããŠæŽ»çšããèžè¡å®¶ãä»å éã®äººã ãããŸãã圌ãã®ç©¶æ¥µã®ç®çã¯ãäœåãäœãããš
All over the world there are artists and other people who use theater as a tool to foster processes of education, development,
ãåå Žã§ã®äžæŒãç®æãããã©ããã£ãã¯ãªãããã¯çŸç ãªãã®ã®è¿œæ±ã§ã¯ãããŸããã圌ãã®ç®çã¯äººã ãçãã
expression, integration and teamwork. Their ultimate goal is not the creation of a play or a new dramatic or aesthetic proposal to
ããã®æ¬è³ªã®åäžã«ãããŸãããã®ãã¬ãžã³ã«æ²èŒããã å€ãã®èšäºã¯ãã®çš®ã®äœéšã«åºã¥ãããã®ã§ããæã ã¯ã
be presented in a theater. They have a different objective that is aimed at improving the quality of peopleâs lives. Many of the
ããã§ãã·ã§ãã«ãªèžè¡ã®å®è·µãšããããã£ãä»ã®æŒåç ã§ããã€ã€äººçãã®ãã®ã®çµéšãšããã¹ããã®ãšã®æ¶ãæ©
articles we have included in this magazine talk about experiences of this kind. We feel it is important to build a bridge be-
ãç¯ãããšãéèŠã ãšèããŸãããã®äº€æµãããçžäºã®è± ããã«ç¹ãããã®ãšä¿¡ããŠããŸãã
tween professional artistic practice and these other theatrical and life experiences. We believe that the result of this exchange
ã¢ã·ããžã®ä»äºã®å€ãã¯ãåç¥ã®éãããã©ã³ãã£ã¢ã« ãããã®ã§ããäžçäžããèšäºããããŠåçãæäŸããŠã
will lead to mutual enrichment. As you know, most of the work in ASSITEJ is voluntary and
ããäŒå¡ã®çãããç·šéã«æºãã£ãŠãã ãã£ãè«®åå§å¡äŒ ã«æè¬èŽããŸãã
therefore we are really grateful for the articles and photographs we have received from our members worldwide, and we also thank
ããªããµã»ãžã¡ãã¹ã»ã«ãã§
the Advisory Committee for accepting to take part in this editorial experience. Marisa Giménez Cacho
ç·šè ãŸããã
3
Note from the Editor
åºèª¿è¬æŒ ãåœè¬ïŒããã°ã¹ã€ïŒãšããŠã®æŒåã Keynote âTheater as Nuchigusui (Medicine for Life)â ãµããããã
by Asaya Fujita
ãŸãäžçååœãããéãŸããã ãã£ãåå è ã®çãããšãåœ
First of all, I sincerely welcome all of you coming from all
å åå°ããããã§ã«ãªã£ãåå è ã®çããã«ãå¿ããã®æè¿ã® over the world and from all over Japan. We have all gathered here to board one ship: a ship where èšèãç³ãäžããŸãã âç§ãã¡ã¯ãããã«ãäžã€ã®è¹ã«ä¹ãããã«éãŸããŸãããã âwe learn and think together about theater for children and youth ã®è¹ãšã¯ã ãå ç«¥éå°å¹ŽæŒåã®ä»ãç¥ãããšãã«èããããšãã today.â And the ship is moving forward toward the âfuture of è¹ã§ãããŸãããããŠãã®è¹ã¯ã ãåã©ããã¡ã®æªæ¥ãã«åã㣠children.â I hope we will have a safe and fruitful voyage for these ãŠããŸããããããã®ïŒæ¥éãå®å šã§å®ãã®å€ãèªæµ·ãã§ãã eight days. ããšããé¡ã£ãŠããŸãã âTheater is Nuchigusui (Medicine for Life)â is the subtitle â ãåå Žã¯åœè¬ïŒããã°ã¹ã€ïŒããšããã®ããä»åã®ã¢ã·ããžã»ã㌠for this ASSITEJ International meeting. ãã£ã³ã°ã®ãµãã¿ã€ãã«ã§ãããŸãã Nuchigusui is word from the dialect of Okinawa, the venue âããã°ã¹ã€ãšããã®ã¯ãä»åã®éå¬å°ã»æ²çžå°æ¹ã®æ¹èšã§ãåœ of this meeting, and written as medicine for life. In Japanese, ã®è¬ãšæžããŸãããæ¥æ¬èªã«ã¯åœãšããèšèã¯ãããè¬ãšãã there are words for life (Inochi) and medicine (Kusuri) but there èšèã¯ãããŸãããäºã€ãã€ããã€ããã°ã¹ãªãšããèšèã¯ã is no word âInochi-Gusuriâ that combines these two words. . So ããŸããããããŸã§ãããã¯æ²çžç¬ç¹ã®è¡šçŸã§ãã this is an original expression in Okinawa. âæ²çžã¯ãçŸåšã¯æ¥æ¬ã®äžéšã§ããããã€ãŠã¯ç¬ç«åœã ã£ãæ Okinawa is now a part of Japan, but there are periods of æããããã¢ã¡ãªã«ã®å é äžã«ããããŠããŠæ¬åãšäº€æµã§ã㪠time when it was an independent country and when it was occuãã£ãææããã£ãŠããã®ããã«æ¥æ¬ã®äžã§ã¯ç¬èªã®æååã pied by the United States and had no communication with the äœã£ãŠããŸããæ¥æ¬ã®äžæ¹èšãšãã以äžã«ç¬èªãªèšèãæã£ãŠ main land of Japan; therefore, it has its own unique independent ããã®ã¯ããã®ããã§ãã cultural sphere in Japan. And it has an original language rather âè¬ãšãã£ãŠãç é¢ãè¬å±ã§å£²ã£ãŠããããã§ã¯ãããŸããã than one of Japanese dialects because of all of these reasons. æ²çžæ¹èšã§ããããã°ã¹ã€ã¯ã ãæ¯èŠªã®ææ ãäžçªã®ããã°ã¹ Even though the word says medicine, hospitals and pharã€ããšããçããã®åªãããããã°ã¹ã€ã«ãªã£ãããšãããã macies do not sell it. Nuchigusui in the Okinawa dialect is a æãèãããŠããã£ãŠãããããã°ã¹ã€ã ã£ãããªã©ãšãã䜿 word used in expressions such as, âMotherâs love is the best ãæ¹ãããèšèã§ãã€ãŸãããã°ã¹ã€ãšããèšèã¯ã人éã®ç Nuchigusui,â âEverybodyâs kindness was Nuchigusui for me,â or ãæ¹ãç §ããåºãæ¯å©ã§ãããããã¯æ²çžç¬ç¹ã®ææ³ãšãã£ãŠ âThank you for a good song. It was a good Nuchigusui.â In short, ããããšæããŸãã the word Nuchigusui is a metaphor reflecting a way of human âåããããªãã¥ã¢ã³ã¹ã®æ²çžã®èšèã«ãåœã©å®ïŒããããŠã¿ living and, it can be said, as ideology that originated in Okinawa. ã«ã©ïŒ ããšããã®ããããŸãã ãåœããå®ç©ã ã ãåœãäžçªå€§åã ã ã There is another word in Okinawa that has a similar nuãåœã«åããã®ã¯ãªãããšããæå³ã§ãã§ãããããã°ã¹ã€ã¯ã ance, âNuchidoutakaka.â It means âLife is a treasure,â âLife is ãã®å®ç©ã§ããåœãæ¯ããæ é€ãšãé£ã¹ç©ãšãã£ãããšãè¡šã the most important, and âThere is nothing better than lifeâ; thereã®ã§ãããã fore, Nuchigusui probably implies nutrition or food that supports âããšããšæ¥æ¬èªã®ãåœãã®æå³ã¯ãåºèŸèã«ããã°ã ã çç© the treasure called life. ã®çããŠããåååãçåœåã 寿åœã äžçãç涯ã ã㣠Originally in Japanese, âInochi (Life)â means, according to ãšã倧åãªãã®ãåœã»ã©ã«å€§åã«æããã®ãçé«ã ããšãããŸãã Kojien, a Japanese dictionary, â A drive force for a creature to æ²çžã®ãããã°ã¹ã€ãã®ããããã¯ããã® ãš ã®æå³ã«è¿ã live. Life force. Duration of life. Lifetime. Oneâs whole life. ãšãããŸããããè¿ãã®ã§ãããå¿çšã®ç¯å²ã¯ããå°ãåºãã The most important thing. Something to be treasured as much ããªæ°ãããŸãã çããŠããããã«ãªããŠã¯ãªããªããã®ãšãã as life is. The essence. Nuchi of Nuchigusui in Okinawa has meanãããããããããçããŠããæ°ã«ãªãããã®ãšãããã®ãã ing close to and . It is close but the range of its application is ãªãã®ã泚ã蟌ãããã®æ é€ãè¬ãåå Žãšããã®ã¯ãŸãã«ãã probably a bit wider. It implies something necessary for living, ãããã®ã ãšããµãã¿ã€ãã«ã¯èªã£ãŠããã®ã§ãããŸãã something that encourages a person to live, and nutrition or âæ¥æ¬èªã§åå Žãšãããšã建ç©ã ããæãã®ã§ãããããã§ã medicine for to assist with the things stated above. These are ãåå Žã¯æŒåãã®ãã®ãèžè¡ãã®ãã®ããæãã®ã ãšããããš what the subtitle speaks of in relation to theater. ãããã®è©±ã®åæã«ããŠãããããšæããŸãã
åºèª¿è¬æŒãåœè¬ãšããŠã®æŒåã
When you say a theater in Japanese, it only indicates a build-
4
Keynote âTheater as Nuchigusui (Medicine for Life)
ing itself, but when I say theater here, it indicates drama itself and art itself. Let me specify this before I continue with my speech. On June 23rd of this year, I was in Okinawa. I happened to be in this town for a rehearsal of âKoza Monogatari (Story of Koza),â a play Iâve directed for this festival. June 23rd is âMemorial Dayâ in Okinawa. 67 years ago, this place was a battlefield. During World War II, of all of Japan, only Okinawa was a battlefield. It was a tragedy of the war that 200,000 citizens lost their lives here in Okinawa, one quarter of the population at that time. So the people in Okinawa decided that the day when the war in Okinawa ended would be âMemorial Dayâ when they would pray for all of those who lost their lives during this battle. On the day, we started our rehearsal, with the children, having a moment of silence for victims of the war in Okinawa. When I woke up in the morning on the day, the town was so quiet. Probably, everybody was spending the time of prayer silently. On TV you could see the war bereaved crying in front of the cenotaph built at the ruins of the battlefield. When I opened the newspaper, there were a lot of interviews of the war bereaved lamenting the unnatural deaths of the people and their friends. And all of them were speaking, using many words to tell as much as they needed to. . As I was reading these interviews, I thought, âAlas, here are so many âstoriesâ that need to be said.â ãã³ã¶ç©èªãã®èå°ãã
âMonogatariâ in Japanese is usually translated as a story and âMonogataruâ is as storytelling, but the Japanese word
Performance of "Story of Koza" in 2011
âMonogatariâ is a word that has a bit more complicated background. âMonoâ of âMonogatariâ is âMonoâ of âMonosugoi (frightful),â âMonosabishii (bleak),â and âMononoke (an evil spirit).â That is to say, our ancestors sensed an invisible existence or an untouchable existence behind the word, âmono,â and by being afraid of it,
ãµãããããâåäœå®¶ã»æŒåºå®¶ã㢠ã·ããžäžççäºã
they treated it as a guiding principle for living. They believed unless they consoled âmonoâ and comforted âmono,â âmonoâ would
A s a y a F u j i t a Playwright and Director / ASSITEJ International Executive Committee
not protect us. âMonoâ might be a dead ancestor. Or it can be âgodâ or âBuddha.â Buddhism was politically imported into Ja-
ä»å¹ŽãïŒæ 23 æ¥ãç§ã¯æ²çžã«ããŸããã ãã³ã¶ç©èªãã®çšœå€ pan while it originally had the polytheistic worldview, an extenã®ãããããŸããŸãã®çºã«ããã®ã§ããïŒæ23æ¥ã¯æ²çžã§ã¯ãæ ° sion of faith in ancestors; therefore, the word âmonoâ creates a éã®æ¥ãã§ãã67幎åãããã¯æŠå Žã§ããã第äºæ¬¡äžç倧æŠäžã wide range of images. This is why I felt a lot of âMonogatariâ in this sense were æ¥æ¬åœå ã§æŠå Žã ã£ãã®ã¯ãæ²çžã ãã§ããæ²çžæŠã§æ²æšãªã® ã¯æ°é人ã20äžäººãåœã倱ã£ãããšã§ããããã¯åœæã®æ²çžã® being spoken in Okinawa on June 23rd. Also, there were diverse formats; to tell about âmono.â To 人å£ã®ååã®äžã«åœããããã§ããããã§ãæ²çžæŠãçµãã£ã æ¥ãã ãæ °éã®æ¥ããšããŠããã®æŠãã§äº¡ããªã£ããã¹ãŠã®äººã tell a story, taking the place of âmono.â Or there must have been ã«ç¥ããæ§ããããšã«ããã®ã§ãããã®æ¥ã®çšœå€ã¯ãåã©ãã occasions where âMonoâ tells a story, as if a living person was ã¡ãšäžç·ã«æ²çžæŠã®ç ç²è ã«é»ç¥·ããããããšããããå§ãŸã speaking in the state of trance. From such an expanse of âmonogatari,â in Japan, the first ãŸããããã®æ¥ãæèµ·ãããšçºäžããããšããŠããŸãããã©ãª ãããã²ã£ãããšç¥ãã®æéãéã£ãŠããããã®ã§ããããã form of theater emerged a few hundred years ago. ã¬ãã«ã¯ãæŠå Žè·¡ã®èšå¿µç¢ã®åã§ãæ³£ããŠããéºæãæ ãåºã ããŠããŸãããæ°èãéããšãéæ¥ã®æ»ãéãã人ã ãæŒãéº
Theater in most countries is an act that is created in its particular time period and is eventually forgotten, but in Japan, æãã¡ãå人ãã¡ã®ã€ã³ã¿ãã¥ãŒããã£ã±ãæ²èŒãããŠããŸã ãããã®ã©ãªããããããã ãã¯äŒããããäŒããªããã°ãªã theater that has been created a long ago is still performed in ãªããšæã£ãŠãèšèãå°œãããŠèªã£ãŠããããŸããããããèª almost the same form. It is because those who were in power at ã¿ãªããç§ã¯ã ããããããã«ã¯ããããã®ãç©èªããçãŸã㊠times were afraid of the force that theater carried, banned the creation of new work, and forced the artists to perform the works ããããšæããŸããã
åºèª¿è¬æŒãåœè¬ãšããŠã®æŒåã
5
Keynote âTheater as Nuchigusui (Medicine for Life)
æ¥æ¬èªã§ãç©èªããšããã®ã¯ã¹ããŒãªãŒã ãç©èªãããšããã° that had been passed on from the past; therefore, in Japan, we ã¹ããŒãªãŒããªã³ã°ãšãããµãã«èš³ãããã®ã§ãããããæ¥æ¬ call a rehearsal for theater and music âKeiko.â The character of èªã®ãç©èªãã¯ããå°ãè€éãªèæ¯ã®ããèšèã§ãã â ãç©èªãã®ããã®ãã¯ã ããã®ãããã ããã®ãã³ãããã®ãã
âkeiâ of âKeikoâ means to think and the character of âkoâ means old or a matter thatâs been passed since the past. So âKeikoâ
ã®ãã§ããã ããã®ã®ããã®ããã®ãã§ãããŸããã€ãŸãæã ã® means âto think about a matter that has been passed since the å ç¥ã¯ããã®ããšããèšèã®åããåŽã«ãèŠããªãååšã觊ã past.â This is a word that symbolizes the history of the Japanese ãããšã®ã§ããªãååšãæãåãããã®èŠããªããã®ãçãã ããšã§ãçãæ¹ã®æéã«ããŠããŸããããã®ããã®ããæ °ãã ãã
theater that is not to create a new art but to take over the art passed from the past importantly. As a result of the time period
ã®ãã«ãããããããããããšãªãã«ã ããã®ããæã ãå®ã£ãŠ lasted for 200 years, the Japanese theater has become handed ãããããšã«ã¯ãªããªãããšæã£ãŠããã®ã§ãã ããã®ãã¯æ»è down from a parent to a child and from a child to a grandchild, ãããããªãããå ç¥ãããããŸããã ãç¥ããšãã£ãŠããä»ã and has achieved a rare sophisticated style, but has lost the power ãšãã£ãŠãããŸããŸãããæ¥æ¬ã¯ããšããšå ç¥ä¿¡ä»°ã®å»¶é·ã«å€ to theatricalize the time period at the same time. On the other ç¥æçãªäžç芳ãæã£ãŠãããšãããžãä»æãæ¿æ²»çã«æã¡èŸŒ hand, we are still able to see a contemporary play from 600 years ãŸããåœã§ãããã ããã®ããšããèšèãã€ã¡ãŒãžãããã®ã¯åº ago. ãã®ã§ãã What I mean by the cotemporary play from 600 years ago is âããããæå³ã§ã®ãç©èªãããïŒæ23 æ¥ã®æ²çžã§ã¯ãããã âNoh.â âNohâ is the first theater established in Japan. There are èªãããŠãããšæã£ãã®ã§ãã different types of âNoh, â but the most important type of all is âãã®å§¿ãå€æ§ã§ããã ããã®ãã«ã€ããŠèªãã ããã®ãã«ä»£ã£ âFukushiki Mugen Noh (duplex dream Noh).â If I were to reãŠèªããæã«ã¯ã ããã®ããçè ã®å£ãåããŠããã©ã³ã¹ç¶æ ã« ãªã£ãŠèªãããšããã£ãã§ãããã
phrase in a cotemporary way, it would mean âdouble-structured fantasy,â and this fantasy is excellently theatrical by having a
ãã®ãããªãç©èªãã®åºããã®äžãããæ¥æ¬ã§ã¯ãæ°çŸå¹Žå image of âworld of the deadâ beyond the double structure. æåã®æŒåãçãŸããŸããã A fixed pattern of âFukushiki Mugen Nohâ is as follows. A priest making a pilgrimage appears and tells his experience at âæŒåã¯ããã®æ代ã«åãããŠäœããããããŠå¿ããããŠãã place he has visited. ãã®ã§ãããæ¥æ¬ã§ã¯ã¯ããæã«äœãããæŒåããã»ãŒãã®ãŸ ãŸã®åœ¢ã§æŒããããŠããŸããããã¯ãæŒåã®æã£ãŠããåãç
âWhen I went to this place, I met a seemingly mysterious person.â
And as he speaks, the scene he speaks of is reproduced on ããæã®æš©åè ããæ°äœãäœãããšãçŠããæããäŒãããã äœåã ããæŒããããã«åŒ·å¶ããçµæã§ãã§ãããæ¥æ¬ã§ã¯ã stage. To a priest, who is suspicious of the person he has met, a æŒåãé³æ¥œã®ç·Žç¿ã®ããšãã ãçšœå€ããšãããŸãã ãçšœå€ãã®ãçšœã local man explains. He says, âThe person you met is a ghost of this Samurai, ã®åã¯èãããšããæå³ã ãå€ãã®åã¯å€ãããããã¯å€ããã äŒããããŠããããšãæå³ããŸããã€ãŸãã ãçšœå€ããšã¯ãæã who lost his life at the war in this area in the past.â âThatâs a pity. I shall pray for him.â The priest starts prayãäŒããããŠããããšããããããèããŠã¿ãããšããæå³ã§ ãããŸããããã¯ãæ°ããèžè¡ãäœãåºãã®ã§ã¯ãªããæãã ing and the seemingly mysterious person, the main character, äŒããããŠããèžè¡ã倧åã«åãç¶ããšãããæ¥æ¬æŒåã®æŽå² who had emerged earlier, appears in the form he had during life ã象城ããèšèã§ãããŸããããããæ代ã 200幎ã»ã©ç¶ãã çµæãæ¥æ¬ã®æŒåã¯èŠªããåãžãåããå«ãžãšäŒæ¿ããããã®
and says, âThank you for praying. Let me explain how I died.â
ã«ãªãããŸãã«ã¿ãæŽç·Žãããæ§åŒãç²åŸããŸããããåæã« Then, he tells a story of his death and dances as he sings. âPlease mourn over my death.â After he asks for a memorial åæ代ãååããåã倱ããŸãããããããã®çµæãç§ãã¡ã¯ service and disappears. 600 幎åã®çŸä»£åããä»ã§ãèŠãããšãã§ããã®ã§ãã â600 幎åã®çŸä»£åãšä»èšã£ãã®ã¯ãèœãã®ããšã§ãã ãèœã㯠While the priest left behind holds a memorial service from æ¥æ¬ã§äžçªåãã«æç«ããæŒåã§ãã ãèœãã«ã¯ããŸããŸãªã¿ã€ his heart, the drama ends. ãããããŸãããäžçªéèŠãªã¿ã€ãã¯ãè€åŒå€¢å¹»èœãã§ããä» The main character can be a woman or an old man. It is not ã®èšãæ¹ã§ãããšãäºéæ§é ã®ãã¡ã³ã¿ãžãŒããšãããšãã㧠ããããã®ãã¡ã³ã¿ãžãŒã¯ãäºéæ§é ã®åããåŽã«ãæ»è ã®äž
fixed but it is common that the character is a wandering ghost of a dead person. The fixed form of âFukushiki Mugen Nohâ is that
çããã€ã¡ãŒãžããããšã«ãã£ãŠãåªããŠåçãªãã®ã«ãªã£ãŠ ããŸãã
one actor plays a seemingly mysterious character in the first half of the play and the same character in the form he or she had
ãè€åŒå€¢å¹»èœãã®å®åã¯ããã§ããèå°ã«è«žåœè¡èã®å§ãçŸã ãŠãæ å ã§ã®äœéšãèªããŸãã
during life in the latter half. It is obvious, though, that âFukushiki Mugen Nohâ has de-
ãç§ãã©ããããžè¡ã£ããšãããã æ°ãããããªãã®ãšåºäŒã ãŸããã
parted from a ritual for the repose of soul. It is significant that these plays were created in the Warring
èªãã«ã€ããŠãã®å Žé¢ãèå°äžã§åçŸãããŸããçžæã«äžå¯© ãæ±ããå§ã«ãåå°ã®è ã説æããŸãã
States period, the time period when there were a number of civil wars constantly in Japan. For the people, who experienced the
ãããªãããäŒãã«ãªã£ãã®ã¯ãæãã®å°ã§è¡ãããæŠã§ãåœã time period when the person in power kept changing, there were èœãšããäœã®äœæãšããæŠå°ã®å¹œéã§ããããŸãããããšãã a series of wars, and death were everyday occurrences, to sur-
åºèª¿è¬æŒãåœè¬ãšããŠã®æŒåã
6
Keynote âTheater as Nuchigusui (Medicine for Life)
ã®ã§ãã â ãããã¯äžæ«ãªããšã ãç¥ã£ãŠãããããŸãããããšãå§ãç¥
vive, it was an essential condition to have a dead person be in peace. If the dead person were in an unstable condition, holding
ãã«ã€ããŠãå ã»ã©æ°ãããããªå§¿ãèŠããäž»äººå ¬ããä»åºŠã¯ çåã®å§¿ã§çŸããŠã
a grudge, it would have been difficult for those living to live in peace. So, Iâd assume they had needed theater as a ritual for the
ãããç¥ã£ãŠãããã å®ã¯èªåã¯ããããããããããã§åœã èœãšããã®ã ã
repose of the souls. âFukushiki Mugen Nohâ was the first âtheater as Nuchigusui,â as it was to pray for the peace of the dead.
ãšãæ»ã¬ã«è³ã£ããããã€ãèªãã謡ãã€ã€èã£ãŠã Because the first theater formed had such a quality, other â ãããšããããã«åŒãåãããšãååãé Œãã§æ¶ãå»ããŸãã theater forms like Kabuki and Ningyo Joruri (puppet theater) âæ®ã£ãå§ããå¿ã蟌ããŠååãããã¡ã«ããã©ãã¯çµãã㟠ãã
took over such quality. In short, theater in Japan was born from âMonogatariâ and today it passes down the quality of
äž»äººå ¬ã¯ã女æ§ã®å Žåããããè人ã®å Žåããããäžå®ã㟠ããããå®äœã§ããªãã®ã§ãããæ»è ã®å¹œéã§ããããšã¯å ±é
âMonogatari.â
ã§ãããã®æ»è ã®ãæ°ãããããªååã®å§¿ãšãåŸåã®æ¬äœãã ããããçåã®å§¿ãšããäžäººã®æŒè ãæŒããã®ããè€åŒå€¢å¹»èœ
âFukushiki Mugen Nohâ was born from war, and in the same way, the wars in the modern era were not unrelated to theater.
ã®å®åã§ãã â ãè€åŒå€¢å¹»èœã ãé®éã®ããã®å瀌ããåºçºããŠããããšã¯ã
When World War II ended with Japanâs defeat, the Japanese soldiers who had extended their battle lines all over Asia surren-
ãããã§ãã âãããã®äœåããæŠåœæ代ãšãããæ¥æ¬åœå ã«å æŠãçžæ¬¡ã
dered and were imprisoned in prison camps. And the biggest entertainment in the prison camps was theater. It was a very
ã æ代ã«çãŸããããšã¯éèŠã§ããæš©åã次ã ãšäº€ä»£ãããã ãã«æ¬¡ãæŠã§ãæ»ãæ¥åžžã§ãã£ãæ代ãçµéšãã人ã ãçãæ®
human activity important in regaining the humanity of those who had spent so many days near death and had left fellow sol-
ãããã«ã¯ãæ»è ã®å¹³å®ãå¿ é æ¡ä»¶ã§ãããæ»è ãã¡ãæšã¿ã æ±ãããŸãŸäžå®å®ãªç¶æ ã«ãã£ãã®ã§ã¯ãçãæ®ã£ãè ã¯å®äœ
diers to die under their very eyes. Iâm not certain how exactly to define their theatrical activity, because none of them had an ex-
ã§ããªãã£ãã®ã§ããããã ãããé®éå瀌ãšããŠã®æŒåãå¿ èŠãšããã®ã ãšæããŸãã ãè€åŒå€¢å¹»èœãã¯æ»è ãã¡ã®å¹³å®ãç¥
perience in theater, there were no costume and no props, and the men were the only players; however, it is certain that those
ããã®ã§ãã£ãããšã«ãã£ãŠãæåã®ãããã°ã¹ã€ãšããŠã®æŒ åãã§ãã£ãã®ã§ãã
demobilized became advocates for theater in the places where they returned by creating a farm village theater, a workplace
æåã«æç«ããæŒåãããã®ãããªæ§è³ªã®ãã®ã§ãã£ãããš ã«ãã£ãŠããã®åŸã«çãŸããæèäŒã人圢æµç çãªã©ã®æŒåã«
theater, a young menâs association theater, and so on, and they took roles to enrich the postwar society that had gone to ruin in
ãããã®ãããªæ§è³ªãåãç¶ãããŸãããã€ãŸãæ¥æ¬ã§ã¯æŒå ã¯ã ãç©èªãããçãŸãã ãç©èªããšããŠã®æ§è³ªããä»ã«è³ãã
terms of culture. Until then, the contemporary theater was mainly a small group of the intelligentsia in the large cities, but at this
äŒããŠããã®ã§ãã
point, it spread all over Japan all at once. Then, theater became âNuchigusui.â
ãè€åŒå€¢å¹»èœããæŠäºããçãŸããŸããããè¿ä»£ã®æŠäºãæŒå ãšç¡çžã§ã¯ãããŸããã§ããã第äºæ¬¡äžç倧æŠãæ¥æ¬ã®ææŠã§
In the same era, because it was the only battlefield in Ja-
çµãã£ãæã ã¢ãžã¢åå°ã®æŠç·ã«ã²ããã£ãŠããæ¥æ¬å µãã¡ã¯ã pan, this place, Okinawa, was under a tragic circumstance where éäŒããŠæèå容æã«å容ãããŸãããããã®æèå容æã§ã® people lost their homes, families, and jobs, and suffered from æ倧ã®æ¥œãã¿ãæŒåã§ãããæ»ãšé£ãåããã®æ¥ã ãéããæŠ åãèŠæ®ºãã«ããŠãã圌ãã«ãšã£ãŠãããã¯äººéããããåã
starvation. Those who had lost homes to go were gathered in camps and lived lives without hope for tomorrow. This is the
æ»ãããã®å¶ã¿ã ã£ãã®ã§ããããçµéšè ããããã衣裳ãå° éå ·ããªããŸãŸã«ãç·æ§ã ãã§è¡ããããã®æŒåããæŒåãšåŒ
kind of circumstance where people sing. Okinawa was such a small country that if the surrounding countries attacked it in
ã¹ããããªãã®ã§ãã£ããã©ããã¯ãããããŸãããããã®åŸ 埩å¡ãã圌ãããåž°åœããåå°ã§ã蟲ææŒåãè·å ŽæŒåãé幎
earnest, they wouldâve been easily able to destroy the country. But the reason this didnât happen was that Okinawa carried no
å£æŒåãªã©ãããŸããŸãªåœ¢ã®æŒåã®æ ãæã«ãªã£ãŠãæŠåŸã®è å»ãã瀟äŒãæåã®é¢ãã最ããŠãã圹å²ãè² ã£ãããšã¯ç¢ºã
arms and was located between China and Japan. To China, it pretended as if it was prostrating itself before that country say-
ã§ãã ãããŸã§çŸä»£æŒåã¯ã äž»ã«å€§éœäŒã®äžéšã€ã³ããªã²ã³ã㣠ã®ãã®ã ã£ãã®ããããã§äžæã«æ¥æ¬äžã«ã²ããããŸãããã
ing we were a part of Japan; and to Japan, it pretended as if it was prostrating itself before Japan, saying we were a part of
ãã§ãæŒåã¯ããã°ã¹ã€ã ã£ãã®ã§ãã
China. This is how Okinawa maneuvered its way out of the situation skillfully. But it was not easy for a country with no arms to
ãã®åãæ代ãããæ²çžã¯ãæ¥æ¬ã®äžã§å¯äžæŠå Žã ã£ããšã ãã§ãããã家ã倱ãã家æã倱ããä»äºã倱ãã飢ãã«èŠã
survive. Then, the people distracted themselves from suffering by singing. To sing, a musical instrument is essential. For people
ããšããæ²æšãªç¶æ ã«ãããŸããã è¡ããšããã倱ã£ã人ã ã¯ã in Okinawa, the most familiar instrument is âSanshin,â a threeå容æã«éããããææ¥ã®èŠããªãç掻ãéã£ãŠããŸãããã stringed instrument, but most of Sansins were lost in the war. ããããšãã«ã¯æããããŸãã æ²çžã¯ãããªå°ããªåœã§ãããã Then, people came up with an idea to make its substitute with åšãã®åœãæ¬æ°ã«ãªãã°ç°¡åã«èžã¿æœ°ããŠããŸãããšãã§ã㟠materials available. They had their eyes on a can of preserved
åºèª¿è¬æŒãåœè¬ãšããŠã®æŒåã
7
Keynote âTheater as Nuchigusui (Medicine for Life)
ããããããªããªãã£ãã®ã¯æ²çžãæŠåšãæãããäžåœãšæ¥æ¬ food supplied by the U.S. Military. They used the can for the ã®éã«ãã£ãŠãäžåœã«å¯ŸããŠã¯ãæ¥æ¬ã®äžéšã§ããæã ãä»ã Sansinâs body. ãããŠäžåœã«ã²ãäŒããŠãããšãããµãããã æ¥æ¬ã«å¯ŸããŠã¯ã äžåœã®äžéšã§ããæã ãæ¥æ¬ã«ã²ãäŒããŠãããšãããµãããã
In Japan, it was after World War II that theater for children
å·§ã¿ã«ããã¬ããŠããããã§ããã§ãæŠåšãæããªãåœãçã was practiced in earnest. There was a very small movement preæ®ã£ãŠããã®ã¯å®¹æãªããšã§ã¯ãããŸããã§ããã人ã ã¯ãã® viously to the time but most of the children had no relation to èŠãããæã§çŽããããŠããŸãããå容æã«å ¥ãããã人ã ã« theater. When the War ended with Japanâs defeat, there were ãšã£ãŠãä»ãå¿ èŠãªã®ã¯ãã®æã§ãããæã«ã¯æ¥œåšãå¿ èŠã§ãã theater practitioners and teachers who thought of showing theæ²çžã®äººã ã«ãšã£ãŠäžçªèº«è¿ãªæ¥œåšã¯ãäžç·ãã§ãããæŠäºã§ ater to at least give the blessing of culture to the children surãã®äžç·ã¯ã»ãšãã©å€±ãããŠããŸãããããã§äººã ãèããã® rounded by the devastation.. The collaborative work by theater ã¯ã äžç·ã«ä»£ãããã®ããããããã®ææã§äœãããšã§ããã 圌 practitioners and teachers that started in different places rapããç®ãã€ããã®ã¯ã¢ã¡ãªã«è»ããæ¯çµŠãããé£æã®çŒ¶è©°ã®çŒ¶ idly spread all over Japan together with smiles of children takã§ããã猶ãäžç·ã®èŽã«äœ¿ã£ãã®ãã ing the form of a theater class during school hours, and this has âèŠããå容ææ®ããã®äžã§ããã®ã«ã³ã«ã©äžç·ããããŠãã formed the mainstream of todayâs theater for children and young ã匟ããªããããã£ãæããããèããŠäººã ã¯ã©ããªã«ãçã people in Japan. Once again, this is so-called âNuchigusui.â ããå æ°ã¥ããããããšã§ãããŸããããããã¯ãŸãã«ããã° ã¹ã€ã§ããã
The time when theater maximized its ability as âNuchigusuiâ was at the time of the disaster. In March 11th, 2011, we had the
æ¥æ¬ã§ã¯ãåã©ãã®ããã®æŒåãæ¬æ Œçã«è¡ãããããã« Great East Japan Earthquake; massive earthquake, tsunami, ãªã£ãã®ã¯ç¬¬äºæ¬¡äžç倧æŠåŸã§ããããã以åããªãã£ããã and the accident of Fukushima No.1 nuclear power plant caused ã§ã¯ãããŸãããã现ã ãšããéåã§ã倧å€æ°ã®åã©ããã¡ã¯ by it. We had no idea what to do in the first place, having experiæŒåãšã¯ç¡çžã§ããã倧æŠãæ¥æ¬ã®ææŠã§çµãã£ãæãèå»ã enced the great disaster no one had experienced. Anybody would ãçŸå®ã«åãå·»ãããåã©ããã¡ã«ãããŠæåã®æœ€ããäžãã think it was not the time to perform theater at the affected areas ããšã æŒåãèŠããããšãèããæŒå人ãšæåž«ãã¡ãããŸããã where people were dead and missing , but meanwhile, even in åå°ã§å§ãŸã£ããã®æŒå人ãšæåž«ãã¡ã®ååäœæ¥ã¯ãææ¥æé the areas less affected, there were venues affected, transportaã䜿ã£ãæŒåæ宀ãšãã圢ã§ãåã©ããã¡ã®ç¬é¡ãšå ±ã«ãã¡ãŸ tion disconnected, and intended performances cancelled one afã¡å šåœçã«åºãããä»æ¥ã«ããããæ¥æ¬ã®å ç«¥éå°å¹ŽæŒåã®äž» ter another due to lack of electricity , and it was a financial fatal æµã«ãªã£ãŠããŸããããããŸãã«ããã°ã¹ã€ã§ãããŸãã blow for many theater companies. But we had the experience of the Great Hanshin Earthquake. âæŒåãããã°ã¹ã€ãšããŠã®åããã£ãšãçºæ®ããã®ã¯ãçœå®³ We remembered that time when many theater companies for ã®æã§ãããŸãã2011 幎ïŒæ 11 æ¥ã®æ±æ¥æ¬å€§éçœã巚倧å°é children held performances at shelters in the affected areas as ãšå€§æŽ¥æ³¢ããããŠãããåŒãéã§æ¹ãèµ·ããããçŠå³¶ç¬¬äžåçº well as at the temporary housing, which gave children the vitalã®äºæ ã誰ãçµéšããããšã®ãªã倧çœå®³ãçµéšããŠãç§ãã¡ã¯ ity to live. Of course, to do it, it was necessary to have a flexible ã¯ããã¯ã©ãããŠãããããããŸããã§ãããæ»è ãè¡æ¹äžæ performance style that can be performed by a few actors with no è ãåºãŠãã被害å°ã§æŒåã©ããã§ã¯ãªãã ãããšã¯ã誰ãã stage and no lighting. This was when the idea to use a gymnaèãããšããã§ããã被害ã®å°ããªå°åã§ããå ¬æŒãããäŒå Ž sium as a theater became useful. ã被害ãåãããã亀éãåæãããŠãããã芳客åå¡ã®ãã© Having recalled the memories, many theater companies and ãç«ããªããªã£ãŠãäºå®ãããŠããå ¬æŒã¯æ¬¡ã ãšäžæ¢ã«è¿œã蟌 theater practitioners started exploring what they could do for ãŸããå€ãã®åå£ãçµæžçãªçæãåããŸããã the affected areas of the Great East Japan Earthquake. Theater âã§ãç§ãã¡ã«ã¯éªç¥æ·¡è·¯å€§éçœã®çµéšããããŸããã ãã®æã companies that made it to the affected areas held performances å€ãã®å ç«¥åå£ã被çœå°ã®é¿é£æãä»®èšäœå® ã§å ¬æŒãæã¡ãå at the shelters. They proved theater was âNuchigusui.â Also, in ã©ããã¡ã«çããŠããåãäžããããšããç§ãã¡ã¯èšæ¶ããŠã order to make these performances possible, all who practice theãŸããããã¡ãããã®ããã«ã¯ãèå°ãããèå°ããªããšããç § ater for children were contacted and they held a fund-raising æããªããšããå°äººæ°ã§ãäžæŒã§ãããããªãèšæ©å¿å€ã®å ¬æŒ campaign as a group. Additionally, most of the theater compa圢æ ã®å·¥å€«ãå¿ èŠã§ããäœè²é€šãåå Žã«ããããŠããŠã圹㫠nies are doing fund-raising activities for the affected areas in ç«ã£ãã®ã¯ãã®æã§ãã every place in Japan where they had performances. On the other âãã®æã®èšæ¶ãèã£ãŠããŠãæ±æ¥æ¬å€§éçœã§ããå€ãã®åå£ã hand, there are theater practitioners who are making plays about å€ãã®æŒå人ãã çœå®³å°ã®ããã«ã§ããããšãæ¢ãå§ããŸããã the reality of the affected areas, collecting materials there. Perçœå®³å°ã«é§ãä»ããããšãã§ããåå£ã¯ãé¿é£æã§ã®æ °åå ¬æŒ haps, you can see some of them at this Kijimuna Festival. There ããããŸããã æŒåã¯ããã°ã¹ã€ã§ããããšã蚌æããã®ã§ãã should be some reports about activities of those who have pracãŸãå ç«¥æŒå人ã¿ããªã«åŒã³ãããŠæ °åå ¬æŒãå¯èœã«ãããã ticed theater for children after the disaster as well. ã®è³éã«ã³ããè¡ãããŸãããããã«ã»ãšãã©ã®åå£ãå šåœå I have also been working on a play portraying a nuclear å°ã®å ¬æŒå ã§ã çœå®³å°ã®ããã®åé掻åããããªã£ãŠããŸãã äž power plant after 3.11 even though it is hard to say it is theater æ¹ãçœå®³å°ã®çŸå®ãåæããŠäœååããããšããæŒå人ãã¡ã for children and young people. In fact, in 1981, I wrote a play
åºèª¿è¬æŒãåœè¬ãšããŠã®æŒåã
8
Keynote âTheater as Nuchigusui (Medicine for Life)
é幎åå Žãèšçå¹»æ³ 2011ãã®èå°ããæ®åœ±ïŒå®®å å Seinen Gekijo's "Illusion of Criticality 2011" in May, 2012 Photo Miyauchi Katsu
ããŸãããã®ããã€ãã¯ããã®ããžã ããŒã»ãã§ã¹ã§èŠãŠãã warning the Fukushima No.1 Nuclear Power Plant would have ã ãããšãã§ããã§ããããéçœåŸã®å ç«¥æŒå人ã®åãçµã¿ã« an accident. The play is titled âRinkai Genso (Illusion of Criticality),â and it was directed by Mr. Koreya Senda, our great senior ã€ããŠãããå ±åãçšæãããŠããã¯ãã§ãã âç§èªèº«ããããã¯å ç«¥éå°å¹ŽæŒåãšã¯ãããŸããããïŒã»11 practitioner of the contemporary theater, and performed by a 以éãåçºãæããäœåãšåãçµãã§ããŸããå®ã¯ãç§ã¯1981 theater company called, âSeinen Gekijo (Youth Theater).â A young man, who worked for a nuclear power plant, afire 幎ã«çŠå³¶ç¬¬äžåçºãäºæ ãèµ·ããã ãããšèŠåããæ¯æ²ãæžã ãŠããŸãã ãèšçå¹»æ³ããšããé¡ã®äœåã§ãçŸä»£æŒåã®å€§å 茩㻠with hope saying the era of utilization of nuclear power had come, åç°æ¯ä¹å çã®æŒåºã§ãäžæŒããã®ã¯é幎åå Žãšããåå£ã§ã passes away. A doctor says, âHe had a problem with his heart.â His mother, who once believed what the doctor said, hears that ãã âåååå¹³åå©çšã®æ代ããã£ãŠãããšåžæã«çããŠåçºã«å°± a number of nuclear power plant workers have been exposed to è·ããé幎ãã亡ããªããŸããå»è ã¯ãå¿èã«åé¡ããã£ãã® radiation and starts to search for a real cause of her sonâs death. ã ããšèª¬æããŸãããäžæŠã¯ãã®èšèãä¿¡ããæ¯èŠªã¯ãåçºåŽ She visits the hospital, visits to the company, hears from his exåè ã«è¢«æãå€ããšããããšãèããŠãæ¯åã®æ»å ãè¿œæ±ãå§ girlfriend, and calls on a worker who her son used to work with. ããŸããç é¢ã蚪ããäŒç€Ÿã蚪ãããã€ãŠã®æ人ã«ã話ãèãã As a result, what becomes evident is the carelessness of safety æ¯åãšããããã®ãã£ãäžè«ãåŽåè ã蚪ããŸãããã®çµææ management at the nuclear power plant, incompleteness of techããã«ãªã£ãŠããã®ã¯ãåçºå éšã®å®å šç®¡çã®ãããããå»æ£ nology for waste treatment,, and existence of those who are in ç©ã®åŠçæ³ãã確ç«ããŠããªãæè¡ã®æªå®æãããããŠææãš power to promote a nuclear power plant, controlling the local æŽåãã¡ãã€ãããªããå°å瀟äŒãæ¯é ããŠãããåçºãæšé² community by brandishing money and violence. By the time ãããå¢åã®ååšã§ãããã£ãšæ¯åã®æ»ã®åå ãäœæ¥æã®è¢«æ Mother finally realizes her sonâs death has been caused by expoã«ãã£ãããšãçªãæ¢ããæã«ã¯ãæŸå°èœæŒãäºæ ãèµ·ãã£ãŠ sure to radiation during his work, an accident of radioactive leakããŸããã©ã¹ãã·ãŒã³ã誰ãããªããªã£ãçºãèŠäžããäžã®äž age has occurred. In the last scene, Mother and the ex-girlfriend ã®æ¯åã®å¢ã®åã«ãæ¯èŠªãšæ人ã ããæ®ã£ãŠèªãåããŸãã ãæ remain in front of the sonâs tomb on the hill where they see their çïŒæ¯åã®ååã§ãïŒãã¿ãããã»ããåçºã£ãŠãã£ã±ãåçã¿ãŠ deserted town below their eyes, and Mother says, âAkio (her sonâs ããªããã ã£ãã§ããã®ã ïŒèš»ââåçºãšåçã®åºå¥ãããããªãæ¯ name), look. Nuclear power plant was like Atomic bomb like I 芪ã®ç¡ç¥ããæåã®ã·ãŒã³ã§æ¯åã¯ç¬ããã®ã«ããã®ã§ãããç¡ç¥ãªæ¯ 芪ã®çŽæã®æ¹ãæ£ããã£ããšã芳客ã«æãããå°è©ã§ãïŒ ãã¢ãã«ã¯ä»
said. (Note: in the first scene, her son makes fun of Mother, who does not know the difference between nuclear power plant and
åççºäºæ ãèµ·ãããçŠå³¶ç¬¬äžåçºã§ããã
atomic bomb, and this is a line that proves the ignorant Motherâs
åºèª¿è¬æŒãåœè¬ãšããŠã®æŒåã
9
Keynote âTheater as Nuchigusui (Medicine for Life)
åæŒã¯1981幎ã次ã®å¹Žã«ã¯å šåœã®åçºæåšå°ãåçºå»ºèšäºå® å°24ç®æã§äžæŒããã®ãã¡ïŒç®æã®äºå®å°ã§ã¯åçºå»ºèšããšã
instinct is right.) The model of the story was Fukushima No.1 Nuclear Power Plant, which had the explosion accident this time.
ãããŸããããã§ã«ããã€ãªäºæ ã®ïŒå¹Žåã§ãããããã30幎 åŸãäºæ ã¯èµ·ãã£ãŠããŸããŸããã
When the accident happened, there was a feeling of âregretâ that drove the theater company and me. The accident happened
äºæ ãèµ·ãã£ãæã«ãç§ãšåå£ãçªãåãããã®ã¯ã ãå£æã ãããšããææ ã§ãããããªã«äžçæžåœåçºã®å±éºæ§ã«ã€ããŠ
even though we had warned the danger of nuclear power plant as well as we could. Is it because our power was too weak or the
èŠåããã®ã«ã äºæ ãèµ·ããŠããŸã£ãã®ã¯ã ç§ãã¡ã®åã匱ã㣠ãããããåçºæšé²å¢åã匷ãã£ãããããã©ã¡ãã«ããŠããå£
power of nuclear power plant promoters was strong? Either way, we âregret.â I reread the script from the first performance and it
æãããã®ã§ããåæŒã®å°æ¬ãèªã¿çŽããŠã¿ãŸããããåºæ¬ç ã«çŽãå¿ èŠããªããšããããšããããã«ãå£æããããå¢å¹ ã
made me regret more to have found out basically there was no part that needed to be changed. It means the danger of nuclear
ãŸãããã€ãŸãåçºã®å±éºæ§ã¯30幎åãšå šãå€ãã£ãŠããªã㣠ãããã§ããããã§ç§ãã¡ã¯ããã®å£æãããã°ãã«ãèæ¬ã«
power plant had not changed at all in last 30 years. Then, having made this âregretâ as springboard, we decided to revise the
æãå ¥ããŠåæŒããããšã«ããŸãããæŒåºã®åç°å çã¯ããã 亡ããªãã«ãªã£ãŠããŸãããããä»åºŠã¯ç§èªèº«ãæŒåºãããã
script and to restage the play. Since, Mr. Senda, the director, had passed away, I was to direct this time.
ãšã«ãªããŸããã âç§ã¯ãåå£å¡ãã¡ãåãå·»ããŠèŠå®ãäžã§ã30 幎åã®ãèšç
I came up with an idea that âIllusion of Criticalityâ from 30 years ago would be staged while the theater companyâs mem-
å¹»æ³ããäžæŒããããšããæ§é ãèããŸãããåãå·»ãåå£å¡ ãã¡ãããã«åãå·»ãããã«ãã¹ã¯ãªãŒã³ã眮ããäºæ 以åŸã®
bers were watching in the surroundings. I set the screens surrounding the theater company members showing images of
çŠå³¶ã®æ åãæ ãããããã«ããŸãããäºæ ãèµ·ããŠããŸã£ã ãšããçŸå®ã«ãããŸããªãããæ§äœããã§ãã¯ããç«å Žã«ã圌
Fukushima after the accident. I wanted to locate them in the position to check the previous version, surrounded by the reality
ããããããã£ãã®ã§ããå ã®èæ¬ã«ãåçºãå·¡ãåœäŒã§ã®è« è°ããããŸããŸãªæ å ±ãã€ã³ãµãŒããããããšã§ãããã¥ã¡ã³
where the accident had occurred. The original script had a tinge of reality by inserting the actual discussion about nuclear power
ãã®ãããªè²åœ©ãæãããŠããŸããããä»åºŠã¯ããããèŠå®ã åå£å¡ãã¡ããåã®å 容ã«æ¹å€çã«ä»å ¥ããŠããããã«æŒããŸ
plants held at the Diet and various other information of the time, but this time, the theater companyâs members watching in the
ããããã®30幎éã«æ°ããåãã£ãæ å ±ãä»ãå ããŸãããå æŒã®äœå¹Žåã«ãããªããšããã£ããåæŒã®äœå¹ŽåŸã«ãããªäºæ
surroundings played the scenes, intervening the content of the play. I also added some new information found out in last 30
ããã£ãããšãããã¬ãŒã·ã§ã³ããã芳客ããã® 30 幎éã¯äœ ã ã£ãã®ããšèããŠããããããšæããŸãããåã®æåŸãæ¯èŠª
years. By having a narration, âthis had occurred some years before the first performance and there was an accident some years
ãšæ人ãæ¯åã®å¢ã®åã«ããã·ãŒã³ã«ãçªç¶çœãé²è·æã®ç·ã ã¡ãä¹±å ¥ããŠãèŠå®ãåå£å¡ãã¡ãã ãåçºäºæ ã§ããã¯ç«ã¡å ¥
after it,â I wanted the audience to think what these 30 years were all about. At the end of the play where Mother and her
ãçŠæ¢ã«ãªã£ãããšè¿œãæ£ãããŸãã芳客ã¯ããã§ãæšå¹ŽïŒæ 11 æ¥ä»¥éã®çŸå®ã«åŒãæ»ãããŸããç·ãã¡ããèšçå¹»æ³ãã®äž»
sonâs ex-girlfriend remain in front of his tomb, men in white protective suits suddenly rush in and drive away the theater
äººå ¬ãã¡ã«æ°ãä»ããªãããšã§ã芳客ã¯å®ã¯åœŒå¥³ãã¡ãæ»è 㧠ãããšç¥ãã®ã§ãã ããŸã éã£ãŠããã®ã§ãããããæŸå°èœããš
companyâs members witnessing. Here, the audience is brought back to reality. Because the men do not notice the main charac-
ãããªããé²è·æã®ç·ãã¡ãå»ã£ãŠããŸããšããããŠã客åžã® ãã¡ãã¡ã§æŸå°èœæž¬å®åšã®ã¢ã©ãŒã ã鳎ãåºããŸããæ»è ãã¡
ters, the audience will realize that they are in fact the dead. After the men in the protective suits leave saying, âIs it still rain-
ããã£ãšå®¢åžãèŠã€ãããšããã§ããã©ãã¯çµãããŸãã âæ»è ãã¡ã«ãã£ãŠçŸå®ãèŠæ®ãããããšãããè€åŒå€¢å¹»èœã®
ing, I mean, radioactivity?â, soon from every place of the theater, alarms from radiation detectors start ringing. And the drama
æã£ãŠããåãããç§ã¯ãã®æ¥µããŠä»æ¥çãªãã©ãã«çã蟌ã ã ã®ã§ãã
ends while the dead are staring at the audience. I have put the function that âFukushiki Mugen Noh (duplex
ç§ã¯ã ãèšçå¹»æ³ïŒïŒïŒïŒããšåä»ãããããã®äžæŒã¯ãç€ŸäŒ ã«å¯Ÿããããã°ã¹ã€ã«ãªãã¯ãã ãšæã£ãŠããŸãã
dream Noh)â carries, which the dead look steadily at reality, into this very up-to-date drama.
ã§ã¯ãæŒåã¯ã©ãããŠããã°ã¹ã€ã«ãªãã®ã§ãããã芳客ã§
I believe this production named âIllusion of Criticality 2011â will be âNuchigusuiâ for society.
ããåã©ããã¡ã¯ãèå°ã®äžã«äœãèŠãŠããã®ã§ããããã¯ã ãã¯ç©èªã®ç»å Žäººç©ãå€åŽããã¿ãŠããã ãã§ããããããã
Now, how does theater become âNuchigusuiâ?
ãããŠåœŒãã¯èå°äžã®äººç©ãã¡ãšãèšèã«ãªããªãäŒè©±ãã¯ã ããŸãã
What do children as audience see on stage? Perhaps, in the beginning, they are just watching the characters of the story
ãããã°ããã®ã«ããšãã â ããã¶ãªãããããããšãã
from the outside. But soon, they start having a non-verbal conversation with the characters on stage:
ãããããããããšãã â ãç§ã ã£ããããã¯ããªãã®ã«ããšããããŸããŸãªå¯Ÿè©±ãé£ã³
âYou shouldnât do that.â âWatch out. Stop it.â
亀ããŸãã ã€ãŸãèªåãç©å·®ãã«ããªããã ç»å Žäººç©ã®èº«ã«ãªã£ ãŠããããã§ãåœäºè ã§ããªãã®ã«åœäºè ã«ãªã£ãæ°ã«ãªã£ãŠ
âI know what you mean.â âI wouldnât do it if I were you.â
åºèª¿è¬æŒãåœè¬ãšããŠã®æŒåã
10
Keynote âTheater as Nuchigusui (Medicine for Life)
ããŸããããã¯ç»å Žäººç©ã®äžã«èªåãèŠåºããããã§ãã€ãŸã There are a number of conversations flying past each other. åäžã®äººç©ãé¡ã«ããªããèªåãèŠãŠããããã§ããé¡ã¯ãã It means they put themselves in the characterâs place and feel as ãŠèå°äžã®äººéé¢ä¿ãã¹ãŠã«åã³ãŸãã â ããã®äººãããèšã£ããããã®äººãæã£ããã ãªããšãã
if they are the persons concerned even though they are not. It is because they find themselves in the characters, which means,
ããããªããšããããã圌ãæ²ããã£ãŠããããªããããªã©ãš they see themselves mirrored in the characters. And these miræããªããã人éé¢ä¿ãšãããã®ãã©ã®ããã«åºæ¥äžãã£ãŠã rors eventually reflect all the human relationships on stage: ããèªèããã®ã§ãã芳çµããé ã«ã¯ã圌ã¯ããã®ç¶æ³ã®äžã§ ã©ããµããŸãã¹ãããã©ãããã°ããã¹ã人éé¢ä¿ãäœãäžã
âThis person got angry because that man said that.â âHe is feeling sad because youâve said such a thing.â
ãããšãã§ããããå€æãã§ãããŸã§ã«æé·ããŠããŸãã By saying things like these, they acknowledge the essence âã€ãŸãããã°ã¹ã€ã¯ãå€ããå¡ã£ãã泚å°ãããæçšããã of a relationship. By the time they finish watching a play, they ããã®ã§ã¯ãªããæŒåãèŠãããšã«ãã£ãŠãã®èŠ³å®¢ã®å åŽã«ç grow up having learned how they should behave in a certain ãŸããã®ã§ãã ãããå¯èœã«ããŠããã®ãæŒåã®åœäºè æ§ã§ãã situation and how they can build relationships in the way that ãç§ã ã£ããã©ãããã ããïŒããšããæãããèªåãèŠã€ãã should be. èªåãè²ãŠãã®ã§ãã To sum up, âNuchigusuiâ is not something that you apply on âããŠãç§ãã¡ã®å°çã¯ã
the skin, get a shot of, or take. It comes from inside the audience by watching a play. To make this possible is the way theater can
åã©ããã¡ã«ãšã£ãŠã©ããªã£ãŠããã®ã§ãããïŒ âããªãã®åœã§ã¯ã
position an audience member. âWhat if I were he or she.â This thought makes you face yourself and brings you up.
åã©ããã¡ã®äººæš©ã¯å®ãããŠããã§ããããïŒ âããªãã®åœã§ã¯ã
Now, How is our earth for children?
åã©ãã¯æŽåã«æãããŠããªãã§ããããïŒ âããªãã®åœã§ã¯ã
Are human right of children protected in your country? Are children protected from violence in your country?
åã©ãã«æè²ãåããæš©å©ãä¿éãããŠããã§ããããïŒ âããªãã®åœã§ã¯ã
Is the right for children to receive their education guaranteed in your country?
åã©ãã¯é£¢ãã«èŠããã§ããªãã§ããããïŒ âããªãã®åœã§ã¯ãåã©ããã¡ã®ããã«
Are children protected from suffering from starvation in your country?
å¹³åãªç€ŸäŒãçšæããŠãããŠããã§ããããïŒ âç§ã®åœã§ã¯ãæ±æ¥æ¬å€§éçœã®çµæèµ·ããåååçºé»æã®æŸå°
Is a peaceful society for children provided in your county? In my country, many children mainly from Fukushima can-
èœæŒãäºæ ã§ãçŠå³¶ãäžå¿ã«ãå€æ°ã®åã©ããã¡ãæ é·ã«äœã not live at their homes and live refugee life in various places ããšãã§ãããåå°ã§é¿é£ç掻ãéã£ãŠããŸããããæ²çžã«ã because of the radioactive leakage accident of nuclear power plant å€æ°ã®åã©ããã¡ãé¿é£ããŠããŠããŸãã âç§ãã¡ã®é£ãã«ã¯ã
caused by the Great East Japan Earthquake. Even here in Okinawa, there are many children who have been evacuated
飢ãæ»ã«ãããå€æ°ã®åã©ããã¡ãããŸãã âç§ãã¡ã®é£ãã«ã¯ã
from there. Next to us, there are many children dying of starvation.
ç æ°ã«èŠããã§ããåã©ããã¡ãããŸãã âç§ãã¡ã®é£ãã«ã¯ã
Next to us, there are children who suffer from disease. Next to us, there are children for whom an opportunity for
æè²ãåããæ©äŒããäžããããªãåã©ããã¡ãããŸãã education is not even given. âç§ãã¡ã®é£ãã«ã¯ã Next to us, there are children who have to work at a tender 貧å°ã®ãã幌ãããŠåããããåŸãªãåã©ããã¡ãããŸãã age because of poverty. âä»ãã 79 幎åã«ããã37 æ³ã§äº¡ããªã£ã詩人ã§ç«¥è©±äœå®¶ã§ 79 years ago, Kenji Miyazawa, a poet, a writer of stories for chilåäœå®¶ã§ããã£ã宮柀賢治ã¯ã ã蟲æ°èžè¡æŠè«ç¶±èŠããšããã㌠dren, and a playwright, who passed away when he was only 37, ãã®äžã«ã left words in his notebook named âNomin Geijutsu Gairon ãäžçããããã幞çŠã«ãªããªããã¡ã¯ å人ã®å¹žçŠã¯ããåŸãªãã
Mouyou (The Summary for General Theory of Farmersâ Arts)â: âUnless the whole world is happy,
ãšããèšèãæ®ããŠããŸãã there will never be happiness of individuals.â âç§ã¯ããéãŸãã®çããã«ããã®èšèãèŽã£ãŠããã®è¬æŒã I would like to say these words to all of you and finish my speech: çµããããããšæããŸãã ãäžçããããã幞çŠã«ãªããªããã¡ã¯
âUnless the whole world is happy, there will never be happiness of individuals.â
å人ã®å¹žçŠã¯ããåŸãªãã âãã®èšèããããŸãã«ããã°ã¹ã€ã®ææ³ã ããã§ãã
I believe these are the words of the ideology of âNuchigusui.â
åå Žã¯ããã°ã¹ã€ãïŒâã©ãããã°ããã°ã¹ã€ã«ãªãã®ãïŒ Is theater Nuchigusui? How can it be Nuchigusui? I would âããããã®ïŒæ¥éããã®ããšã確ããããã®ããšãèããã like to make sure if it is so and to think about it in these 8 days. ãšæããŸãã Translated by Kenjiro Otani
åºèª¿è¬æŒãåœè¬ãšããŠã®æŒåã
11
Keynote âTheater as Nuchigusui (Medicine for Life)
倧å°éãåçºäºæ ã§è¢«çœããåã©ããã¡ãž èå°èžè¡ããšãããŠæ¯æŽããŠããããšã®å ±å For Children Who Have Suffered from the Great East Japan Earthquake and Nuclear Accident: A Report of Disaster Relief Operation by Performing Arts é·è°· è©å€«
by Tsuguo Hase âããåœã¯å°éã®å€ãåœã§ã æ¯æ¥ã©ããã§å°é¢ãæºããŠ
It is accepted that Japan is an earthquake prone
ããŸãã country, experiencing tremors on a daily basis and the âã ããæºãã®å°ããªå°éã«ã¯ã 人ã ã¯é©ããããæ¥åžž population is used to minor earthquakes. We may posãéãããŠããŸãã ä»ã®åœããå°é察çã¯ãããŠãããš sess one of the best systems against earthquakes in the æããŸããã ã§ãããã¯å°ããªå°éãžã®å°ããªå¯Ÿçã§ã world, however, this time it was insufficient for a disasããªãã£ãã®ã§ãã
é·è°·è©å€«ïŒ»ã¯ãã»ã€ãã âæ± æ¥æ¬å€§éçœåã©ãèå°èžè¡æ¯ æŽå¯Ÿç宀 宀é·ãåçã¯2012幎 3 æãæ±äº¬ã»å šåŽæžããŒã«ã¹ ããŒã¹ã»ãŒãã§ã®ãã£ãªãã£ãŒ å ¬æŒã§ã®ããŒã¯ã·ã§ãŒã§ã T s u g u o H a s e The head of the âGreat East Japan Earthquake Aid Management officeâ,âPerforming Art Creating Company for Children Associationâ
ter on this scale.
ïŒïŒïŒïŒå¹ŽïŒæïŒïŒæ¥ïŒ 11th of March, 2011: âã€ãã«å€§ããªå°éãã 倧ããªæŽ¥æ³¢ãšãšãã«æ±æ¥æ¬ã®é One of the most powerful known earthquakes ever åã襲ã£ãŠããã®ã§ãã struck Japan, triggering a powerful tsunami, sending âæ¥æ¬ã¯å°å³ã§ããããããã«å€§ã»äžã»å°ã®å³¶ã ã§ã§ã waves over the Pacific coast of East Japan. As you can ãŠããæµ·ã®åœã§ããæ±æ¥æ¬ã»åé¢æ±å°æ¹ã®å€ªå¹³æŽæ²¿å²žã§ see from a map, Japan is a country of many small isæ®ãã人ã ã¯ãå°é¢ã®å€§ããªæºããšå ±ã«æ倧 40m ãè¶ lands, consequently many towns and their inhabitants ãã倧ããªæŽ¥æ³¢ã«ãŸãããšé£²ã¿èŸŒãŸããŠããŸã£ãè¡ãã were washed away by the tsunami waves, sometimes ããŸããã倧å°éãšå€§æŽ¥æ³¢ã§56ã®åžçºæã®37äžäžåž¯ã® reaching heights of up to 40.5 metres. If we include those 家ãå£ããæ»è ã»è¡æ¹äžæè ãšåãããŠïŒäžäººè¿ã人ã listed as missing, the death toll was in the region of 20000 ãç ç²ã«ãªããŸããã souls. Almost 37000 houses in 56 cities, towns and vilâãããŠäžå¹ŽãéããŸããã lages were totally destroyed. âå£ããè¡ã枯ãåŠæ ¡ãã¯çŠç€«ã«ãªã£ãŠãŸã ãã®è¡ã«æ® One year has passed since then. ããã接波ã§æµãããè¡ã¯ãã®ãŸãŸå¹³å°ã«ãªãã埩æ§åŸ© There is still no sign of major reconstruction; heaps èã®å ããèŠããªããŸãŸã®ç¶æ ã«ãªã£ãŠããŸãã of rubble are strewn around towns and ports. Towns and villages that were swept away by the tsunami look like vacant plots.
ããäžã€ã®å€§ããªæ²åãåæã«çºçããŸããã âçŠå³¶ã®åååçºé»æãççºãã æŸå°èœã倧æ°äžã«ãŸã
Moreover, the tsunami caused a number of nuclear
倧éçœçŽåŸãããå€ãã®å ç«¥é å°å¹ŽæŒåé¢ä¿è ãçŸå°ã«é§ã〠ããã倪éŒãšèå± ã®ããŸã£å座 ã¯ã被çœå°ã®é¿é£æã§ã倪éŒã® æŒå¥ãšåã©ããã¡ãžã®ã¯ãŒã¯ ã·ã§ãããè¡ã£ãã ïŒå®®åçç³ å·»åžã»2011 幎 4 æïŒ Taiko Drum workshop with children by Tamakko-za in Miyagi
倧å°éãåçºäºæ ã§è¢«çœããåã©ããã¡ãž
12
For Children who have Suffered from the Great East Japan Earthquake and Nuclear Accident
被çœå°ã®ä¿è²åã§ã®ã¹ã¿ãžãªãšãã° ã¹ã«ãããã©ã³ãã£ã¢å ¬æŒã ïŒå®®åçäºççºã»2011 幎 10 æïŒ Performance by Studio Eggs at preschool in Miyagi
æ£ã£ãŠããã®ã§ããçŠå³¶å°åã ãã§ã¯ãªããæ±åããé¢ accidents. The reactors in the Fukushima Daiichi Nuclear Power Plant complex suffered from explosions, contamiæ±å°åãŸã§æ±æãåºãã£ãŠããŠããã®ã§ãã âæ é·ãè¿œããã家æãåããåããã«ãªããçç£ç掻 nating the atmosphere not only in Fukushima but also åã¯å®å šã«ã¹ãããããå šæé¿é£ãäœåãªãããã家ç Tohoku, toward Kanto region. Many people had to evacuã¯éã«æŸãããè¡ã¯å»å¢ãšåããŠããã®ã§ãããããŠãŸ ate their homes and were separated from their families. ãççºãããããããªãåçºããŸã ããã«ããã®ã§ãã Their livelihoods were destroyed as farm animals were exposed out in fields; their home towns were ruined. â倧éçœããïŒãæåŸã å ç«¥æŒåã«æºããæŒå人ãšåå£ Needless to say, there is always the possibility that the ã¯ãã¡æ©ããæ¯æŽå¯Ÿç宀ã ãèšçœ®ãã掻åãã¯ãããŸããã nuclear plant may explode again. A month after the disaster, the Great East Japan å šåœãã 145 ã®åå£ïŒèžè¡å£äœïŒãçµç¹ãããŸããã ãåç¥ã®ããã«ã ç§ãã¡å ç«¥æŒåã®åå£ã¯åœãçãè²¡å£ Earthquake Aid Management office was created by theãããå ¬æŒæŽ»åã®äžéšã«å©æéãåºãåå£ã¯ãããŸã atre companies and actors for children. 145 theatre comãã ã»ãšãã©ã®åå£ã¯èªåã§åå£ãçµå¶ããŠãããã©ã€ panies (art organizations) joined forces from all over JaããŒããªåå£ã§ã ãã®æ¥ãã®æ¥ãå°ãªãå ¬æŒåå ¥ã§åå£ pan. As you may know, although as theatre companies ã®æŽ»åãšåå£å¡ã®ç掻ãç¶æããŠããã®ãçŸç¶ã§ãã receive subsidies and funding from national and/or local 被çœããåã©ããã¡ã«èå°ã芳ãŠããããããšãã£ãŠ governments and foundations, we have to manage our ãããŸãçµè²»ãããããŸãã被çœå°ã¯æ±äº¬ãã 300km companies mainly through performing income. We do ⌠800km ãé¢ããŠããã®ã§ãã wish to perform for the children in the disaster stricken area; however, the area is some 300-800Kms. from ToâãŸãã¯ããã«ç§ãã¡ã¯æŽ»åè³éãã€ããããã«å šåœå kyo so it will cost a lot of money. With this aim in mind we have organized 32 charity å°ã§ãã£ãªãã£ãŒå ¬æŒãã¯ããã32 åã®ãã£ãªãã£ãŒ å ¬æŒã« 92 ã®åå£ãåºæŒããŸãããè³éãã§ãããè¢«çœ concerts all over Japan with 92 theatre companies atå°ã®åã©ããã¡ã«èå°ãå±ãããšããããšãããè¿ã㪠tending; there were 90 volunteer performances at 61 ãããã®äžå¹Žéã61ã¶æ90ã¹ããŒãžã®ãã©ã³ãã£ã¢å ¬ venues. 52 theatre companies even performed in the disaster stricken area. æŒãå®æœããŸããã We say âchildren in the disaster stricken areaâ but ãããŠ52ã®åå£ã被çœå°ã«åºããå ¬æŒãããŠããŸããã this is a generality because they are suffering differently. â被çœå°ã®åã©ããšãã£ãŠãã 被çœããç¶æ³ã«ãã£ãŠå š For instance, we cannot compare the mental state of chilãéãã®ã§ã ã²ãšã€ã®ã³ããã§èšãè¡šãããšã¯ãšãŠã㧠dren who suffered from the nuclear accidents with those who didnât. So far we have only been able to offer limited ããŸããã âåçºäºæ ã§è¢«çœããçŠå³¶ã®åã©ããã¡ã®é¡ããå¿ã® assistance to those who suffered from nuclear accidents. ç¶æ ã¯ãä»ã®åã©ããã¡ãšäžç·ã«ããããšã¯ã§ããªã As a matter of fact, people in the disaster stricken area
倧å°éãåçºäºæ ã§è¢«çœããåã©ããã¡ãž
13
For Children who have Suffered from the Great East Japan Earthquake and Nuclear Accident
ã®ã§ãã âä»ãç§ãã¡ã®æ¯æŽã®æã¯ãåçºã®åã©ããã¡ã«ãã»ã ã®ãããã ãããå±ããŠããŸããã âåœç¶ã ãã©è¢«çœå°ã¯æ»è ãšè¡æ¹äžæè ã®ããšã§æã«ã€ ããã ã©ã€ãã©ã€ã³ã®ç¢ºä¿ã§ããããã®ç¶æ ãŸã§è¿œãè©° ãããã人ã ãªã®ã§ãã ç§ãã¡ã®æ¯æŽãåãå ¥ããå¿ã® äœè£ãªã©ãªãããšã¯æ³åã§ããã§ãããã
被çœå°ã§ã®ãã©ã³ãã£ã¢å ¬æŒãåçå·ŠäžïŒããã»ããããã·ã¢ã¿ãŒ ã²ãšã¿ïŒå®®åçå±±å çºã®å¹Œçšå/2012幎ïŒæïŒ ãå³äžïŒæåïŒãã ãã«èåïŒ ïŒå²©æç倧æ§çºã®ä¿è²å /2012 幎 4 æïŒ äžã¯ãæ±æ¥æ¬å€§éçœåŸ©èæ¯æŽãã£ãªãã£ãŒå ¬æŒâå±ãããïŒåã© ããã¡ã«ç¬é¡ãšå æ°ãïŒâŒ Play For Childrenâ ã3ã»11 ãã®æ¥ãã âåã©ãã®ããããšæªæ¥âãã®èå°ããã ïŒæ±äº¬ã»å šåŽæžããŒã«ã¹ ããŒã¹ã»ãŒã /2012 幎 3 æïŒ Performances at the affected areas. Top Left: Deaf Puppet Theater Hitomi, Top Right: Utako (Yoko Aratani) Bottom: Charity performance in Tokyo "Play For Children"
ãŸãã¯ããã«ç§ãã¡ã¯ã被çœå°ã«è¡ãã家æã亡ããã åéã亡ããã家ããªããã接波ã§å£ããè¡ã§é¿é£ã㊠are still struggling to get a life-line. They cannot stop ããåŠæ ¡ãéäŒæã«ããåã©ããã¡ãšåºäŒããŸããã being concerned about their lost and/or missing beloved âåã©ããã¡ã«è©±ãããã ã²ãŒã ããããæã£ãŠãã£ã ones. It is hardly surprising that they have no time to ããã¡ãã§éãã§ã¿ããã å°ããªäººåœ¢ã§å£°ããããŠã¿ã accept our offer of help. ããæã«ã¯ç°¡åãªææãçšæããŠçŽäººåœ¢ãåã人圢ã Firstly, we went to the disaster stricken area and äœã£ãŠã¿ãããå°ããªå°ããªã³ã³ãµãŒããããããå ç«¥ met children evacuated to local schools and centres. They 通ãä¿è²åã§ã¯å°äººæ°ã§æŒããå°ããªèå± ããããã㪠had lost their homes, families and friends. We talked to ãããã§ããã ãå€ãã®äŒå Žã蚪ããŠè¡ããŸããã
them, played some games and distributed toys. We let our puppets talk to them and made paper dolls and pup-
ïŒã¶æããããéããŠã 被çœå°ã®å ç«¥ã»ã³ã¿ãŒãä¿è² pets together. We visited as many venues as possible, åãæåå£äœãªã©ãåã©ãã®å¿ã®ã±ã¢ã«æ°ã¥ãã¯ããã performing small concerts and performing puppet shows ç§ãã¡ã«å£°ãããå§ããŠããŸããã at nurseries. âå°ããã€å ¬æŒã®å Žæãã§ããŠããŠã å°ããªèå°ããå° After 6 months, people in the disaster stricken area ããã€èå°ã®ã¹ã±ãŒã«ã倧ãããªã£ãŠç»å Žäººç©ãå€ã began to take notice of our caring activities and staff at ãªã£ãŠã ãã©ãã芳ãŠå°ããã€æ¥œãããªã£ãŠããèå°ã children centres, nurseries and culture organizations çšæããããã«ãªããŸããã started to contact us directly. Gradually increasing the number of performance venues along with the scale of âããã²ãšã€ç§ãã¡ã®ä»äºã§éèŠãªããšã¯ã 被çœå°ã§ç§ the performances. Children were able to enjoy themselves ãã¡ãåãå ¥ããŠããã人ãå£äœãšå¯æ¥ã«äº€æµããããš once again when they came to one of our shows. ã§ããæ¯æŽããããšãã£ãŠäžæ¹çã«æŒãä»ããããšã¯ã Another aspect of our work is to establish network-
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For Children who have Suffered from the Great East Japan Earthquake and Nuclear Accident
決ããŠæ¯æŽããããšã«ã¯ãªããŸããã åå£ãšåãå ¥ããåŽãšã®å ±éç解ããšãŠãéèŠã§ãã
ing with people and organizations working in the disaster stricken area. However, we understand that we must
be careful not to make our work as misplaced kindness. âçŸåšã 被çœå°ã®èªæ²»äœãåã©ãã®æåæ¯æŽã«åãå§ã We regard the mutual understanding between the vicãŸããã tims and theatre companies as essential. âçŠå³¶ã®åã©ããã¡ããåçºã«è² ããããªã!ããšãã³ã¹ Now, local authorities in the disaster stricken area ãã¿ããªã§åµããçºè¡šãã¯ãããé«æ ¡çã®æŒåéšã®æŽ»å have started cultural relief activities for children. Chilããã°ãããèå°ãåµã£ãŠããŸãã dren in Fukushima have by themselves created and perâç§ãã¡ã®æ¯æŽã¯ãé·ãæéããããŠãã£ãããšããã formed a dance because they want to show their deterãç¶ç¶ããŠåã©ããã¡ã«äœåºŠãäœåºŠãã¹ããŒãžã芳ãŠæ¬² mination to overcome the disaster. High school students ããã®ã§ãã who belong to performing clubs also are creating wonâèå°ããèªãããã è¡šçŸããã人éã®çŽ æŽããããå€ derful performances. æ§æ§ããšãããŠã åã©ããã¡ã¯ãã£ãšçããŠããåãå Our relief activities will take time; we wish children ã«é²ãéçšãèŠã€ããŠãããã§ãããã to see our performance continuously, again and again. When we talk to children through stage, expressing huâéçœãããããå¿ã®è¡æãäžå®ã ç¡æ°åæã¯æéãã manity and love, they will find the energy and the way ã€ã«ã€ããŠæ°ããªã¹ãã¬ã¹ãçã¿ã 人éé¢ä¿ãè€éã«ãª to keep living and to keep going. ãããã©ãã«ãèµ·ããã¡ã«ãªããæªæ¥ã«åããããšãå° It is said that it will be difficult for victims to face é£ã«ãªããšèšãããŠããŸãã the future because of the psychological trauma and stress âç§ãã¡ã¯éå»ã®éçœã®æã®ãã©ã³ãã£ã¢å ¬æŒã®çµéšã caused by the past, let alone the purely physical trauma ãã被çœããåã©ãã®ãããã®ã±ã¢ã«èžèœã»æåã»èžè¡ and stress. In the past, we have performed in response ã®åããšãããå¿ èŠã§ããããšãç¥ã£ãŠããŸãã to disasters so we know very well that children in the â俳åªãããã©ãŒããŒãææãã¡ãçŽæ¥åã©ããã¡ã«èª disaster stricken area need the power of culture, music, ãã æŒããããšã§éããããŠããåã©ãã®ç¶æ ãçŸå®ã art and performing arts for their mental care. We beã解æŸããããšã¯ãšãŠãéèŠãªããšã§ãã
lieve it is vitally important that actors and singers talk to children directly and emancipate them from the reality of the situation.
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For Children who have Suffered from the Great East Japan Earthquake and Nuclear Accident
éçœã»åçºäºæ ãš ãããç·åé«æ ¡ã®æŒåæè² Earthquake Disaster, Nuclear Power Accident, and Theater Education at Iwaki General High School ç³äº è·¯å by Michiko Ishii ïŒ æŒåã®ææ¥ã®ããé«æ ¡ââãããç·åé«æ ¡ã®çŽ¹ä»
èãã§ããŠãã»ãŒéåžžã®åŠæ ¡ç掻ãè¡ããããã«ãªã£ãã®ã¯ïŒ
çŠå³¶çç«ãããç·åé«æ ¡ã¯çŠå³¶çã®å€ªå¹³æŽåŽå端ããããåž æã§ãã£ãããã®éçœãåçºçœå®³ã§æ¬æ ¡ããè»¢æ ¡ããçåŸãå€ ã«ããç·ååŠç§é«æ ¡ã§ããã ãã£ããã åçºã®é¿é£åºåããè»¢å ¥ããŠããçåŸãå€ãã£ãã ã âç·ååŠç§ã¯çåŸã®äž»äœæ§ã®éèŠãšè·æ¥èŠ³ã®è²æãæè²ç®çãš ããä»å¹ŽåºŠã«å ¥ã£ãŠãããåžã«é¿é£åºåã«ããé«æ ¡ã®ãµãã©ã€ ããŠã1994幎ããå°å ¥ãããæ¯èŒçæ°ããåŠç§ã§ããããã®ç¹ ãé«æ ¡ãèšçœ®ãããè»¢å ¥ããŠããçåŸãããã«è»¢æ ¡ãããšãã è²ã¯ãçåŸã®èå³ã»é¢å¿ãéèŠããå€æ§ãªéžæç§ç®ãèšçœ®ããé« äºæ ãèµ·ããŠããã æ ¡ïŒå¹Žçããã®æéå²ãåèªã®é²è·¯ç®æšã«åŸã£ãŠèªåã§äœæã ããããšã«ä»£è¡šãããã ïŒâ被çœåŸã®æŒåæè²åéã®éçšâââ âèå³ã»é¢å¿ã®éèŠãšããç·ååŠç§ã®ç念ãããæ¬æ ¡ã§ã¯ 6 æ â3.12ã®çŠå³¶ç¬¬äžåçºç¬¬ïŒå·æ©å»ºå±ã®æ°ŽçŽ ççºã«ç¶ãã3.14ã« ç§20åäœã®æŒåã®ææ¥ãèšçœ®ãããŠãããæ¬æ ¡ãå®è·µããŠãã ã¯ç¬¬ïŒå·æ©å»ºå±ãæ°ŽçŽ ççºãèµ·ããããããã«ãã£ãŠå ç«¥çåŸ æŒåæè²ã¯ä¿³åªãé€æããããã®ãã®ã§ã¯ãªããæŒåãæã€æ ã®å€ãã¯çå€ãžé¿é£ãç§èªèº«ãçŠå³¶çã®è¥¿åŽã«é¿é£ãããåçº è²ã«æçšãªåŽé¢ãæ倧éã«å©çšãã人éæè²ã§ããããŸããè¯ äºæ çŽåŸãç§ã¯çŠå³¶ã®æªæ¥ã¯å¥ªããããšæããŠããããããŸã§ 質ãªèŠ³å®¢ã®è²æãšãã£ãèžè¡æè²çãªåŽé¢ãããã«ã³ãã¥ã å¿è¡ã泚ãã§ç©ã¿äžããæŒåæè²ã氎泡ã«åž°ãããšæ·±ã絶æã ã±ãŒã·ã§ã³èœååäžãšããã³ãã¥ãã±ãŒã·ã§ã³æè²çåŽé¢ãã ãŠãããçœå®³ããããããé»åäŒç€Ÿãæ¿åºã«å¯Ÿããæãã¯ãã¡ ãã ããã®ããšã ããåæã«æ±äº¬ã®ããã®é»åãçŠå³¶ã§çºé»ããŠã âæŒåã®ææ¥ãå§ãŸã£ã 2003 幎ããã® 10 幎éãç§ã¯è³ªã®é«ã ãççŸããåååçºé»æã®å±éºæ§ãç¥ããªããçå£ã«èããŠã æŒåæè²ã®æäŸã«ã²ãããåãçµãã§ããããŒãããç¯ããŠã ãªãã£ãèªåèªèº«ã«å¯ŸããŠãæããæããããªãã£ããç§ãã¡ ãã«ãªãã¥ã©ã ãã»ãŒå®å®ããçåŸéã¯çãçããšç®ãèŒãã 倧人ã責任ãæãããªãã£ãããã«ãåã©ããã¡ã®æªæ¥ã«æã ãŠææ¥ã«èšã¿ãäž»äœçãªåŠã³ãå±éãããŠãããç§ãã¡æåž«ã 圱ãèœãšããããã®èªè²¬ã®å¿µã«æããããéçœåŸãã°ããã¯äœ é©ãã»ã©ã®äººéçæé·ãçåŸéãèŠããããšããã°ãã°ã§ããã ãããæ°åã湧ããªãã£ãã æè²ãšããŠãèžè¡ãšããŠãå¥è·¡ã®ãããªç¬éã«åºäŒãããšã®ã§ âåŠæ ¡ã®åéã§åã©ããã¡ãšïŒã¶æåã¶ãã«äŒãããšæ±ºãŸã£ã ããçŸå Žã«ãªã£ããç¥èäžèŸºåã§ã¯ãªãäœéšåã®åŠã³ã®å¿ èŠæ§ æãã鬱ã ãšããç¶æ ã¯ç¶ããŠããã ãçŠå³¶ã®æªæ¥ã¯å¥ªãããã ã説ããŠããç§ã®åæã®ç®çããã»ãŒéæã§ãããšæãããŸã§ ã ãããé«æ ¡ãåæ¥ãããã§ããã ãæ©ãçŠå³¶ããå»ããã ã«ãªã£ãã ã«ã ããšç§ã¯åã©ããã¡ã«èšãã€ããã ã£ããåŠæ ¡åéåœæ¥ãæŒ âãŸãææ¥ãšã¯å¥ã«ãæŸèª²åŸã®æŒåéšã«ãããŠãæ欲çã«æŽ»å åé¢ä¿ã®çåŸãã¡ãéçœåŸåããŠã¢ããªãšã«éããæãåã©ã ããŠãããæ¬æ ¡ã§ã¯éå£åµäœã»ãã£ãŽã¡ã€ãžã³ã°ã®æ¹æ³ã§çåŸ ãã¡ã¯ãŸãã§äžå®ã®å¡ã®ããã ã£ããæåž«ã§ããç§ãäœãèšã ã®æ¥åžžç掻ã«åæããé«æ ¡çã®çŸåšãè¡šçŸããããã®äœåãåµ ã®ããã©ããã¹ãããæãå°ããŠãããã®ããçæ¯ãªåããç³ äœããŠãããé«æ ¡æŒåã³ã³ã¯ãŒã«ã§ã¯æ±å倧äŒã®åžžé£æ ¡ã§ãã ã«æµ®ãã¹ãŠç§ãèŠã€ããŠããããã®ç®ãèŠãŠç§ã®å£ãã€ããŠåº ãã ãã®ã¯ã ãããŸã§èããŠããèšèãšçéã®èšèã ã£ãã ãæªæ¥ã¯ã âãã®ãããªæŽ»çºãªæŒå掻åãå±éããäžã«èµ·ãã£ãã®ããã ããããšãçŠå³¶ã«äœãç§ãã¡ã«ãããŸã§ã®ãããªæªæ¥ã¯ãªãã ã®åååçœå®³ã§ãã£ãã ããããªããã ããã ããããæã«å ¥ãããæªæ¥ãããããã ã®çŸå®ãè«Šããã«çãæãããšãã®ãã®ããåžæãã§ãããæª æ¥ãã«ãªãåŸããèŠããçŸå®ã®äžã§ããããè ãç²åŸããåã
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Earthquake Disaster, Nuclear Power Accident, and Theater Education at Iwaki General High School
1. Introduction of Iwaki General High School and the heat. And it was in September that we were able to have Fukushima Prefectural Iwaki General High School is a gen- a nearly regular school life when a temporary building was comeral-course high school located in Iwaki, a city in the most south- pleted on the school grounds. There were not only quite a few ern part of Fukushima, on the side of the Pacific Ocean. students who transferred from our school because of this earthThe general course is comparatively a new course introduced quake and nuclear power plant disaster but also were quite a for educational purposes to emphasize the studentâs indepen- few students who transferred to our school from the nuclear evacudence and to rear perspective toward occupation. Its traits are ation zones. that we set up diverse elective courses related to the studentâs interests and concerns and we let the student make out his or 3. Process toward the Restart of Theater Education after her schedule of classes accordingly starting with the 2nd year of the Disaster high school. Following the hydrogen explosion in the building housing For the general courseâs ideology regarding the studentâs in- Reactor 1 at the Fukushima No.1 Nuclear Power Plant, on March terest and concern as important, our school created 6 courses 14th, a hydrogen explosion occurred at the building housing the and 20 credits of theater classes. The theater education that our Reactor 3. Due to this, many of our students evacuated to outschool has practiced is not for training of actors but is toward side the prefecture and I also evacuated to the west side of education of the whole person. It also has the art-educational Fukushima prefecture. Right after the nuclear power plant acciside creating audiences of good quality and the communication- dent, I felt that the future of Fukushima was taken away. I was educational side improving educational ability. also filled with despair that the theater education program I had For ten years since the theater class has begun in 2003, I put my heart into would come to nothing. I was of course angry had worked hard to provide a high-quality theater education. at the electric company and the government that caused the diThe curriculum that Iâd started from zero had become nearly saster but at the same time, I was also angry at the contradiction stable, the students had been lively and engaged, with their eyes that the electricity for Tokyo was generated in Fukushima and shining, and an independent learning process had been devel- at myself for not seriously thinking about possible danger from oped. There were often times when a student had shown so much the nuclear power plant. Because we adults did not fulfill our growth that we teachers were surprised, and the class had be- responsibilities, we helped cause dark shadows on our childrenâs come a place where we were able to create miraculous moments future. I was spiritless to do anything for a while because I sufeducationally and artistically. My initial purpose advocating the fered from a guilty conscience. necessity of practical learning instead of exclusive devotion to When I found out I could meet the children after one and a knowledge had been almost achieved. half months, as the restarting of the school was determined, my Also, apart from the class, I had been very active with the feelings of depression continued. âThe future of Fukushima has after-school theater club. We had created the works that would been taken away, so when you graduate from high school, you express the present situation of high school students by collect- should leave from here as soon as possible.â This was what I was ing materials from the studentâs daily life through group cre- going to say to the children. On the day the school restarted, ation and the method of devising. We were a school that fre- when I gathered the theater students in the atelier for the first quently participated in Tohoku (Northeast of Japan) regional time after the earthquake disaster, the children were filled with meeting of the High School Theater Contest. dread. They were all staring at me with sincere questions in their And what had happened while we had been developing such eyes, wondering what I, as their teacher, would tell them and a vibrant theater activity was that nuclear power disaster. whether I would give them guidance about what they should do. 2. Disaster Situation of the School (and the Region)
The words that came out of my mouth â looking at those eyes were completely opposite from what I had thought I would say. .
Iwaki city is a core city with a population of 330,000 and is I said, âThere is a future.â For us who live in Fukushima, there located 25-60km away from the Fukushima No.1 Nuclear Power may not be the future that we have thought of before. But for Plant. The number of dead and missing caused by the Great this reason, we have the âfutureâ that we have earned. To surEast Japan Earthquake totaled 340. The city of Iwaki had all at vive this reality without giving up is âhopeâ and can be the âfuonce become a ghost town because many citizens had evacuated ture.â The power and the depth of spirit that only a person who due to the nuclear power disaster. Our school is located 45km has struggled with great tragedy can gain are indeed âfutureâ from the Tokyo Electric Power Companyâs Fukushima No.1 that saves him or herself and âhope.â I could never forget their Nuclear Power Plant. Because of the great earthquake on 3.11 faces, and the strain finally relieved when they heard my words. and the great aftershock that occurred a month later, we were There is no time for despair. I have to achieve my duty as an not able to use half of the school building, and we were only able adult who walks in front of a child; I keenly felt this. to restart the school 42 days after the earthquake. Even after the The children were obviously hurt. There was a student who restart, we were hardly able to have any classes, and in the middle could no longer go back home because it was located inside the of June, the partition in the gymnasium was finally completed so evacuation zone of the Fukushima No.1 Nuclear Power Plants. we were able to have classes without struggling with the noise And there was a student whose father was an employee of the
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Earthquake Disaster, Nuclear Power Accident, and Theater Education at Iwaki General High School
ãããç·åé«çåŠæ ¡æŒåéš ãFinal Fantasy for XI. III. MMXIãã®èå°
âFinal Fantasy for XI. III. MMXIâ Fukushima Prefectural Iwaki General High School theater club
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Earthquake Disaster, Nuclear Power Accident, and Theater Education at Iwaki General High School
Tokyo Electric Power Company. Each student had different kinds pathetic than we imagined; we shared tears. I understood the of hurt and I felt it would be no good if I left the circumstances as heaviness of the town of Nagata made with the foundation by they were. Accordingly to research and the practice of theater the experience of the Great Hanshin Awaji Earthquake for the education for 10 years, I knew that children and youth could sort first time, then. The people in Nagata stood up from the earthout their minds by expressing themselves and moving forward quake disaster and now they supported and helped heal us. I to a next step. So, immediately, I started an activity that weâd to prayed in my heart, while I was in the car on the way back after create a short scene of an experience of the disaster, using the we wept together and parted with the staff of dB, that we would technique of devising with the theater club. like to be able to support others someday. â Performance in Tokyo 21-22.12.2011 @ Atelier Helicopter, 23.12.2011 @ Komaba Junior High and High School Attached 4. Creation and Performance of âFinal Fantasy for XI. III. to Tsukuba University 50th Anniversary Hall MMXIâ Process of Creation and Performance Record It was Ms. Niina Hashida, an actress from Theater ComEven though we started our creative activity in this way, I pany Seinendan, founded by Mr. Oriza Hirata, who came to see could not shape their anger in the way I wanted to. When a per- our premier from Tokyo. Responding to her appeal, many artists son was really angry and was trying to express it by acting, the including Mr. Oriza Hirata offered their cooperation and made acting appeared false. So, I thought if we laughed at the cause of this playâs performance in Tokyo possible. It was a free perforthe anger, mocking it, we might possibly express the anger indi- mance for junior high and high school students. It was impresrectly. Also, as the children are part of the game generation, I sive that a high school student from the Kanto (Eastern part of proposed to make the nuclear power plant disaster game-like. Japan) area said at the post-performance talk session, âIâm not Furthermore, we all thought we should find a way to sympa- sure how to react to the fact that high school students like myself thize with the sadness of families and friends who lost lives. Thus, are so angry. I cannot give any feedback with any pretty words.â we created a play named, âFinal Fantasy for XI. III. MMXIâ â Performance in Fukuoka 3.3.2012 @ Fukuoka Meiji (âF.Fâ.) Yasuda Life Insurance Hall We had the playâs premiere at the atelier of our school in The performance in Fukuoka was actualized by invitation July, 4 months after the great earthquake. It was a performance from KBC, Kyushu Asahi Broadcasting. I would assume that it as a part of Iwaki District High School Theater Recital, which must have been difficult for a major media company that has an had been held every year, but the venue, âIwaki Performing Arts association with an electric company, to invite this play. Also, as Center Alios,â was used as a shelter; therefore, we provided our almost one year had passed, I was sensing psychological distance atelier for the recital venue, and performed it in front of audience and the difference in degrees of interest toward the earthquake who were high school students and their families. The premiere disaster were getting even bigger. Therefore, we went there unthat was performed at a local venue created a performance cir- certain how much sympathy we could earn from audience at a cumstance where we were able to share the anger toward the performance in this far place coming down even more southern nuclear power plant disaster and the sadness of the tsunami than the Kansai area. But it turned out to be groundless once damage. again. Eating a full bag of shaddocks that a person from After this premiere, we started thinking of ways to deliver Fukushima residing in Fukuoka had brought us, I felt the personâs our performances to people outside the prefecture. In the spirit ache for her native land. that we wanted to share the pain of the earthquake disaster â Creative Revival Education Forum Performance with as many people as possible, we searched for places that 20.5.2012 @Ministry of Education, Culture, Sports, Science, and would accept us, and we performed in4 places.
Technology Hall Mr. Oriza Hirata, who watched the performance in Kobe,
âPerformance in Kobe 9-10.10.2011 @Art Theater dB Kobe said he thought if they left themselves mocking the adults who NPO Dance Box is a group that runs a program of mainly hurt them, there would be only a sense of helplessness left in the cotemporary dance based at Art Theater dB Kobe in Nagata ward, children, so the politicians who were the object of anger should Kobe city. Nagata ward is a district greatly damaged by the Great see this play. Thus, we set up a theater structure inside Ministry Hanshin Awaji Earthquake in 1995. Having had such a back- of Education, Culture, Sports, Science, and Technology Hall and ground, Ms. Fumi Yokohori, Producer of dB, visited to our school actualized this performance. It was performed as a part of âCrefor inspection of the affected area. Thus, this performance was ative Revival Education Forum,â in which we considered a new actualized. method of education for the revival of the affected areas. The Because it was the first performance held outside the pre- performance was held in front of eminent people who were the fecture, we went there for the performance feeling a great deal of object of mocking in the play including Mr. Hirofumi Hirano, stress. We were prepared for a case where people in the Kansai Minister of Education, Culture, Sports, Science, and Technol(western part of Japan) area might be hardly able to imagine our ogy, Mr. Goshi Hosono, Minister for the Environment, Mr. Seiichi pain, being far from us. But our concern turned out to be ground- Kondo, Chief of Cultural Affairs Ministry, and Mr. Yukio less. The play was well-accepted and the audience was more sym- Hatoyama, a former Prime Minister. Through a chat with Mr.
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Earthquake Disaster, Nuclear Power Accident, and Theater Education at Iwaki General High School
æéšç§åŠçè¬å ã§ã®äžæŒå å®åºè¡ã§ãŠã©ãŒãã³ã°ã¢ãããã ãããç·åé«çåŠæ ¡æŒåéšã®éšå¡ãã¡ Members of the theater club at Iwaki General High School warming up in the government office quarter before the performance at the Hall of the Ministry of Education, Culture, Sports, Science and Technology
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Michiko Ishii Drama teacher. She works at Fukushima Prefectural General High School. Since 2001, she has been involved with development of the general courses and researched the curriculum of theater education and its systematic teaching method.
KBCä¹å·ææ¥æŸéã®æåŸ ã§å®çŸããã®ãçŠå²¡å ¬æŒã§ãããé» ããèŠæšãŠããã çåœã®å°å³ã軜ãããããŠãããšæããŠããã åäŒç€Ÿãšã€ãªããã®ãã倧æã¡ãã£ã¢ãæ§ã ãªããŒãã«ãä¹ã äžä¿¡æãç¡åæã«æ¯é ãããŠãã圌ãããèªä¿¡ãåãæ»ããèª è¶ããŠæ¬äœåãæåŸ ããã®ã¯ãããžããªããšã§ãã£ããšæšå¯ã åèªèº«ããã€ãã¯èª°ããæ¯ãããããããªååšã«ãªããããšå£ ãããŸããéçœããã»ãŒïŒå¹Žãçµéããéçœã«å¯Ÿããå¿çç㪠ã«ãããŸã§ã«ãªã£ããæŒåäœåãšããŠè¡šçŸããããšãæããæ è·é¢æã 枩床差ã¯ããã«å€§ãããªã£ãŠãããšè身ã«æããŠããã è¯ããäžå©ã«ãªã£ãããšã¯ç¢ºãã§ãããã ããã以äžã«ãå€ã ããããé¢è¥¿ããããã«åäžããé ãå°åã§ã®å ¬æŒã§ã芳客㮠ã®æ¹ã«æ¯ãããçå€ã«åºãŠå ¬æŒããããšãã§ããããšããã®å å ±æãã©ãã»ã©åŸãããã®ããšæ§ããŠèšãã ãããããªããã å°åå°ã§èŠ³å®¢ãã倧ããªå±ãŸããããã ããããšãã圌ãã«å ã¯ããããææã«éããªãã£ããçŠå³¶åºèº«ã§çŠå²¡åšäœã®æ¹ãã åãã«çãããšãã«ã®ãŒãåãæ»ãããŠãã£ããæ¯ããŠããã ãããå±ããŠäžãã£ãè¢ãã£ã±ãã®ã¶ãã³ãé£ã¹ãªããããã® ããå€ãã®æ¹ã ã«å¿ããæè¬ãç³ãäžãããã æ¹ã®æ é·ãæããæããåã¿ç· ããã âåµé ç埩èæè²ãã©ãŒã©ã å ¬æŒâ2012.5.20â@æéšç§åŠçè¬ ïŒâçŸåšããããŠä»åŸã«åããŠâââ å
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20
Earthquake Disaster, Nuclear Power Accident, and Theater Education at Iwaki General High School
Hirano, after the performance, the children were able to realize 5. Present and toward Future a little that the country was not going to abandon them, as they âF.Fâ was a play that attempted to portray a âbig storyâ about a could hear, in ways they had never been able to imagine, a phrase of life and the framework of the world revealed by the politicianâs thoughts about the revival. Great East Japan Earthquake and the nuclear power plant diBecause âF.Fâ is a play that reflects the circumstances of saster. Sarcasm and mocking that could be considered impruthose of us who experienced the earthquake disaster, the play dent was done only by the people concerned, and the play was by itself has changed together with the passing of time. Especially the people concerned for the people concerned to relieve themin the last scene where the main character says good-bye to the selves by expression of anger. On the other hand, we were also best friend killed by tsunami, we have changed based on a sin- aiming at another salvation questioning how we should face with cere discussion asking, âWhat would the main character do now?â many âdeathsâ, heal the wounds, and regain the power to live. In at each performance, imagining the feeling of loss of family and other words, it was all we could do to heal the wounds caused by friend as much as possible. This last scene had ended with the the earthquake disaster. main character chasing after the best friend disappearing in darkWhat I am questioning now, having spent one year from the ness and weeping as the curtain went down in the first perfor- first performance, is whether by portraying a âbig story,â we mance. But as time has passed, it has changed to a scene where mightâve dropped a âsmall storyâ that exists near us and by conthe main character now stands up, looks away, and soon starts centrating on healing our wounds, we mightâve been negligent of running facing forward. This scene has become a symbol of the imagining minds of people near us. We were able to regain the revival of the disaster victimâs mind by chance. sound minds, supported, healed, and encouraged by many people. Through this creative activity and performances, the chil- That is why I think that I need to portray about these that I have dren have changed considerably. Right after the earthquake di- dropped. saster, they felt they had been abandoned by the country and its Not only the difference in degrees of concern toward the dicitizens, and the dignity of their lives was made light of. They, saster between those in the affected areas and the others in the who were once occupied with distrust and a sense of helpless- other areas but also the difference within the affected areas are ness, have regained confidence and have begun to say that they currently getting bigger. Even though we have experienced the would like to live lives that can support others someday. I am same disaster, there are people who are putting the disaster into certain that being able to express themselves through a theatri- the far distance of memory, as they happened to have a comcal play has helped direct their anger in positive ways. Further- paratively light damage and leaving others who are still not able more, the fact that they were able to perform it outside the pre- to recover from the heavy damage behind. Being in the affected fecture because of the support of many people, and that they areas, to pay attention only to their own selves, not imagining were encouraged hugely by the audience response in each place there may be someone, who is deeply hurt next to them makes brought back the energy to live positively to them. I would like to sense of loneliness of those even stronger because they have all thank, from my heart, all the many people who supported us. shared the same experience. To imagine someone anonymous next to you and to sympathize the personâs wounds is the task we are working on at present and is the concern that we have to keep working on. Translated by Kenjiro Otani
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21
Earthquake Disaster, Nuclear Power Accident, and Theater Education at Iwaki General High School
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Childrenâs Theatre inHospitals
with the collaboration of VigdÃs Jacobsdottir
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Childrenâs Theatre inHospitals
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Childrenâs Theatre inHospitals
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Childrenâs Theatre inHospitals
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Childrenâs Theatre inHospitals
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Ton-chan, Hospital crown, Japan. ãæ¥æ¬ã æ¥æ¬ã§ãç é¢ã蚪åããã¯ã©ãŠã³ã®æŽ»å ã«å¯Ÿããé¢å¿ãé«ãŸã£ãŠããã å°éã®èšç·Žãåããè¡šçŸè ããå»ççŸå Žãšã®ä¿¡ é Œé¢ä¿ãç¯ããªãããç é¢ã®åã©ããã¡ãå æ° ã«ãã掻åãè¡ã£ãŠãããåçã¯ã¯ã©ãŠã³ã® ããã³ã¡ãããããšç³äºè£åããã
POPLAR THEATER CONPANY Theater company poplar was started in 1978 and has made the impression experience which remains in the heart is sent.
â«Þâ¬LINENUPâ«Þ⬠Musical Fantasy ÛThe Wizard of OZÛ Musical AdventureÛSindbad the SailarÛ Musical Dream
ÛPeterpan and WendyÛ Musical ÛGrave of the FirefliesÛ
2-18-2higashishinnbashi,minato-ku,Tokyo 150-0021Japan Phone(03)5405-0966 Fax(03)5405-0988 E-mail : office@poplar21.jp http://www.poplar21jp
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Childrenâs Theatre inHospitals
â«Üâ¬á»á»áººáºŒá»â«Ù¹â¬á» à±ââ ࿠Ꮊੱá¢â¢á¹¶àŽââ¥à¶¯àª³ ä³ ß á¢ß ßß ä³ß à ä³
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â«Þ¥â¬435-0015 ãáâµáµ¿á§»á᧲à¶á¶áâžã§ã§ã§ã§ã§ TEL053-461-5395 FAX053-461-6378 http://www.gekidan-tanpopo.com/
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Photos: Theater as Medicine
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Poland
"Pan Satie (Mr. Satie)" by Teatr Atofri from Poznan Photo: Jacek Zagajewski
"Na Arce o osmej (At the Ark at Eight)" by Baj Pomorski, a puppet theater from Torun Photo: Pawel Brakoniecki The short stories for children (Opowiadania dla dzieci) in National Theater in Warsaw, Poland photos by Stefan Okol/owicz from the collection of Artistic Archive in National Theater in Warsaw, Poland
ã¢ã·ããžïŒ âåœè¬ ããã°ã¹ã€â ãšããŠã®å ç«¥éå°å¹ŽæŒå âäžçã®èå°ãã ASSITEJ: Theater as Medicine for Children and Young People of the World ã€ã®ãªã¹
UK "My Mother Told Me Not To Share" by Theatre Hullaballo and Action Transport Theatre Photo: Mark Savage "Egg" by Cahoots NI Photo: Richard Watson Photography
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31
Photos: Theater as Medicine
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Austria
"Die Wette" Photo by Rainer Berson
"Sand" Photo by Christa Baue
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Mexico "KIWI" (c)Los Endebles "El Viaje de Tina" (c)Fabian Aguirre
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32
Photos: Theater as Medicine
"Das Dschungelbuch" Photo by Franziska Liepe
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Germany "Der Teufel mit den drei goldenen Haaren (The devil with the three golden hairs)" Theater in Marienbad, Freiburg. Photo: Matthias Lange
"Gegen die Wand (Against the wall)" Junge Oper Stuttgart. Photo: A.T. Schaefer
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South Africa Metamorphosis by Jungle Theater
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Spain Cia. DA. Te. Danza by RioDeLuna photo: Luis Castilla
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33
Photos: Theater as Medicine
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åã©ãå µãšç§âŠ åã©ããã¡ãæãããã¹ãŠã®ç§ãã¡ã®åé¡ãšããŠ
The Child Soldiers and Me... The Child Soldiers and All of Us Who Love Children.
ã¹ã¶ã³ãã»ã«ã㌠by Suzanne Lebau
ç§ã¯ããããã¥ã¡ã³ã¿ãªãŒã§åã©ãå µ ïŒãã£ã€ã«ããœ
I discovered the existence of child soldiers in a docu-
ã«ãžã£ãŒïŒã®ååšãç¥ããç¡é¢å¿ã§ã¯ããããªããªã£ mentary and I couldnât remain indifferent. I write for ããç§ã¯åã©ããã¡ã®ããã®å·çãããŠããŠãããé·ã children, and have done so for a long time, because they ããšãããç¶ããŠããã ãªããªã圌ãèªèº«ãç§ã«æã㊠themselves have taught me, I write about the world we ãããã®ã ãèªåãã¡ã®äœãäžçã®ããšããåã©ããã¡ all live in, the children and me. To put it simply, I write ãšç§ã®ããšããç§ãæžããŠããã®ã ãšããããšããã€ãŸ when itâs urgent, when the most intimate fibers of the ãç§ã¯ãåè¿«ããŠããæã«ã女æ§ãšããŠæ¯èŠªãšããŠäœè woman, of the mother, of the author begin to vibrate, ãšããŠå人çææ ãéããæã«ã åä¹±ãç§ã®æå ãåã« when rebellion is at my fingertips, on my lips, when siããæã«ãéãããæ¯èŠãããªãæã«ãå·çããã®ã§ã lence stifles me. The documentary had shaken me, I ãããã®ããã¥ã¡ã³ã¿ãªãŒã¯ç§ãéããããããå¿ãã couldnât forget it. That also is a sign that there is no other ããªããªã£ããããã¯ãŸããæžãããšä»¥å€ã®æ¹æ³ã¯ãªã way out than to write. ãšããããšã瀺ããŠããã It left me⊠with a strong sense of impotence⊠askâããã¯ç§ã«åŒ·ãç¡èœæãæ®ãã åã©ããã¡ã®ããã®å· ing myself what I could write on this subject, I who write çãããŠããç§ãããã®ããŒãã§äœãæžããã®ã ããã for little ones. How to talk about children who have been ãšèªåããã 倧人ã«æŠåšãæããããåã©ããã¡ã®ããš armed by adults, plunging them into the schizophrenic ãã ç ç²è ã§ããå 害è ã§ãããšããçµ±å倱調çãªççŸ contradiction of being both victims and executioners, to ã«è¿œããããã圌ãã®ããšãã éã«ã€ããŠã®æ å ±ã¯ç¡å children whose only knowledge of guns comes from their å¥ãªãããªã²ãŒã ããããåŸãŠããªãåã©ããã¡ã«ã ã© senseless video games? I toyed with the idea for a long ããã£ãŠèªãã®ãïŒâç念ããããšãã«ãã€ãè¡ããã time as I always do when in doubt; once again I decided ã«ãç§ã¯é·ãéãã®ããšãèãç¶ããã to sit down with them, the children. âç§ã¯ 9 æ³ãã 13 æ³ãŸã§ã® 13 ã¯ã©ã¹ãéžã³ã圌ãã«
I chose 13 classes of young people aged between 9
ãªãŒã¹ãã©ãªã¢ã®ããã¥ã¡ã³ã¿ãªãŒãèŠããã ããã¯åœŒ and 13 and I showed them that Australian documenãã«ãšã£ãŠæ³åãã§ããªãã åãå ¥ããããšã®ã§ããªã tary, which was completely inconceivable for them and ãã®ã ã£ããããã§ã¯ããŠã¬ã³ãããã£ã³ããŒãã³ãã³ made no compromise. Five case stories were dealt with ãã¢ãã·ãšã©ãã¬ãªãŒãã®åã©ãå µããããŠè±åœãšç±³åœ there: child soldiers from Uganda, Myanmar, Colombia, ã®åã©ãå µãå«ããŠïŒãããåœé£ã«ããã°ã18 æ³ä»¥äž Sierra Leone, the United Kingdom and the United States ãå ç«¥ãšããŠãããããããäºã€ã®åœã§ã¯ 16ã17 æ³ã being considered as a single case (yes⊠according to the ãè»ã«å ¥éã§ããâŠâŠïŒ ã ïŒã€ã®äºäŸãå±éãããŠããã UN, you are a child up to the age of 18 and in these two 幎霢ãè¥ããã°è¥ãã»ã©å¿ççãªåœ±é¿ã¯æ·±å»ã ã ç§ã¯ã countries you can serve in the Armed Forces from the ãããã©ããããã®ã芳ãã®ãäºåã«èª¬æãã ããã芳 age of 16 and 17âŠ) The more tender the age, the more ãããšã«åæãã13ã®ã¯ã©ã¹ã«ãã®ãã£ã«ã ãèŠããã serious are the psychological effects. I showed the film to äžæ äžã ç¹ã«ç§ãäºåã«èª¬æãããšããã§ã®åã©ããã¡ the 13 classes that had agreed to receive me, with a brief ã®åå¿ãç§ã¯èŠ³å¯ããããããçã§è©±ãåããããã warning about what they were going to see. I observed the reactions of the young people carefully throughout âãã£ã¹ã«ãã·ã§ã³ãé²ããããã«ãç§ã¯ã²ãšã€ã®ã the film and especially at certain moments that I had ãã£ãã²ãšã€ã®è³ªåãæããããã ãç§ãã¡å€§äººã¯ãã identified beforehand ⊠and then we talked. ããã®çŸå®ã«æ°ã¥ããŠããªãåã©ããã¡ã«ã ãã®çŸå®ã 話ãæš©å©ãããã®ã ãããïŒã ã13ã®ã°ã«ãŒãã§ãåã© To get the discussion going I had one and only one ããã¡ã¯ãããããªããã€ãšã¹ããšçãããå šå¡äžèŽã® question: «Do we, the adults, have the right to speak of èªä¿¡ã«æºã¡ããã€ãšã¹ãã§ããããã®äžã13 ã°ã«ãŒã these realities to children who are unaware of them? » ã®åã©ããã¡ã¯é©ãã¹ãããšã«ãèºèºãããæš©å©ãã In the 13 groups, the children, without a shadow of hesiãããšããèšèãã矩åãããããšããèšèã«å€åãã tation, answered: yes. A unanimous, confident yes.
åã©ãå µãšç§âŠ
34
The Child Soldiers and Me...
å ç«¥å µã ã£ã A m i s i M u n g o S e r g e ã®äœå å µéã«é£ãå»ãããåã©ã Sculpture of Amisi Mungo Serge. Photo: François-Xavier Gaudreault.
ã¹ã¶ã³ãã»ã«ããŒïŒ»Suzanne Lebauéå°å¹Žã®ããã®å äœå®¶ã®ç¬¬äžäººè ãšããŠç¥ãããã圌女ã®äœåã¯130äœå以 äžãïŒå€§éžã§äžæŒããã äžçã§æãäžæŒãããã±ããã¯ã® åäœå®¶ã§ããã éå°å¹ŽæŒåã®ç¹æ ã«å¯äžãã圌女ã®äžŠå€ã ãå瞟ã¯ãå€ãã®è³ãå声ãç²åŸããŠããã Suzanne Lebau. Recognized as a leader in playwriting for young audiences. Among the most performed Quebec playwrights in the world with more than 130 productions of her work on four continents. Her exceptional contribution to the flourishing of theatre for young audiences has earned her numerous awards and distinctions.
Whatâs more, in the 13 groups, without a shadow of hesitation, they themselves made the astonishing transition from the phrase «have the right» to «have the duty». I left those 13 meetings with the duty entrusted to me by the children to speak about the child soldiers. Speak about the child soldiers! But how? I am neither a speaker, a teacher, nor the spokeswoman of a humanitarian organization ... I am a playwright, a playwright who has chosen a young audience and who, as such, is under close scrutiny. Between the children and the plays there are so many adults who have the right and feel a duty to decide ãã åã©ãå µã«ã€ããŠè©±ããšãã矩åãåã©ããã¡ã«èš what is good for children and what is not: parents, teachãããç§ã¯ãã® 13 ã¯ã©ã¹ã§ã®è©±ãåããåŸã«ãããå ers, programmers, critics, reviewers. All adults, well-inã©ãå µã«ã€ããŠèªãïŒâã§ãã©ã®ããã«ïŒâç§ã¯æŒèª¬å®¶ tentioned adults, each of them with a childhood that has ã§ããªããã°æåž«ã§ããªããã 人éççµç¹ã®ã¹ããŒã¯ã¹ left its memories and formed the adult of today with his ããŒãœã³ã§ããªãâŠâŠç§ã¯åäœå®¶ã å³éãªç£èŠäžã«ãã or her conscience, strengths and his weaknesses. My childhood has given me courage and determination. At home, when we talked about a wish, a project, an idea,
ãããªéå°å¹Žã®èŠ³å®¢ãéžãã åäœå®¶ãªã®ã§ããã
åã©ããã¡ãšèå± ã®éã«ã¯ã äœãåã©ããã¡ã«ã¯ãã my father and mother would ask us how we intended to ãŠäœãæªãããšããããšã決ããæš©å©ãããã ãã®çŸ©å achieve it with such confidence that failure was not an ããããšæããŠãã倧人ãããããååšããã芪ãæ option. So it was necessary to forge ahead and carry it åž«ãããã°ã©ããŒãè©è«å®¶ãæ¹è©å®¶ãªã©ã§ããããã¹ãŠ out. ã®å€§äººãåæã®å€§äººã¯ãããããå¿ããŠããŸã£ãåã©ã I decided to write. To write so as not to carry this æ代ããããèªåã®è¯å¿ã匷ãã匱ãããšããªã£ãŠä»æ¥ ã®å€§äººã®ç¶æ ã圢äœã£ãŠãããç§ã®åã©ãæ代ã¯ãç§ã« weight on my conscience all by myself, to share with the åæ°ãšæ±ºæãäžããŠãããã家ã§ãåžæãèšç»ãã¢ã€ã audience the feeling of being able to act and to share it ã¢ã«ã€ããŠè©±ãåã£ãŠããæãç§ã®ç¶ãšæ¯ã ã£ããã倱 with the children who had convinced me of their eageræããããšãéžæè¢ã«ã¯ãããããéæããã«ã¯ã©ãã ness to know and their moral strength to accept the realããããããšç§ãã¡ã«èãã ãããã ããåé²ããŠæã ity, to mobilize their strength and to act. éãããšããããšãå¿ èŠã ã£ãã®ã ã To write⊠Before writing I had to read, and I read a lot. I read to learn a little more, to know, to include names âç§ã¯æžãããšã«æ±ºããã ç§èªèº«ã®è¯å¿ã®éããèªåäž äººã§æ±ããªãããã«æžãããšãã è¡åã§ãããšããæèŠ and facts, to try to understand the why, the how and the ã芳客ãšãšãã«å ±æããããšãã ç¥ããããšããæ°æã¡ circumstances. There came a time when the words overãšçŸå®ãåãæ¢ãã匷ãããããšããããšã確信ãã㊠flowed, no longer from the books but from inside me. I ãããåã©ããã¡ãšãããå ±æããããšãã 圌ãã®åŒ·ã saw Elikia, little Elikia with her Kalashnikov rifle over her shoulder. A little girl! Inevitable! This journey was
ãçµéããŠè¡åãããšããããšãã
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35
The Child Soldiers and Me...
ã³ã³ãŽã§åºäŒã£ãåã©ãå µãA A m i s i M u n g o S e r g e ãš N k i t a Y a o u n d é M u l a m b a ãšãã©ã³ã¹ã§åäŒããçè Suzanne in France with Amisi Mungo Serge and Nkita Yaoundé Mulamba, the two child soldiers she met in Congo.
æžãããã«ã¯âŠâŠæžããŸãã«ã ç§ã¯èªãããšãããªã taking me to the very limits of horror. The reality of the ãã°ãªããªãã£ãããããŠããããèªãã ãããå°ãåŠ child soldiers is indescribable with its stench, its putreã¶ããã«ãç¥ãããã«ãååãäºå®ãèšèŒããããã«ã faction, the torrid heat or the damp cold, the hunger 24 çç±ãæ¹æ³ãç¶æ³ãç解ããããã«ãç§ã¯ãšã«ããèªã hours a day, the permanent fear, a dull, pervasive fear ã ã ãã¯ãæ¬ããã§ã¯ãªãç§èªèº«ã®äžããèšèãããµã in the gut, like an open wound. The reality for the little ã ãæãæ¥ããç§ã¯å°ããªElikiaãã«ã©ã·ãã³ãéã圌 boys is terrible, but for the girl soldiers itâs even worse. 女ã®è©ã«äžããŠããã®ãèŠãã ã²ãšãã®å°å¥³ãïŒâåœç¶ Rapes, sexual abuse, slavery and all the foreseeable conã®ããã«ïŒâãã®é²å±ã¯ã ç§ãææã®éçã«ãŸã§å°éã sequences: unwanted pregnancies, sexually transmitted ãããåã©ãå µã®çŸå®ã¯ãæªèãè æãçŒç±ã®æãã diseases, andâŠand the virtual impossibility of return湿ã£ãå·æ°ãïŒæ¥ 24 æéã®ç©ºè ¹ãæ°žç¶ããææãéã ing to their families, to their villages: who would want ãå·å£ã®ããã«æ¬èœã®äžã«éãè延ããææãšãã£ãèš damaged goods? èã§ã¯èª¬æããããªãã å°å¹Žãã¡ã«ãšã£ãŠã®çŸå®ã¯æã ããããå°å¥³å µãšãªããšããã«æªããã¬ã€ããæ§çè
Half way through my writing I had doubts, unable
åŸ ã奎é·ããããŠãã¹ãŠã®äºæž¬ã§ããçµæ«ãã€ãŸãæ㟠to believe the resilience of children who were so deeply ãªãåŠåš ãæ§ç ããããŠèªåã®å®¶æã®å ãžãæãžå®è³ªç marked. I wanted to meet them, hear them speak; these ã«åž°ãããšãã§ããªããªããšããããšã ã 誰ãå·ç©ãã» children who had known war in their bodies and their ãããã ãããïŒ souls. How would they manage to live « afterwards » when they no longer had a gun to defend themselves? I âååãŸã§æžãããšããã§ãç§ã¯çããæã£ãã培åºç left for Kinshasa to work for 5 weeks with two child solã«ããŒã¯ãããŠããåã©ããã¡ã®å埩åãä¿¡ããããšã diers, Amisi and Yaoundé, soldiers between 11 and 17 ã§ããªãã£ãã®ã ã圌ãã«äŒã£ãŠã話ãèããããªã£ years old. They have convinced me, truly convinced me, ãã身äœãšå¿ã§æŠäºãç¥ã£ãåã©ããã¡ã«ãèªåãå®ã that they will be able to survive and once again I have ããã«éãæããªããŠããããªã£ããåŸã ã圌ãã¯ã©ã found the words to speak of hope. ãã£ãŠçããŠããã®ã ããïŒâç§ã¯ãã³ã·ã£ãµã«åã ãã5 é±éã«æž¡ã£ãŠ Amisi ãš Yaoundé ãšãã 2 人ã®å
The sound of cracking bones was read on the Satur-
ã©ãå µã11æ³ãã17æ³ã®å µå£«ãã¡ãã話ãèããã圌 day evening to close the dramatic arts week organized ãã¯ã ãã®å ãçã延ã³ãŠãããã ãããšæãããŠãã by the CeAD (Dramatic Arts Center)⊠The authors of ãããããŠãŸããç§ã¯åžæãèªãèšèãèŠãã ããã
the texts chosen were anonymous and nobody imagined that that text could be aimed at children. This was the
ç§ãã¡ã®æèªåãThe sound of cracking bonesïŒéªš first encounter with the public and in the subsequent ãç ããé³ïŒ ãã¯ãCeADïŒæŒåèžè¡ã»ã³ã¿ãŒïŒãäž»å¬ discussion the warnings were so strong that they really ããæŒåèžè¡é±éã®ç· ãããããåæã®å€ã«äžæŒãã shook us. The comments were unanimous: that text could ããéžã°ããæç« ã®äœè ã¯äžè©³ã§ããã®æç« ã¯åã©ãã not be presented to children; the reality is too harsh, too
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36
The Child Soldiers and Me...
ã¡ã察象ã«ãåŸããšã¯èª°ãæ³åããªãã£ãã ãã®åã㊠cruel. However, I knew that I had written that text for ã®äžæŒã«ç¶ããã£ã¹ã«ãã·ã§ã³ã§ã¯ã 芳客ããã®èŠåã children and I was convinced that I had adopted a point ããŸãã«åŒ·çã§ãæ¬åœã«ç§ãã¡ã«ã·ã§ãã¯ãäžãããã³ of view that could touch them without destroying them. ã¡ã³ãã¯ã¿ãªãåæèŠã ã£ãã ãåã©ããã¡ã«ã¯èŠãã We had organized a series of readings to take the pulse ããªãã ãçŸå®ã¯å³ããæ®é ·ãããããšãããããªããã of different audiences: adult audiences, mixed child-adult ç§ã¯æããã«åã©ããã¡ã®ããã«ãã®æèªåãæžããã® audiences and child audiences. The readings by the acã§ããã åã©ããã¡ãç Žæ» ãããããšãªãå¿ãåããã tors chosen for each of the roles were followed by discusãšã®ã§ããèŠç¹ãéžãã ãšç¢ºä¿¡ããŠãããç§ãã¡ã¯ã倧 sions. 人ã®èŠ³å®¢ãåã©ããšå€§äººãæ··ãã£ã芳客ãåã©ãã®èŠ³å®¢ ãªã©ãæ§ã ãªèŠ³å®¢ã®æåãæ¢ãäžé£ã®æèªåããŸãšã
It took a lot of time, meetings, discussion with the
ãã ããããã®åœ¹å²ã®ããã«éžã°ãã俳åªã«ããæèªã® audiences and among ourselves (author, producer and åŸã«ããã£ã¹ã«ãã·ã§ã³ãç¶ããã actors) to analyze the response to the readings and, later, to the performances, to understand the incredible power âããããã®æéãããã話ãåãã芳客ãšã®ãã£ã¹ of the theater, which we often forget: the catharsis and ã«ãã·ã§ã³ãç§ãã¡ã®éïŒäœè ãå¶äœè ã俳åªïŒã§ã®ã㣠the identification that orient the interpretation of the ã¹ã«ãã·ã§ã³ãå¿ èŠã ã£ãã ããã¯äœåãäžæŒã«å¯Ÿãã work. The adults read into The sound of cracking bones åå¿ãåæããããã®ã ææå¿ããã¡ã«ãªãæŒåã®é©ã a story of guilt and impotence, whereas the children inã¹ããã¯ãŒãç解ããããã®ãã®ã ã ããªãã¡ã«ã¿ã«ã· terpreted it as a story of hope. They argued among each ã¹ãšäœåã®è§£éã«ç±æ¥ããäžäœæã§ããã倧人ãã¡ã other, each giving his or her point of view with such conãThe sound of cracking bonesãã眪ãç¡èœã®ç©èªãš viction and with such precise arguments that we had to ããŠèªãäžæ¹ã§ã åã©ããã¡ã¯ãããåžæã®ç©èªãšè§£é admit that it wasnât simply a case of censorship but that ããã圌ãã¯ãäºãã«è°è«ãåããããããã信念ã the adults had been affected just as directly as the chilæã£ãŠã åãªãæ€é²ã®åé¡ã§ã¯ãªã倧人ãåã©ããšåã dren⊠and in a completely different way. It was necesããããŸã£ããã«âŠâŠå šãéã£ãæ¹æ³ã§åœ±é¿ãããã®ã sary to analyze the role of the characters on the stage ãšèªããããåŸãªãã£ãã ãããªç確ãªè°è«ãæã£ãŠèª and in the auditorium to finally understand that that åã®èŠæ¹ã瀺ããŠããã èå°äžã®äœåã芳客ã®ç¹è³ªãå third character, « the commission, » existed in flesh and æããŠã¿ããšãæçµçã«ç¬¬ïŒã®ç¹è³ªãšããŠãç¯çœªè¡çºã bones. Those remarks made by the nurse to a phantom ãèæ¯ã«ååšããŠãããšããããšãããã£ãŠããã æè commission united each of the adult members of the ãããªãç¯çœªè¡çºã«é¢ããŠç»å Žäººç©ã®çè·åž«ãèªã£ãã» audience who acknowledged the feeling of guilt, impoãªããããã®ç¶æ³ãèµ·ãããã眪æªæãç¡åæã責任æ tence and responsibility that the situation provokedâŠThe ãæããŠãã倧人ã®èŠ³å®¢ãã¡äžäººã²ãšããã²ãšã€ã«ãã adults felt part of that commission, which was almost âŠâŠå€§äººãã¡ã¯ã ã»ãšãã©ç¡é¢å¿ã ã£ããšããããšã§ç¯ indifferent... 眪è¡çºã®äžå¡ã ã£ãã®ã ãšâŠâŠã The children identified with the children, with Joâåã©ããšèå¥ãããåã©ããã¡ã¯ãJoseph ã Elikia seph and with Elikia who, at the age of 13, takes a risk ãšå ±ã«ã13 æ³ã®æã«ãã£ã³ãã«çããå°ããªç·ã®åã and escapes to save the little boy who has arrived at the æãããã«å±éºãåããŠé亡ããã芳客ã®åã©ããã¡ camp. The children in the audience followed the main ã¯ã ããã§ãèªåãã¡ã®éåœã«è²¬ä»»ãæã€ããšã®ã§ãã child characters in the action, who were still able to take åã©ãã®äž»äººå ¬ãã¡ã®è¡åãè¿œã£ãã 芳客ã®åã©ããã¡ charge of their destiny. They recognized their courage ã¯ç»å Žäººç©ã®åæ°ãšé亡ã«ãã£ãŠæãéãããã¯ãŒãèª and the power they had achieved by escaping. As for èããŠããã圌ãã®å€§äººãšã®é¢ä¿ã«ã€ããŠã¯ãJosephãš their relationship with adults, we only see Angelina, the Elikia ãå æ°ã¥ããé¢åãèŠãçè·åž«ã® Angelina ãé nurse who consoles and looks after Joseph and Elikia. ããŠã®ã¿èŠãããšãã§ããã ãã®ããã«ããŠãããã®ç» So, with these characters, the children in the audience å Žäººç©ãšãšãã«ã 芳客ã®åã©ããã¡ã¯æé·ããããã«å¿ regain their confidence in adults, which they need in orèŠãªå€§äººãã¡ãžã®ä¿¡é Œãåãæ»ãã
der to grow.
ãã®æèªåã¯ãåã©ããã¡ãšãäžçããèªããšãã«ã This text has taught me much about the prejudices ãŸã ç§ãã¡ãæã€å å ¥èŠ³ã«ã€ããŠãç§ã«æããŠãããã we still have when it comes to talking about the « world » ç§ãã¡ãæ³åã§ãã以äžã«ã åã©ããã¡ã¯ãããç¥ã£ãŠ with children. They know it much better than we can ããã ãThe sound of cracking bonesãã®å·çãšäžæŒ ever imagine . Working on The sound of cracking bones, ã«åãçµã¿ãªããã ãããæžãã€ã€ç§ãæ©ãŸããçåã both text and performance, I remain with the question æ®ã£ãŠããã ãããã«ã€ããŠä»èªããªããã°ãäœæ³ã« that haunted me while writing it: « If you donât talk to ãªã£ãããããç¥ãæš©å©ãåŸãããã®ã ããïŒã
us about it now, at what age will we have the right to ïŒç¿»èš³ã»äœè€ããåïŒ know? »
åã©ãå µãšç§âŠ
37
The Child Soldiers and Me...
ã¡ãã·ã³ã®ãªãºã é©åœ å¹³åãšããæåã®ããã®ãã³ã¹ãæŒåãé³æ¥œ
A Rhythmic Revolution in Mexico Dance, Theater and Music for a Culture of Peace
ã«ã·ãã»ãžã¡ãã¹ by Lucina Jiménez
Art outside the comfort zone In 2006, Mexico started a rhythmic revolution of the body and the emotions, involving thousands of children, adolescents, young people and artists. This is an artistic social movement that breaks away from the isolation of the dramatic arts and faces the Mexican artists with unimagined realities and experiences. In XXI century Mexico, afflicted by an endless wave of violence, 95% of the population was excluded from the artistic forms of expression, according to official data. The International Consortium for Art and Schools (ConArte), a civil society organization, put the accent
Lucina Jiménez with Isaac, Ciudad Juárez Chihuahua, México. 2011 ã¡ãã·ã³ã»ãã¯ã¯å·ã·ãŠããŒã»ãã¢ã¬ã¹ã«ãŠåŠçã®ã€ãµã¯ãšçè ïŒ2011 幎ïŒ
ã«ã·ãã»ãžã¡ãã¹ïŒ»L u c i n a Jimenez.人é¡åŠå士ããŠãã¹ ã³æåæ¿çã«ãããåœéã³ã³ ãµã«ã¿ã³ããèžè¡ãšåŠæ ¡ã®ã ãã®åœéåäŒãLa,Nanaåµé é© æ°å·¥æ¿ã®åµèšè ããã³ç·ç£ç£ã Lucina Jimenez. Doctor in Anthropological Sciences. International Consultant in Cultural Policies for the UNESCO, General Director and Founder of the Consorcio Internacional Arte y Escuela A.C., and La Nana, Fábrica de Creación e Innovación.
on art education for the most needy, with the aim of promoting the rescue of the word and the ability to write in that area, to feel, express and communicate with thousands of boys, girls, adolescents and young
ãåãæ®ãããå°åããšèžè¡
2006幎ã¡ãã·ã³ã§ãããããã®åã©ããã¡ãéå°å¹Žã people, or in communities classified as âhighly ã¢ãŒãã£ã¹ããé¢äžããã身äœãšå¿ã®ãªãºã é©åœ marginalizedâ where social violence can find fertile ïŒrhythmic revolutionïŒãå§ãŸã£ããããã¯æŒåèžè¡ã® ground, if it hasnât already established itself as the åé¢ããèµ·ãã£ãèžè¡çãªç€ŸäŒéåã§ã ã¡ãã·ã³ã®ã¢ãŒ only form of relationship. ãã£ã¹ããæ³åãã€ããªãçŸå®ãšçµéšã«çŽé¢ãããã ConArte came into existence in public schools in 21 äžçŽã®ã¡ãã·ã³ã¯ã絶ãéãªãçºçããæŽåã«æ©ãŸ the Historic Center of Mexico City, through the Learn ãããå ¬åŒã®ããŒã¿ã«ãããšäººå£ã® 95% ãèžè¡åœ¢åŒã§ through Dance program, a class that aims at literacy ã®è¡šçŸããæé€ãããŠããã of movement and interaction with live music, through â ãèžè¡ãšåŠæ ¡ã®ããã®åœéåäŒã ïŒConArte/The Inter- which a profound change is produced by means of national Consortium for Art and SchoolsïŒã¯åžæ°ç€Ÿ learning experiences, transferable to other fields of äŒå£äœã§ããããæããããã®ãè¡šçŸããããã®ããã knowledge and to daily life, for boys and girls in pubãŠå€ãã®å°å¹Žå°å¥³ãè¥è ãšã ãŸãã¯ç€ŸäŒçæŽåã®ã¯ã³ã lic primary and secondary schools. Each school year ãã極ããŠç€ŸäŒçã«åãæ®ãããŠããããšåé¡ãããã ends with an Interschool Encounter in the Teatro de 人éé¢ä¿ã®é¢ããæ¹ãæ§ç¯ãããŠããªãã§ãããå°å瀟 la Ciudad, which they entered for the first time thanks äŒãã ãã®å°å瀟äŒãšã³ãã¥ãã±ãŒã·ã§ã³ããšãããã® to this program. It is also a methodology laboratory èšèã®ææžãšãã®ãšãªã¢ã§å·çããèœåãä¿é²ãããç® for training educators, a key element of our action. çã§ãå°çª®è ã®ããã®èžè¡æè²ã«éãã眮ããŠããã In these schools, many of which have been reported as violence hot spots, the school environment âConArte ã¯ãã¡ãã·ã³ã·ãã£ã®æŽå²ã»ã³ã¿ãŒã®äžã® has changed considerably. The students have not beå ¬ç«åŠæ ¡ã«ã ããã³ã¹ãéããŠåŠã¶ã ïŒLearn through DanceïŒ ãšããããã°ã©ã ãéããŠååšããããã«ãªã£ come saints, but thanks to dance many have found a ãããã®ããã°ã©ã ã¯ãåãã®èªèèœåãšé³æ¥œãšã®çžäº place in the world. äœçšãç®çã«ããææ¥ã§ããã®ææ¥ãéããŠãåŠã¶ãšã ãçµéšãå©çšããæå³æ·±ãå€åãèµ·ãããããã¯å°ã»äž
ã¡ãã·ã³ã®ãªãºã é©åœ
38
In 2008 we made an exchange of Learning
A Rhythmic Revolution in Mexico
Encuentro Redes Arte Cultura de Paz en Ciudad Juárez Chihuahua, México. 2011. Photographer- Luz Montero
åŠçã«ãšã£ãŠç¥èã®ä»ã®åéã§ãæ¥åžžç掻ã§ãå¿çšã§ã through Dance with the National Dance Institute in ããã®ã ã£ããæ¯å¹ŽåŠå¹Žæ«ã¯ãåŠæ ¡éã®åºäŒãããšãã public schools in New York. After a binational choreããã°ã©ã ïŒTeatro de la Ciudad ã® Interschool ography, I asked the secondary school children who EncounterïŒã§çµããã®ã ãããã®ããã°ã©ã ã®ããã took part what dance meant for them: energy, disciã§åœŒãã¯åããŠããã«åå ¥ãããããã¯ãŸããç§ãã¡ã® pline, strength, courage, enjoyment, they said one by 掻åã®äž»èŠãªèŠçŽ ã§ããæè²è ãæè²ããããã®æ¹æ³è« one. The last of them replied: life. He told us that ç 究æã§ãããã
thanks to Learning through Dance, he decided not to leave school and look for a way to help his mother
ãããã®åŠæ ¡ã¯ã ãã®å€ããæŽåã®å€ãåŠæ ¡ãšããŠå ± raise his brothers because his father had just died. åãããŠããããåŠæ ¡ç°å¢ãèŠéããã»ã©å€ãã£ããç âAt first I hated the classes, he said. How could I think åŸãã¡ãè人ã«ãªã£ãããã§ã¯ãªããã ãã³ã¹ã®ããã about dancing if I was depressed? I wanted to die. ã§åœŒãã®å€ãã瀟äŒã®äžã§å± å ŽæãèŠã€ããã But I realized that the classes were doing me good and I decided to stay. I want to continue my studies â2008幎ãç§ãã¡ã¯ãã¥ãŒãšãŒã¯ã®å ¬ç«åŠæ ¡ã§åœç«ã to become an engineer.â ã³ã¹ç 究æãšããã³ã¹ãéããŠåŠã¶ãã®äº€æµãè¡ã£ãã æ¯ä»ãçµãã£ãåŸãç§ã¯åå ããäžåŠçãã¡ã«ãèªåã«
A qualitative and comparative evaluation be-
ãšã£ãŠãã³ã¹ãšã¯ã©ãããæå³ãæã€ãã ãšãã質åã tween schools with and without the program shows ããããšãã«ã®ãŒãèŠåŸã匷ããåæ°ã楜ãã¿ããšæ¬¡ã that the schools with Learning through Dance make ã次ãžçããè¿ã£ãŠãããæåŸã®ã²ãšããããçããã progress not only in group cohesion, with the reduc人çããšã圌ã¯ããã³ã¹ãéããŠåŠã¶ãããã°ã©ã ã®ã tion of violence this implies, but also in the developããã§ã ç¶èŠªã亡ããªã£ãã°ããã ãåŠæ ¡ãèŸããã«åŒ ment of logical-mathematical thought and verbal lanãã¡ã®é¢åèŠãæ¯èŠªãå©ããŠãããããšæ±ºå¿ã§ãããš guage skills and, most of all, in a new self-esteem,
ã¡ãã·ã³ã®ãªãºã é©åœ
39
A Rhythmic Revolution in Mexico
èªã£ãŠãããã ãæåã¯ææ¥ã倧å«ãã ã£ãã ããšåœŒã¯ which allows them to act differently in their schools èšã£ãã ãèœã¡èŸŒãã§ããã®ã«ãã³ã¹ã®ããšãªããŠã©ã or their families. èããããããã ïŒâ åã¯æ»ã«ãããã§ãåãã£ãã ã ãææ¥ãèªåã«ãšã£ãŠãããã®ã ã£ãŠããšããããã§
For the teachers of Learning through Dance, pro-
ãšã©ãŸãããšã«æ±ºããã åã¯ãšã³ãžãã¢ã«ãªãããã®å fessional musicians and dancers trained by ConArte, 匷ãç¶ããããšæãã ã the challenge is not only of a contextual, social or communicative nature, but rather of an artistic nature, âããã°ã©ã ãè¡ã£ãåŠæ ¡ãšè¡ããªãã£ãåŠæ ¡ãšã®é㧠which implies looking for resources to create phrases å®æœãã質çæ¯èŒè©äŸ¡ã§ã¯ã ããã³ã¹ãéããŠåŠã¶ãã and statements of movement and musical structures ãã°ã©ã ãè¡ã£ãåŠæ ¡ã§ã¯æŽåã®æžå°ã«ã€ãªããã°ã«ãŒ that the children can learn to construct. ãã®çµæã«é²å±ãèŠãããã ãã§ãªãã è«ççãã€æ°åŠ çãªèãæ¹ãšäŒè©±ã¹ãã«ãåäžãã ã»ãšãã©ã«ãããŠæ°
But the children and the classroom teachers
ããèªå°å¿ã®äžã åŠæ ¡ã家åºã§ä»ãŸã§ãšéã£ãæ¯ãèã dreamed of singing Mexican music and dealing with ããšããããã«ãªã£ããšããããšã ã conflict situations in the classrooms. In 2008 we created Ah what a song! Mexican Music in the School, â ããã³ã¹ãéããŠåŠã¶ãã®æåž«ãããã®ãã¥ãŒãžã·ã£ and with it, over 11 thousand choral groups in schools ã³ã ConArte ã§èšç·Žãåãããã³ãµãŒã«ãšã£ãŠãèª²é¡ throughout the country. In 2009 the Interdisciplinary ãšãªãã®ã¯ç¶æ³çã瀟äŒçãäŒéçãªæ§è³ªã ãã§ãªãã Program for Non-violence (PIVE) combined dance åãã®ãã¬ãŒãºãè¡šçŸã åã©ããã¡ãæ§æãåŠã¹ããã therapy, community psychology and intercultural ãªé³æ¥œçãªæ§æãšãããããèžè¡çãªæ¬è³ªã§ããã education to give teachers, artists, promoters and parents tools for coexistence in culturally diverse enâãããåã©ããã¡ãšã¯ã©ã¹ã®æåž«ãã¡ã¯ã ã¡ãã·ã³é³ vironments. 楜ãæãããšãã ã¯ã©ã¹ã®äžã®å¯Ÿç«çãªç¶æ ã察åŠãã ããšã倢èŠãŠããã2008 幎ãç§ãã¡ã¯ãããŠããªã¡ã ã·ã³é³æ¥œã»åŠæ ¡ç·šããäœãããããšãšãã«å šåœã®åŠæ ¡ã§ 11,000 以äžã®åå±ã°ã«ãŒããã§ããã2009 幎ã ãéæŽ
RedeseArte Culture of Peace In 2010, we tried, with no response from the Cityâs
åç·ååŠç¿ããã°ã©ã ã (PIVE/Interdisciplinary Pro- Departments of Culture and Education, to establish gram for Non-violence) ã¯ãã³ã¹ã»ã©ããŒãšå°åå¿ç RedeseArte Culture of Peace as a prevention program åŠãç°æåæè²ãçµã¿åãããæåž«ãã¢ãŒãã£ã¹ããã for the fringe areas of Mexico City where thousands ãã¢ãŒã¿ãŒã ä¿è·è ã«æåçå€æ§æ§ã®ããç°å¢ã®äžã§å ± of adolescents lack alternatives. åããããã®ããŒã«ãæäŸããŠããã ConArte had already opened La Nana, Creation
RedeseArte Culture of Peace
and Innovation Factory, reclaiming a building which used to house the former Salón México, which had an
2010幎ãã¡ãã·ã³ã·ãã£ã®æåæè²èª²ããã®è¿äºã important place in the urban imaginary. There proãªããŸãŸã å€ãã®è¥è ã«ãšã£ãŠéžæè¢ã®ä¹ããã¡ãã·ã³ fessional artists work with urban communities, imã·ãã£ã®åšèŸºå°åã®ããã®é²æ¢ããã°ã©ã ãšããŠã ç§ã migrants and other marginalized sectors. ã¡ã¯RedeseArte Culture of Peaceãèšç«ããããšããã Faced with the climax of violence in Ciudad âConArte ã¯ãã§ã«ãéœåžã€ã¡ãŒãžã®äžã§éèŠãªå Žæ Juarez, the Department of Social Advancement asked ã§ãã£ã以åã® Salón México ãå容ããŠãã建ç©ãå ConArte to implement the program in that city. We å©çšããŠãLa Nana åµé é©æ°å·¥æ¿ãããªãŒãã³ããŠã accepted, having previously talked with actors and ããããã§ã¯ããã®ã¢ãŒãã£ã¹ãããéœåžã®å°å瀟äŒã playwrights born in that city and with young people 移äœè ã 瀟äŒçã«åãæ®ãããé åãšãšãã«æŽ»åããŠã in conflict, who spoke of the place that denies them ãã
school and family, their city.
ã·ãŠããŒããã¡ã¬ã¹ã§ã®æŽåãæé«æœ®ã«éããããšã« Redesearte seeks to establish solid bases for a çŽé¢ãã瀟äŒæ¯èå±ã¯ ConArte ã«ããã®éœåžã§ããã° culture of peace, where theater, dance and music make ã©ã ãå®æœããããæ±ããã ç§ãã¡ã¯äºåã«ãã®éœåžåº it possible to symbolize the pain and also the feelings 身ã®åœ¹è ãåäœå®¶ãšããããŠåŠæ ¡ã家æãåžããèªåã of solidarity among populations that had never imagã¡ã¯æåŠãããŠãããšèªãã 察ç«ã®äžã«ããè¥è ãšã®è©± ined that artistic expressions would form part of their ãåããæã£ãããã§ããããåŒãåããã lives. âRedesearte ã¯ãèžè¡çè¡šçŸã圌ãã®äººçã®äžéšãšãª
ã¡ãã·ã³ã®ãªãºã é©åœ
40
Just as in Mexico City, we issued a public notice,
A Rhythmic Revolution in Mexico
ããšã¯æ³åãããŠããªãã£ã人ã ã®å€ç«æãçã¿ãã æŒ which said: âWanted, dancers, actors and musicians åããã³ã¹ãé³æ¥œã§è¡šåºã§ããããã«ãããå¹³åãšãã with love and passion to work with boys and girls from æåãã®ãã£ãããšããåºç€ãäœãããšããŠããã
the fringe areas of Ciudad Juarezâ.
ã¡ãã·ã³ã·ãã£ãšåæ§ã«ãç§ãã¡ã¯ãã·ãŠããŒããã¡ 120 actors, musicians and dancers from Ciudad ã¬ã¹åšèŸºå°åã®å°å¹Žå°å¥³ãšäœæ¥ããæ ç±ãšæã®ãããã³ Juarez participated, determined not to give up, they ãµãŒã圹è ããã¥ãŒãžã·ã£ã³åéããšããå ¬ç€ºãåºããã had to unlearn in order to learn, to be trained in ConArteâs methodologies: Urbedanza, Escenificarte, âã·ãŠããŒããã¡ã¬ã¹ã®åœ¹è ããã¥ãŒãžã·ã£ã³ããã³ Ah, What a Song! Mexican Music, and Young Peopleâs ãµãŒ120åãåå ããã決ããŠãããããªããšæ±ºæãã Groups and Music Ensembles, PIVE and began to give äžã§ã圌ã㯠UrbedanzaãEscenificarteãAh, What a classes in the community centers of the municipality Song! Mexican MusicãYoung PeopleïŸs Groupsã in that other Juarez that you donât hear about in the Music EnsemblesãPIVEãšããConArteã®æ¹æ³è«ã§åŠ news. ã³èšç·Žãåããããã ç¥èãæšãŠããšããããšãããªã ãã°ãªããªãã£ãã ãããŠãã¥ãŒã¹ã§ã¯ããŸãè³ã«ã㪠That is where Escenificarte was born, a program ãä»ã®ãã¡ã¬ã¹ã®åžçºæã«ããã³ãã¥ããã£ãŒã»ã³ã¿ãŒ that combines theatrical resources, from collective ã§æãå§ããã
plays where the children construct stories, characters, sceneries and scenographies and seek out their
ãã㧠Escenificarte ãšããããã°ã©ã ãçãŸããã audience, or otherwise work with alternative systems ããã¯ç©èªãç»å Žäººç©ã èæ¯ãåã©ããã¡ãæ§æããè of musical-rhythmic body movements to relate what å± ãéãããã®ã«æŒåçãªæ段ãçµã¿åãããŠèŠ³å®¢ã«èŠ would otherwise remain buried in their lives, makãããã®ãäœã£ããã ãŸãã¯é³æ¥œããªãºã ã«åãããå ing them sick with hatred, anger and the desire for ããšããããã²ãšã€ã®ã·ã¹ãã ã«åãçµãäžã§åœŒãã®ç revenge. âIf this program had arrived 30 years ago, 掻ã®äžã«åãããŠããŸã£ãŠãããã®ãé¢é£ã¥ãã ææªã my grandchildren wouldnât be deadâ some mothers æãã埩è®å¿ã«ããããããããšãããã®ã§ããã ãã said. ããã®ããã°ã©ã ã 30 幎åã«ãã£ãããç§ã®å«ã¯æ»ãª ãªãã£ããããããªãããšããæ¯èŠªãããã
Many stories have been told and acted out. One girl described how she escaped from being chased by
ããããã®ç©èªãèªãããæŒãããããã²ãšãã®å°å¥³ a drug trafficker in the desert. The teachers created ã¯ã ç æŒ ã§éº»è¬å¯å£²äººã«è¿œãããæã©ããã£ãŠéããã® the story of a felt-tip pen that was on the brink of ããèªã£ããæåž«ãã¡ã¯ãã€ã³ã¯ãåããŠçæ»ã®ç¶æ ã« death because it had run out of ink and how, after ãããã§ã«ããã³ãäœåºŠãæªãæ¹åã«åãããªãããæ heading in the wrong direction several times, finally åŸã«ã¯å°å¹Žã®æ¶ã«ãã£ãŠçããåžæãåãæ»ããšããç© a boyâs tear renewed its hopes of living. èªãäœã£ãã Other stories are happy or veritable ethical diâä»ã®ç©èªã«ã¯ãããããŒãªã¹ããŒãªãŒã®ãã®ãã察話 lemmas that find solutions in dialogue. It is the power ã®äžã§è§£æ±ºæ³ãèŠãã ããŠãããšããå®éã®æ°æçãžã¬ of the theater, capable of creating other possible ã³ããæ±ããã®ããããããããååšãåŸãããã²ãš worlds. ã€ã®äžçãäœãåºãããšãã§ããæŒåã®ãã¯ãŒãªã®ã§ ããã
Redesearte has spread to Nogales, Sonora and
Tapachula, Chiapas. We attend to over 8 thousand âRedesearte ã¯ããã¬ã¬ã¹ããœãã©ãã¿ããã¥ã©ãã boys, girls and adolescents in four cities and over 250 ã¢ãã¹ã«ãŸã§åºãã£ããïŒã€ã®éœåžã®éå°å¹Ž 8000 人 thousand in the educational system. ãšãæè²å¶åºŠã®äžã§ã¯25äžäººä»¥äžã«ç§ãã¡ã¯è³ãåŸã ãŠããã
We are facing an unusual movement for a medium where the artists have been working profession-
20 äžçŽã®åããããäºå®äžç€ŸäŒçãªã€ãªãããæã ally, with virtually no social bond, since the beginãã«ãããšããŠã¢ãŒãã£ã¹ãã掻åããŠãããã®ç°å¢ã ning of the XX century. å€ããç¬ç¹ãªéåãšç§ãã¡ã¯åããåã£ãŠããã Thanks to this, dance, theater and music have âãã®ãããã§ããã³ã¹ãæŒåãé³æ¥œããããããã®å entered into the hearts, minds and bodies of thouã©ããã¡ãéå°å¹Žã®å¿ãšèº«äœã«å ¥ã£ãŠãã£ãã圌ãã¯ã sands of children, adolescents and young people who 幞ãã§ããæš©å©ã ãšããããã²ãšã€ã®ããžã§ã³ã§æŽå²ã are writing their history with another vision: the right 綎ã£ãŠããã®ã§ãããâââââââïŒç¿»èš³ã»äœè€ããåïŒ to be happy.
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41
A Rhythmic Revolution in Mexico
æéãšç©ºéãåãæ»ã Taking Back Time and Space ããªã«ã»ãœã«ãã³
ãªã¹ããŒã®æäŒã®åã®è±æ One of thousands of greetings outside Oslo Cathedral.
by Toril Solvang
Photo RÞdt nyttŽs, 2011
Are there certain topics that theatre and performing art canât deal with and talk about? Are there taboos and political issues we as artists should not touch? When is the right time to work artistically with difficult issues like terror and catastrophes? ïŒ æŒåãèå°èžè¡ã«ãããŠåãäžããŠã¯ãããªãç¹å® How could this happen here?
æŒåãããžã§ã¯ãã®ã¿ã€ãã« Dramatikkens Performance project.
ã®ããŒããšãããã®ã¯ããã ãããïŒ ïŒ æã èžè¡å®¶ã觊ããŠã¯ãããªãã¿ããŒãæ¿æ²»çåé¡
On the 22/7 2011, Norway experienced something
ã¯ããã ãããïŒ that for most of us was unimaginable: 77 people were ïŒ ãããçœå®³ã®ãããªçŸå®ã®åºæ¥äºãèå°åããéã« killed by a terrorist. The questions above became relé©åãªææã¯ããã®ã ãããïŒ
evant and were discussed in the aftermath of this horrific attack.
ããªã«ã» ãœã«ãã³âToril Solvangãã«ãŠã§ãŒã®ãªã¹ã åžåšäœã®åäœå®¶ãæŒåºå®¶ãå€æ° ã®å ç«¥éå°å¹ŽæŒåäŒç»ãæã ããã圌女ãæãéèŠããã® ã¯ãåã©ããã¡ã®åéãå°æ¥ã® ããšã2012 幎ïŒæããªã¹ãåž ã§å®æœããããïŒæ 22 æ¥ãè å°èžè¡äŒç»ã«åå ã
â ã©ãããŠãããããã§èµ·ããã®ã ããïŒ
Toril Solvang is a playwright, dramaturge and director based in Oslo.She has worked with many theatre projects for children and young people, both as a writer and director. Her focus has often been on the childâs perspective. In January 2012 she took part in a performance project about the 22/7 events in Oslo.
殺害ããããã®ã»ãšãã©ã¯ãŸã åã©ãã ã£ãããã®ç¯äºº Norway was in shock. How could this happen here, ã¯ãæè²ã®ã€ã¹ã©ã ç³»ã®ãããªã¹ãã§ã¯ãªãã£ãã圌㯠in our democratic, open society? What made him do this?
One man bombed the Government building, and,
2011幎ïŒæ22æ¥ããã«ãŠã§ãŒã§æã ã®å€ããä¿¡ãã dressed as a policeman, killed 69 young people at the ããªããããªäºä»¶ãèµ·ããã77 人ããããªã¹ãã«ã㣠Labour Partyâs Youth camp. Most of them only kids. ãŠæ®ºå®³ãããã®ã§ãããäžèšã®åé¡æèµ·ã¯ããã®æ²æšãª The man was not a dark Muslim terrorist. He was a äºä»¶ã®ããšã§èšè°ããããã®ã§ããã white, Christian, Norwegian. He was one of us. And he âäžäººã®ç·ãæ¿åºã®å»ºç©ãçç Žãã ãããŠèŠå®ã®å¶æã was a mass murderer. The situation felt unreal. çãŠåŽåå äž»å¬ã®éå°å¹Žãã£ã³ãã«è¡ã69人ã®è¥è ã
çœäººã§ãããªã¹ãæåŸã®ãã«ãŠã§ãŒäººãã€ãŸãæã ã®äž Was he crazy? Was he evil? Was he alone? Was it a poã®äžäººã§ããã倧é殺æ®è ã ã£ãããŸãã«ä¿¡ããããªã litical act? At the time when I am writing this, the trial äºæ ã ã£ãã against the terrorist is in progress. Every day the media âãã«ãŠã§ãŒã¯ã·ã§ãã¯ç¶æ ã«é¥ã£ãã ã©ãããŠãã㪠report every detail from the courtroom. We are spared äºãããã§ã ãã®æ°äž»çã§èªç±ã§éæŸçãªç€ŸäŒã§èµ·ãã nothing. This is something the kids are exposed to. ã®ã ããïŒâç¯äººã¯æ°ãçã£ãŠããã®ãïŒâæªéãªã® ãïŒâå€ç¬ã ã£ãã®ãïŒâæ¿æ²»çç¯è¡ãïŒâç§ãããã Too soon to put on a performance? æžããŠããä»ãããã®ãããªã¹ãã®è£å€ãé²è¡äžã§ã ãããã¹ã³ãã¯é£æ¥ãå ¬å€ã®ç¶æ³ã詳现ã«å ±éããŠããã Earlier this year I was invited by the House of Drama â人ã¯çµ¶å¯Ÿå®å šãšããããšã¯ããããªãã ãããŠãã㯠in Oslo to put on a performance with acting students çŸåšåã©ããã¡ã眮ãããŠããç¶æ³ãªã®ã ã
from the Oslo National Academy of Arts. The heading was 22/7.
â èå°ã«èŒããã«ã¯æ©ãããïŒ There was uneasiness in our group about this. Some âä»å¹Žã®åãã«ç§ã¯éŠéœãªã¹ãã®ãã©ãã»ããŠã¹ã«äŸé Œ of us were sceptical about the topic and didnât feel very ãããŠã åœç«ãªã¹ãèžè¡ã¢ã«ãããŒã®åŠçãã¡ãšåãäœ happy about working with it. It was as if we felt disãããšã«ãªã£ãããã®ããŒãã¯ãïŒæ22æ¥ã ãã°ã«ãŒã gusted and awkward about the situation and that we ã®äžã«äžå®ãªç©ºæ°ããã ãã£ãã ãã®ããŒãã«çŽåŸã®ã didnât really want to get our hands dirty. We still did it. ããªãè ãäœäººãããŠããããªåãäœããããªãããã® We worked with it and put on a performance. äºä»¶ãèãããšã ã«ã€ããŠæ°åãæªããªãã ãã®åé¡ã« 觊ããããªãæ§åã ã£ãã ããã§ãç§ãã¡ã¯ãã®åãäœ
Many artists argued that it was too soon after the
ããããçã§åãçµãã§ãäžæŒããã event, although they were not categorically against theâèžè¡å®¶ã®äžã«ã¯ã ãæŒåã¯æ¿æ²»çåé¡ã«é¢ããã¹ã㧠atre dealing with political issues. ã¯ãªããšããèãæ¹ã«ã¯è³æããªããã ããããã®äºä»¶ They stated that time is one of the advantages of ãèå°åããã®ã¯ãŸã ææå°æ©ã ãšæãã ãšãã人ãå€ theatre as an art form, compared with the media, and ãã£ãã that that the terrorist attack and killings were such a â圌ãã®æèŠã«ããã°ãæŒåã«ãšã£ãŠæãšãããã®ã¯ã shocking catastrophe that we all needed time before we ãã¹ã³ãã®å Žåãšéã£ãŠãèžè¡è¡šçŸã®äžåœ¢åŒã§ãããä» could express anything about it at all.
æãšæãåãæ»ã
42
Taking Back Time and Space
åã®ãããªã¹ãã®äºä»¶ã¯ããŸãã«ãã·ã§ããã³ã°ãªæ²æš This, however, was not what our uneasiness was ãªåºæ¥äºã ã£ãã®ã§ã ãããèå°ã§è¡šçŸããã«ã¯ãã£ãš about. On the contrary. å åãªæéãå¿ èŠã ãšããã®ã§ããã âãããã ããã¯ç§ãã¡ãæåã«æããäžå®ã§ã¯ãªã㣠Theft. ãããŸãã«ãã®éã ã£ãã We discussed the word theft. We saw it as if the â çãŸãããã® terrorist had stolen from us. He took away lives. But he âç§ãã¡ã¯çé£ãšããèªã«ã€ããŠèšè°ããã ãã®äºä»¶ã¯ also stole time, space and energy from other important ãããªã¹ããç§ãã¡ããäœãã奪ãåã£ããšèãããã issues. We felt disgusted by the paradox that this man, ã ã圌ã¯äººã®çåœã奪ãåã£ãããããŠäººã ãä»ã®åé¡ who felt he was ostracised by the social democratic Norã«æ³šãã¯ãã ã£ãæéã空éããšãã«ã®ãŒãã奪ãå»ã£ way and demanded attention through a gruesome act, ãã®ã ã ç¯äººã¯èªåãæ°äž»çãªãã«ãŠã§ãŒã®ç€ŸäŒããè¿œ was now given what he wanted: publicity. And now we æŸããããšæããŠã ãã®æãããè¡çºã«ãã£ãŠäžéã®æ³š were to give him even more attention? We did not like ç®ãæ¹ããããšããæ®å¿ãªèšç»ãå®è¡ãã æããšããã® that situation. Even so, we did it. çµæãåŸãŠè¡ç®ã济ã³ãã ãããããã«èå°åããŠãªã äžå±€ã®æ³šç®ã圌ã«äžããŠãããã®ããšããéåæãç§ã ã¡ã®äžã«ãã£ããã§ãåãäœã£ãã
The fact that he did what he did, for reasons unknown to us, the fact that he killed many young people, was true and not something we could escape.
圌ãä»äººã«ã¯ç解ã§ããªãçç±ã§èªåã®æã£ããŸãŸã We talked about how Norway and the prime minisãå®è¡ãã å€æ°ã®è¥è ã®åœã奪ã£ããšãããã®çŒåã®äº ter dealt with the shock and the terror. The message å®ããã誰ãç®ããããããšã¯ã§ããªãã was that we were to fight this through more democracy, âç§ãã¡ã¯ãã«ãŠã§ãŒãšãã®éŠçžãã ãã®ããè¡çºãšã more openness. We addressed whether it was right or ã®ã·ã§ãã¯ã«ã©ã察åŠããã®ã泚ç®ããã 圌ãããçºè¡š not that the terror had opened our eyes and awoken us ãããã¡ãã»ãŒãžã¯ã ãæã ã¯ä»ããããäžå±€ã®æ°äž»äž» from our naïve view of ourselves and our country as al矩ãšéæŸæ§ããã£ãŠãã®äºæ ãšéããããšãããã®ã§ most perfect and the assumption that we had become ãã£ãããã®äºä»¶ã«ãã£ãŠç§ãã¡ã¯ãæã ãšæãåœã«ã¯ more empathetic because of it. ã»ãšãã©æ¬ ç¹ããªããããããã«äºãã«çµæããŠãã What consequences should this have for us as huãšããå šãåçŽãããçºæ³ããç®ãèŠãŸãããæãã man beings and artists? ããã We decided to take the prime ministerâs words seriâãã®çµæãšããŠãç§ãã¡ã¯äžäººéãšããŠãäžèžè¡å®¶ãš ously, to open ourselves and achieve more knowledge. ããŠäœããªãã¹ããïŒ Another motivation was to take back something the âç§ãã¡ã¯éŠçžã®ã¡ãã»ãŒãžãçå£ã«åããšããŠã å¿ã terrorist had stolen from us. éããããå€ãã®ç¥èã身ã«ã€ããããšæ±ºå¿ããã âããã«ããäžã€ã ãããªã¹ããç§ãã¡ãã奪ãå»ã£ã ãã®ãåæ»ãããšãæéãšç©ºéãåæ»ãããšèããã
We wanted to take back time and space. Open our eyes even more.
â ãã£ãšç®ãéã㊠The result of very long discussions among ourselves âé·æéã«ãããç§ãã¡ã®ã°ã«ãŒãã®èšè°ã®çµæã èªå was a decision that we wanted to do something, to find ãã¡ãç¥ããªãã£ãããšãçºèŠããããã«äœãè¡åãã¹ out something we didnât know. To get knowledge, and ãã ãšããçµè«ã«éããããã£ãšç®ãéããç¥èãåŸã open our eyes even more. We researched different topics ãã ç§ãã¡ã¯ããããå人çã«éèŠã ãšæãããŒããèŠ that we as individuals thought important. Then we preã€ããŠãã°ã«ãŒãã®äžã§çºè¡šããããšã«ããããããŠã pared a speech for the others in the group. We voted on ã®äžããä»åŸç¶ç¶ããŠèª¿æ»ãããããŒããæ祚ã§éžã¶ã which topic we wanted to continue to work with. A mini ãšã«ããããããŠéžã°ããããŒããããã«ãŠã§ãŒã®æŠåš democracy in practice. ç£æ¥ãã§ãã£ãã
The vote fell on Norwayâs weapon production.
ç§ãã¡ã¯ãã«ãŠã§ãŒãäžç第ïŒäœã®æŠåšçç£åœã§ãã It didnât really shock any of us that Norway is the ãšããäºå®ãç¥ã£ãŠãããŸãé©ããªãã£ãã ãšã¯ããã sixth biggest producer of weapons in the world. Still, this ã¹ã³ãã¯ãã®äºå®ãããŸãåãäžããŠããªããããã is under-communicated in the media, and a big paradox ããŒãã«å¹³åè³äž»å¬åœã®ãã«ãŠã§ãŒã¯å¹³ååœå®¶ãšããŠäž considering Norway gives the Nobel Peace Prize and çã«ç¥ãããŠãããããã«ã¯ããªã倧ããªççŸãããã therefore is looked upon internationally as a peace-lovâç§ãã¡ã¯æŠåšçç£ã®æ°å±éãšãã®ç§åŠæè¡ã®æå 端ã ing nation. 調æ»ããããšã«ããããããŠãŸãã§SF æ ç»ã®äžã«ãã ãããªä¿¡ããããªãç¶æ³ãçªãã€ããããã ããã¯ãã®
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We dived into researching the new developments in
Taking Back Time and Space
weapon production and the extreme technological progress in the business. It gave us a feeling of unreality and the impression that we are living in a Science Fiction movie. It was a similar unreality we felt towards the whole 22/7 situation. The research we did made us realise that there is a fine line between civilisation and hellish mayhem. The world and politics seemed so absurd that we questioned the whole concept of civilisation. Surveillance. äºä»¶å Žæã§ããåŽåå äž»å¬ã® éå°å¹Žãã£ã³ãéå¬å°ããŠã ã€å³¶ UtÞya, the place of the attack on the Norwegian Labour Partys youth camp. Photo . Paal SÞrensen , 2011
In the final performance Surveillance we mixed texts from the web sites of Norwegian weapon production comïŒæ 22 æ¥ã®æãšåãé©ãã¹ãå°è±¡ã§ãã£ãããã®èª¿æ» panies with fiction. We re-enacted and filmed live scenes ãæããã«ããããšã¯ã ææãšå°ççç Žå£ã®éã«ã¯æçœ from the movie The Matrix replacing the actors with ãªäžç·ã®åºåãããããšããããšã§ããã äžã®äžãæ¿æ²» silly toys. The room was dark and we hid inside a cupã«ã¯ããªãäžåçãªé¢ãããã ç§ãã¡ã¯ææãšã¯äœãã board, as if we were inside a spaceship going nowhere. On all levels we worked with mixing fiction and reality. ããäžåºŠåãçŽãããšã«ããã It is hard to analyse a performance I myself was a â èŠåŒµã part of. âåãèŠåŒµããã®æçµå ¬æŒã§ãç§ãã¡ã¯ãã«ãŠã§ãŒå µåš Whether the performance was good, had an effect çç£äŒç€Ÿã®ãŠã§ããµã€ããç§ãã¡ã®èæ¬ã®äžã«åã蟌ã ã ãæ ç»ãæ¯äœãã®äžã®æ°å Žé¢ããå€ãªç©å ·ããã£ã俳 on the audience, was interesting or not, I will leave for åªãæŒããããšãè©Šã¿ãã ç§ãã¡ã¯éšå±ãæãããŠæžæ£ others to decide. But I am convinced the project was necã®äžã«é ããè¡ãå ã®ãªãå®å®è¹ã®äžã«ããå Žé¢ãæŒ essary and political per definition. Our internal discusãããå šäœçã«çŸå®ãšç©ºæ³ãšãæ··ãããããè©Šã¿ãæš¡ sions leading to the result were certainly a political education and made us more aware of all that we donât know âèªåèªèº«ãåå ããåãåæãæ¹è©ããããšã¯é£ã and is hidden from us. ããäžæŒãããŸããã£ãŠã芳客ã«åã°ãããšããŠããã Our performance was part of a trilogy all under the ã®æ¹è©ã¯ä»äººã«ä»»ããããšæãã ãããä»åã®äŒç»ã¯å® 玢ããã
æœãã¹ãå¿ èŠæ§ãããã åé¡äžã¯æ¿æ²»çãªãã®ã§ãã£ã same heading (22/7). A long discussion followed where the time factor was ãšç§ã¯æã£ãŠãããç§ãã¡ã®ã°ã«ãŒãå ã®èšè°ã¯ãã çµæããããããŠãäžçš®ã®æ¿æ²»çæè²ãšãªããç§ãã¡ brought up. Is it possible at all to talk about this event? ã®ç¥ããªãããšãé ãããŠããäºå®ãçºèŠããããšã« The fact that we actually did so proves it is possible. Does terror change art and us as artists? What responsibility âç§ãã¡ã®å ¬æŒã¯ã ãïŒæ22æ¥ããšããã¿ã€ãã«ã®äžéš do performance artists have? Do we have moral responsibilities? äœã®äžéšã§ããã ãæéãã®åé¡ããã¡ããã£ãŠãé·ã ãªã£ãã
èšè«ãç¶ããããã®äºä»¶ãä»åãäžããããšã¯å¯èœãã åŠãïŒâç§ãã¡ã®å ¬æŒã«ãã£ãŠã ããã¯å¯èœã§ããããš Crisis as an everyday experience. ãå®èšŒããããããè¡çºã¯ãèžè¡ãããããŠç§ãã¡èžè¡ 家ãå€ããã ãããïŒâèå°èžè¡å®¶ãšããŠãªãã¹ãããš ã¯äœã ããïŒ
The true victims of war are civilians and very often children. Kids are experiencing war in many places on
the planet right now. War is the biggest thief. Not only does it steal lives but also the future from children. We â æ¥åžžäœéšãšããŠã®å±æ© âæŠäºã«ãããŠçã®ç ç²è ã¯äžè¬åžæ°ã§ããã ãã®å€ã must fight against the theft of hope. I think it is here ã®å Žååã©ããã¡ã§ããã ä»çŸåšãå°çäžã®å€ãã®å Žæ that performance art has a big responsibility. ã§åã©ããã¡ãæŠäºã«èŠããã§ããã æŠäºããã¯æ倧㮠In the private lives of kids, crisis is an everyday expeæ³¥æ£ã§ããã ããã¯åœã°ãããåã©ãã®æªæ¥ãã奪ã£ãŠ ããã ç§ãã¡ã¯åžæã奪ã£ãŠãããã®ãšéããã°ãªã㪠rience. Why should we not deal with it in the theatrical ããèå°èžè¡ã®å€§ããªè²¬åã¯ããã«ãããšç§ã¯æãã space? I do not claim that the theatre can repair the psyâåã©ããã¡ã®æ¥åžžç掻ã«ãããŠã å±æ©ã¯ããããšãã chological damage caused by natural disasters and war. ã«ååšããã ç§ãã¡ã¯æŒåãšããå Žã§ãããšåãåãã¹ It cannot bring back the dead. It cannot save the world. But it can teach us to see the darkness within ourãã æŒåã«ãã£ãŠçãã¹ãã ãšäž»åŒµããŠããããã§ã¯ãª selves. We can look at it together and mirror ourselves. ãã§ã¯ãªãããç§ã¯èªç¶çœå®³ãæŠäºã«ããå¿çç被害
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Taking Back Time and Space
ããæŒåãæ»è ãçãè¿ãããããšã¯äžå¯èœã ããäžç It can make the audience come together and learn to be ãæãããšãã§ããªãã more empathetic. The theatre is an emotional and intelâãããæŒåã¯ç§ãã¡èªèº«ã®äžã®æé»é¢ãæããŠãã lectual arena where time is indeed an important factor. ããçã§åãèŠãŠãèªåèªèº«ãé¡ã«æ ãããã«çºããã In the media, which are never objective, information comes ãšãã§ããã芳客ãéãŸã£ãŠãå ±ã«æ°æã¡ãåãã¡ãã at a high speed. In general, young people today live at ããšãã§ããã very high speed. They are exposed to information everyâæŒåã¯ãæãéèŠãªèŠå ãšãªãææ çãç¥çãªå Žãæ where and at all times. The theatre cannot compete with äŸããããã¹ã³ãã®åéã¯æ±ºããŠå®¢èŠ³çã§ãããããæ that. But maybe the theatre can act as a counterbalance å ±ããããæ©ãã§é£ã³äº€ã£ãŠããã ä»æ¥ã®è¥è ãã¡ã¯äž and look at something in depth and from many angles. è¬çã«æ©ãã¹ããŒãã®äžã§çããŠããã 圌ãã®åšå²ã¯ã ã€ãããããå Žæã§æ å ±ãããµããŠããã æŒåã¯ãããš Performing art can ask questions and make the au競ããããã®ã§ã¯ãªãã ãããæŒåã¯ãããåãåãã dience ask questions. It has no obligation to give facts, ãäœçœ®ã«ãã£ãŠã ç©äºãããæ·±ãå€æ¹é¢ã®è§åºŠããçºã but a responsibility to be brave and to communicate with ãåããããã the audience. The meeting is, in my view, a political act âèå°èžè¡ã¯èªã質åãæãããã 芳客ã«ã質åãæ±ã in itself. It embodies expressions similar to the manifesããä¿ãããšãã§ããã äºå®ã®çºè¡šãå¿ ãããæŒåã®çŸ© tations and demonstrations, like the rose marches we åã§ã¯ãªãã åæ°ããã£ãŠèŠ³å®¢ãšäº€æµããããšãããã have seen in Norway after the terror. People meet and ã®è²¬åã§ããã éãŸãããšããèªäœãæ¿æ²»çè¡çºã§ãã do something that is meaningful for a limited time in a ãšç§ã¯æãã ããã¯ãã«ãŠã§ãŒã«ãããŠãã®ããäºä»¶ã® specific space. But you have to be there at that time. You ããšè¡ãããŠãããã©è¡é²ïŒããŒãºã»ããŒãïŒã®ããã«ã cannot experience it on the Internet. It wouldnât mean æèŠçºè¡šã®ãããã§ã¹ãã瀺åšè¡åã䌎ã£ãŠããã 人ã the same then. So still, theatre, like these manifestaã¯éãŸã£ãŠã éãããæéãšç©ºéã®äžã§æ矩ã®ããè¡å tions, is a live experience, which I consider extremely ãå±éããã ãããããªãã¯ãã®æéã«ãã®å Žã«ããªã important for young people and children today and for ãã°ãªããªããã€ã³ã¿ãŒãããã§ã¯äœéšã§ããªããæŒå all of us. ããããšåæ§ã«çã®äœéšã§ãããããã¯ç¹ã«ä»æ¥ã®è¥ Like life, performing art has a time limit. It is here, è ãåã©ãããããŠç§ãã¡ãã¹ãŠã«éåžžã«éèŠãªããšã it is now. This is a cliché. But it is true. ãšç§ã¯èããã â人çãšåæ§ãèå°èžè¡ãä»ãã®æããã®å Žã§ãšããå¶ Can theatre prevent real bombs? çŽãããã Can the theatre be an outlet for dark forces? We are â æŒåã¯å®ç©ã®ç匟ãé²ããã all both good and evil. They exist in all of us. The danger âæŒåã¯æé»å¢åã®ã¯ãå£ãšãªããããïŒâç§ãã¡ã¯ is when we donât acknowledge this, and look at evil as çãåãšæªã®äºé¢ãæã£ãŠãããå±éºãªããšã¯ãç§ãã¡ something alien to us. We are the good guys; the bad ããããããèªèããŠããªãããšã§ããã æªãèªåãšã¯ ones live somewhere else and look different from us. The ããé¢ããé ãååšãšèããŠããç¹ã«ããã æã ã¯è¯ã terrorist act of 22/7 taught us the opposite. 人éã ãæªè ã¯ã©ããé¢ããæã«äœãã§ããŠãèŠãç®ã éã奎ãã ãïŒæ22æ¥ã®ããäºä»¶ã¯ããã®èãæ¹ãã²ã£ Kids constantly play out situations in order to deal ããè¿ããã with real life drama. So does the theatre. Can theatre in âåã©ãã¯ãã€ãå®ç掻ã®ãã©ãã®äžã§ããã°ã£ãŠçã this sense prevent real bombs? Can it prevent terrorist ãŠãããæŒåãåæ§ã§ããããã®æå³ã§ãæŒåã¯æ¬ç©ã® attacks? Can it solve conflicts and economic depression? ç匟ãé²ããã ãããïŒâãããªã¹ãã®æ»æãé²æ¢ã§ã I donât know. I think not. ãã ãããïŒâçŽäºãçµæžäžæ³ãæ¢ãããããïŒâç§ã« But I believe art has a strong capacity as an agent ã¯ããããªãããã¶ãã§ããªããšæãã for change. If not on a sudden, explosive level, like a real âãããèžè¡ã«ã¯å€é©ã®éè¡è ãšããŠã®åŒ·ãèœåããã bomb, it changes in a more subtle and humanistic way. ãšç§ã¯ä¿¡ããŠããã ããã¯å®éã®ç匟ã®ãããªççºå㯠It can be like a little bomb. It can implode instead of ãªããããã人éçã§è³¢æãªææ³ã®ãå€ç Žã§ãªãå ç Žã® exploding. å°åç匟ã ã âå±æ©ã®æ代ã«èžè¡ã¯ãã£ããéèŠãšãªããåã©ããã¡
In times of crisis, art is more important than ever.
ã«å¿ èŠãªãã®ã¯ãçŸå®éé¿ã®äœã話ãªã©ã§ã¯ãªããèªå Children do not necessarily need fiction to escape realãæ ãé¡ããèªåã®äžã«ããä»è ãæªéããããªå¥Žãšåº ity, but a place to mirror themselves, to meet themselves äŒãå Žæã§ãããææã¯æãå±éºãªæ¿æ²»çéå ·ã§ããã as The Other, the gruesome, the evil, the dark forces ãããšæŠãããã«ãç§ãã¡ã¯éãŸã£ãŠè©±ãåãå Žæãå¿ within. Fear is the most dangerous political tool. To fight èŠã ããããŠè¡åããããæéãšç©ºéãåãæ»ãããã«ã this, we need room to talk and meet. And act. To take ïŒç¿»èš³ã»ååæ¿åïŒ back time and space.
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Taking Back Time and Space
çºå±ã®ããã®æŒå èå°èžè¡ã«ãããæåæ¿çã®èª²é¡
Theatre for Development A Challenge to Cultural Policies in the Performing Arts
ãŠã©ã«ãã¬ã³ã°ã»ã·ã¥ãã€ã㌠by Wolfgang Schneider
ãŠã©ã«ãã¬ã³ã°ã» ã·ã¥ã〠ããŒïŒ»Wolfgang Schneider ãã«ãã¹ãã€ã 倧åŠã®æåæ¿ çåŠéšé·ãã¢ã·ããžïŒåœéå ç«¥ éå°å¹ŽåäŒïŒåèªäŒé·ãã¢ã·ã ãžãã€ãäŒé·ã Professor Dr. Wolfgang Schneider is Director of the Department for Cultural Policy at the University of Hildesheim, Chairman of ASSITEJ Germany and Honorary President of the International Association of Theatre for Children and Young People.
äžçäžã§ãçºå±ã®ããã®æŒåïŒTheatre for Develop- What we need is a Cultural Policy to support Theatre mentïŒ ãããµããŒãããããã«ã芳客ããã³åœ¹è ãšã㊠for Development all over the world, to make it posèå°èžè¡ã«é¢ããæš©å©ãåã©ãã²ãšãã²ãšããæãŠãã sible that every child has the right to take part in the ãã«ããããã«å¿ èŠãªã®ã¯ãæåæ¿çã§ããã
Performing Arts - as a spectator and as an actor!
æåãšæ¿æ²»ã¯åºãåéã§ããã äž¡æ¹ãšãç掻ã圢ã¥ã
Culture and politics is a broad area. Both are im-
ãäžã§å åšããŠãããäž¡è ã®éãã¯ãäž»ãšããŠã©ã®ãã manent in shaping life. They primarily differ in the quesã«è¡ãã®ãããšããç¹ã§ãããããã ã¢ãããªã®ãã tion of how to do this: from the bottom up or from the top ãããããŠã³ãªã®ãããšããããšã§ãããæåãšã¯ã down? Culture is a field of activity characterised by people 人ã ãéãŸããšããããšã«ç¹åŸŽã¥ãããã掻åã®ã²ãšã€ coming together. Itâs all about cultural experiences, creã®åéã§ãããããã¯æåçäœéšãåµé çããã»ã¹ãè¡š ative processes and cultural forms of expression. But çŸã®æåçãªåœ¢ã«é¢ãããã¹ãŠãªã®ã§ããã ãããæå culture is also an area of action. A number of different ãšã¯ãŸããè¡åã®ã²ãšã€ã®åéã§ããããããããæå actors are involved in any cultural exchange. They cre亀æµã«ãããŠãæ§ã ãªåœ¹è ãæ°å€ãé¢ãã£ãŠããã圌ã ate infrastructures and their cultural offers create deãæ§é åºç€ãäœãã圌ãã®æåçææ¡ãéèŠãäœãã瀟 mands. One of the duties of societies is to promote this äŒã®çŸ©åã®ã²ãšã€ã¯ããã®çºå±ãä¿é²ãããããšã§ã development. In this way culture also becomes an area ãããã®ããã«ããŠãæåããŸãæ¿æ²»ã®åéãšãªãã®ã§ of politics. Both public support and civil society are reãããå ¬çæ¯æŽãšåžæ°ç€ŸäŒã®åæ¹ããæåæ¿çã圢äœã sponsible for shaping cultural policies. Each has its own ããšã«é¢äžããŠããããã®ããããããæåãç¹æ ãã different reasons for creating frameworks that allow culãæ çµã¿ã圢äœãããã«ã åã ã®éãçç±ãæã£ãŠããã ture to flourish. âæ¿æ²»çãªå¿ èŠæ§ãšåçãªå¯èœæ§ãã ã©ã€ãããã©ãŒã
Political necessity and dramatic potential have cre-
ã³ã¹ã§éçºããŒã«ã䜿ããšããæŒåãäœãåºããã ãçº ated a theatre that uses development tools in live perforå±ã®ããã®æŒåïŒTheatre for DevelopmentïŒ ãã¯ãå³ mances. Theatre for Development can be a kind of parèãä¿ããŠèŠ³å®¢ãå ¬æŒã®äžã§äžåœ¹ãæ ãããã«ããã å ticipatory theatre that encourages improvisation and å åã®æŒåãšãèšããããããã¯èŠ³å®¢ã芳ãŠããäžã§ã audience members to take roles in the performance. Alå®å šã«å°è©ã䜿ã£ãŠæŒåºããããã«ãã§ããã ã¢ãŠã°ã¹ ternatively it can be fully scripted and staged, with the ãã»ãã¢ãŒã«ã¯ã ã被æå§è ã®æŒåïŒTheatre of the audience observing. Augusto Boal set up his Theatre for OppressedïŒ ããšããŠåœŒã®ãçºå±ã®ããã®æŒåãããã© Development in Brazil as a âTheatre of the Oppressedâ, ãžã«ã«èšç«ãããããã»ã ã©ãã¯ãããªãã¯ããŒãã£ã³ Penina Mlama brought Theatre for Development into ã°ãšãã圢åŒã§ãçºå±ã®ããã®æŒåããã¿ã³ã¶ãã¢ã® the villages of Tanzania in a public meeting format, æã ã«ãããããã¢ãŒãã³ã»ã¢ã¬ã·ã§ãŒã¯ãã€ãã®ã° Mohan Agashe adopted plays from the German Grips ãªããã¹ã·ã¢ã¿ãŒïŒGrips TheatreïŒãã€ã³ãã«åãå ¥ Theatre for India and established Theatre for DevelopããŠåã©ããã¡ãšã®ç€ŸäŒèšè«ã®ããã®ãã©ããããŒã ãš ment as a platform for social debates with children. ããŠãçºå±ã®ããã®æŒåããåµèšããã âTheatre will always be involved in development. â ãæŒåã¯åžžã«çºå±ã«é¢äžããã ãããAIDS ã®æ å ±ã Whether it is used to spread information about AIDS or åºããã瀟äŒçãªæèã人ã ã«ãããããåã«èžè¡ç㪠to make people socially aware, or simply as a form of èªå·±è¡šçŸã®åœ¢ãšããŠäœ¿ããªã©ã ã©ã®ãããªåœ¢ã«ãã芳客 artistic self-expression, the message given to the audiã«äžããã¡ãã»ãŒãžã¯ã çå£ã«æŒåãäœãè ã²ãšãã²ãš ence is always the most important premise for every seãã«ãšã£ãŠãåžžã«æãéèŠã§ããã ããã³ã¯ã»ãã¥ãžã§ rious theatre maker.â Henk Tjon is Surinamâs best-known ã³ã¯ã¹ãªãã ã®æãããç¥ãããæŒåºå®¶ã§ã ã«ãªãæµ·å° theatre director and played an active role in the cultural åã®æåæ¿çã«ãããŠç©æ¥µçãªåœ¹å²ãæããã人ç©ã§ policy of the Caribbean region. ããã
âAs an active theatre maker in a post-colonial envi-
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Theatre for Development
äžçå ç«¥éå°å¹ŽæŒåããŒ2012ãã¿ã³ã¶ãã¢ã®ãã¬ã¢ãš èå°èžè¡ç 究æã»ã¿ã¹ãã¢åå Žã§ã®çè ïŒäžå€®ïŒ ã代衚 ãžã¥ãã»ãã«ãªïŒå³ïŒ ãèžè¡ç£ç£ã³ã¯ã¯ãã»ã°ãã³ã¬ãµ ãã©ïŒå·ŠïŒãšãšãã«ã The Celebration of the World Day 2012 for Childrenâs and Young Peopleâs. Theatre at the Tasubaa, Bagamoyo Institute for the Performing Arts in Tanzania: Principal Juma Bakari (right), Artistic Director Nkwabi Nghangasamala(left), ASSITEJ Honorary President Wolfgang Schneide(Germany) . Photo: Daniel Gad
ãæ€æ°å°ç¬ç«åŸã®ç°å¢ã®äžã§ç©æ¥µçã«æŒåãäœãè ãš ronment, you really have no choice in what kind of theããŠã ã©ã®ãããªçš®é¡ã®æŒåãäœãããšããããšã«ãã atre you make. You will always want to bring people ãŠã¯æ¬åœã«éžæè¢ããªããèªåã®äœåã§äººã ãéãã人 together with your work and to stimulate exchange and ãšæåã®éã®äº€æµãçµæãä¿ããããšåžžã«æãã ããã cohesion between people and their cultures. Naturally, å¿ ç¶çã«èªåã®åœåº§ã®ç°å¢ã§èªåã®äœåã倧ãã決ãŸã your immediate environment will determine your work ãã 西æŽã§æŽ»åããŠããªããã¹ãŠã®æŒå補äœè ã«å ±éã to a significant degree, but what all theatre makers who ãŠèšããããšã¯ã 圌ãã¯æ®æ®µãšãªãŒãã®ããã«ä»äºãã do not work in the West have in common is the fact that ãŠããã®ã§ã¯ãªãããšããããšã§ããã掻åããã®ã〠they are usually not working for the elite. Whether you ã³ãã§ããããšããŠã¬ã³ãã§ããããšãã¹ãªãã ã§ãã are working in India, Uganda, Suriname or Ecuador, ããšããšã¯ã¢ãã«ã§ããããšãæŒåã¯ç€ŸäŒã®äžå¿ã«ã theatre is in the middle of society. That is also what gives ãããã®ããšãããæŒåã®è¡šçŸåãå€ããããããã®ãª it a lot of its expressive power.â (www.powerofculture.nl) ã®ã§ããã ã (www.powerofculture.nl) Theatre for Development is more than simply makâ ãçºå±ã®ããã®æŒåãã¯ãåã«èå± ãäœã£ããæŒãã ing and performing plays. It gives target-group repreãããããšã«ãšã©ãŸããªããããã¯ã察象ã°ã«ãŒãã®ä»£ sentatives â who typically develop and perform the plays è¡šè ïŒå žåçã«ãã®èå± ãäœã£ãŠæŒããè ïŒã«ãèªåã â the opportunity to tell their own stories and address ã¡ç¬èªã®ç©èªãèªãã 圌ãã«é¢ä¿ã®ããäºæã«åãçµã matters that are relevant to them. While developing the æ©äŒãäžããŠãããèæ¬ãäœã£ãŠãããšãã«ã圹è ã¯èª plot, the actors start analysing their own situation. Afåãã¡èªèº«ã®ç¶æ³ãåæãå§ããã ãã®ããã©ãŒãã³ã¹ ter the performance (first in their own community, posã®ããšïŒæåã¯èªåãã¡ã®ã³ãã¥ããã£ãŒã§è¡ããã»ã sibly repeated in other settings), this analysis is extended ã®ç°å¢ã§ãå床è¡ãããããšãããïŒ ã以äžã®ãããªè³ª to the audience by posing questions like: Why did the åãæããããããšã«ãã£ãŠãã®åæã芳客ã«åºãã£ãŠ lead character act in the way he/she did? What could he/ ããââã©ãããŠäž»åœ¹ã¯ãã®ãããªæŒæãããã®ã ã she have done differently? What can we ourselves do to ãïŒâ圌ïŒåœŒå¥³ã¯éãããã«æŒããããã ãããïŒ â prevent or solve such situations? This debate forms the ç§ãã¡ããã®æ§ãªç¶æ³ãé¿ãããŸãã¯è§£æ±ºããããã« springboard for the next stage: planning participatory ã¯ãäœãã§ããã ãããïŒâãã®èšè«ãã次ã®æ®µéã€ãŸ action. ãåå ã¢ã¯ã·ã§ã³ãäœãããã®ãããå°ã圢æããã The Theatre for Development Centre in Nigeria âãã€ãžã§ãªã¢ã®ãçºå±ã®ããã®æŒåã»ã³ã¿ãŒãã¯ãã defines its fundamental philosophy in this way: âTheã®åºæ¬çãªèãæ¹ããã®ããã«å®çŸ©ããŠããã ãçºå±ã® atre for Development is a powerful tool for triggering ããã®æŒåã¯ãã¿ããŒã«é¢ä¿ãããããã¯ã察ç«ç¶æ ã dialogue on sensitive matters such as taboo-related topæ§å¥ãæ°æãå®æã«åºã¥ãäžå¹³çãªã©ã®ã ããªã±ãŒã㪠ics, conflict situations and inequalities based on gender, äºæã«ã€ããŠã®å¯Ÿè©±ã®ãã£ãããäžããå匷ãããŒã«ã§ ethnicity or religion. Drama techniques such as mirrorããããã©ãŒã€ã³ã°ïŒé¡ïŒ ãèªåŒµè¡šçŸãå²ç¬ãªã©ã®æŒå ing, exaggeration, and ridiculing can help to put daily
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Theatre for Development
ãã¯ããã¯ã§ãæ¥åžžã®èª²é¡ãèŠéã«å ¥ããå€åãããã challenges into perspective and transcend hurdles for ã®ããŒãã«ãè¶ ããã®ãå©ããããšãã§ããã èªåèªèº« change. By inviting people to act out their own solutions ã®è§£æ±ºæ³ãã¹ããŒãžäžã§æŒããããã«ä»åããããšã« on stage, alternatives can be collectively visualised and ãã£ãŠã代ããã®æ¹æ³ãç·åçã«èŠèŠåãããå ±åææ community ownership enhanced.â (www.tfdc-ng.org) ã匷åãããã ã (www.tfdc-ng.org) Participatory learning is also part of Theatre for Deâåå åã®åŠç¿ã¯ãåã©ãªã¹ã§ã¯ãçºå±ã®ããã®æŒåã velopment in Northern Laos. Mobile theatre teams are ã®äžéšã§ãããã移åããæŒåããŒã ããåã©ãªã¹ã®æ creating entertainment and learning opportunities for ã®å°å瀟äŒã®ããã«ãšã³ã¿ãŒãã€ã¡ã³ããšåŠã³ã®æ©äŒã village communities in Northern Laos. By involving loäœã£ãŠãããå¥åº·ãè¬ç©ä¹±çšãæè²åé¡ã«ã€ããŠã®åæ¹ cal people in interactive theatrical performances on ååã®æŒåããã©ãŒãã³ã¹ã«å°åã®äººã ãé¢äžãããã health, drug abuse and education issues, they are creatãšã«ãã£ãŠã åµé çãªéå£åŠç¿ãšèªå·±è¡šçŸã®ããã®å Žã ing a forum for creative collective learning and self-exäœãã æã®äººã ã®åšãã§èµ·ããŠãã瀟äŒçå€åã圌ãã pression and helping villagers make sense of the social ç解ããã®ãå©ããŠãããïŒã€ã®æŒåããŒã ã¯ãïŒã€ã® changes around them. Five theatre teams represent five äž»èŠãªå±±å²³éšæãšåã©ãªã¹æåã®ãã°ãããå€æ§æ§ãè¡š of the main hill tribes and the amazing cultural diverããŠããããã±ãªçã®ã«ã æãã¢ã³æãã€ãªæãã©ãæ sity of Northern Laos: the Khmu, Hmong, Yao, Lahu in ãšãã«ã¯ã³ãã ã¿å°æ¹ã®ã¢ã«æã§ãããåããŒã ã¯åã Bokeo, and Akha in Luang Namtha province. Each team 山岳éšæã®ä»ã®æã®åžå Žã§ããã®å°åã®èšèªã§æŒããã performs in its local language in market places in other ãã®ããã«ããŠã æ£åŒãªæè²ãåããŠããªãè ã§ãå°å villages of the same hill tribe. In this way, even those 瀟äŒã®åŠç¿æŽ»åã«åå ããããšãã§ããã®ã§ããã with no formal education can participate in this commuãæŒåãšãããã®ã¯ããã®ãããªåé¡ã«ã€ããŠã®æè nity learning activity. æ¹é©ãããäžã§å¹æçãªæ¹æ³ãªã®ã§ã å°å瀟äŒã®æè²ãš âTheatre is as an effective method of awareness-raisçºå±ã«éèŠãªåœ¹å²ãæ ãããšãã§ãããæŒåã¯ãåé¡ã« ing on such issues and can therefore play a key role in åãçµãéã®å¯Ÿç«ã®ãªãæ段ã§ããã ããªã±ãŒããªè©±é¡ community education and development. Theatre is a nonãã 売æ¥ã®ãããªæ®éã¯ã¿ããŒãšããã話é¡ã§ããã話 confrontational way of addressing problems. It enables ããããã«ããŠããããããã©ãŒãã³ã¹ã®ããšã¯ãèªå people to talk about sensitive and even normally taboo ã®æã®ç¹å®ã®äººãæ¹å€ããã®ã§ã¯ãªãã èå± ã®äžã®è¡å subjects like prostitution. After a performance, people ã«ã€ããŠè©±ãåãããšãã§ãããæå šäœã®é¢åã§ãåé¡ can discuss the actions of the people in the play instead 解決ã®ããã«ãªãåŸãæ¹æ³ãèå°äžã§è©Šãã ããã«ã€ã of criticising individual members of their village. They ãŠè©±ãåãããšãã§ããã ããã¬ã€ãã«ãªïŒæ¬æ°ã§ã¯ãª can test potential ways of problem-solving on stage in ãïŒ ã æŒåçèæ¯ã®äžã§ãããŠè¡åãèµ·ããããšã«ããã front of the whole village and then discuss them. By daræ人ãã¡ã¯å®ç掻ã®äžã§å®éã«åã£ãŠããŸããããã㪠ing to take action within a âplayfulâ theatrical context, ãè¡åãã ãã£ãä»æŒããã®ã ãšããããšã«æ°ã¥ãã®ã§ villagers realise that they have just performed an action ããã ã (www.theatrefordevelopment.org) they could also undertake in real life.â âæŒåã¯ç€ŸäŒã®äžã§äžå¿ç圹å²ãæ ãã¹ãã§ããã åœã (www.theatrefordevelopment.org) èªããæå瀟äŒãšèŠãªãã 人ã ãèªåã®ããšãæååžæ° Theatre ought to play a central role in society â when ãšå®çŸ©ããã®ã§ããã°ãæåæ¿çã¯ããã§ãèšè«ãåå the state regards itself as a cultural society and people ãå¯èœã«ãã åœããã®åœ¹è ãšåžæ°ç€ŸäŒã®éã®äº€æµãå§ãŸ define themselves as cultural citizens. Cultural politics ããè¡åã®ååçãªåœ¢ãäœãåºããçµ±å¶ãšãã圢ããšã would then take the form of governance which makes ã ããããã¹ãŠãåœãããã®ã§ã¯ãªããåœã¯éŠå±è ã仲 debate and participation possible, initiates interactions ä»è ã ãããã¯ãŒã¯ã®ããã¢ãŒã¿ãŒãšããŠã®åœ¹å²ã«ã㣠between actors from the state and civil society, and deãšéäžããã¹ãã§ããã ããæ ã«æåå€äº€ã¯æåçµ±å¶ã velops cooperative forms of action. Instead of doing evå¿ èŠãªã®ã§ããããã®ã€ãªããã«ãããŠãæ¿åºéã®é å erything itself, the state should concentrate more on playã§çåãæããããããã ããã ã°ããŒãã«åããã£ã³ ing an activating role as an initiator, go-between and ã¹ãšãªã¹ã¯ã§å¹³çã«èŠãªã瀟äŒã®çµæžåãäžççãªäœµå promoter of networks. Thus cultural diplomacy needs ã®å¹æãéãè°è«ãã瀟äŒã®çµæžåãã©ãæ±ããã ãšã cultural governance. In this connection questions will be ãçåã§ããã å€åœéã«ãããŠæåãšæ¿æ²»ã話é¡ã«ãã thrown up in inter-governmental spheres: questions to ãšãã æåå€äº€ã¯åºæºã·ã¹ãã ãšããŠã®åœ¹ç®ãæããã do with the economisation of societies which regard ãšãã§ããã globalisation equally as a chance and as a risk, and which âå±æ©åé¿ãšããèæ¯ã«ãããŠèžè¡ã䜿ãããšã¯ã æèŠ discuss the effects of global mediatisation in a critical ã®åããããšããã§ããã èžè¡èªäœã¯ç®çæåã®ãã®ã§ manner. Cultural diplomacy can serve as a reference ã¯ãªãããŸãããã§ããå¿ èŠããªãããããèžè¡ã¯ãç system when talking about culture and politics in multiåãæããããããšã«ãã£ãŠéŠŽæã¿ã®ããç解æ§åŒãèª lateral relationships. çºãã æå€ãªããšã銎æã¿ã®ãªãããšã«å¯ŸããèŠéãåº That said, the use of art in the context of crisis preæ¿ããããšãã§ããããã®æå³ã§ãããã¯éãããèŠé vention is highly controversial. Art per se is not purpose
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ã®å€åŽã«ååšããäžåæŽãªäžçã«ã€ããŠæ·±ãèããã㣠oriented. Nor does it have to be. But art can provoke by ãããèªçºããè°è«ãåºæ¿ããããšãã§ãããäŸãã°ã throwing into question familiar modes of perception and æ§ã ãªç掻æ§åŒã®ããç°æå瀟äŒã®ãªãã§éèŠãªã èžè¡ sensitising peopleâs outlook for the unexpected and unçãªãã®ããé¡æšçã«åŠã¶ããšãå¯èœã§ããã 瀟äŒã®æ familiar. In this sense it can provide an impulse to think å§ã§å°æ¥ã圢äœãããšãã§ããªããšãã éå»ã®åºæ¥äºã« more deeply about asymmetrical worlds which exist outåãçµãã§å¯ŸåŠãããšãã®æåã®æ®µéã§ããã èžè¡ã®äž side limited perspectives, and also stimulate discussion. ã«èŠãã ãããšãã§ãããèžè¡ã®åã¯ãŸãã«ãç¬ç«ã㊠It is possible, for example, to learn analogically from art è¡ãããšãã§ããããšãå€ããã®æå³ã«å·Šå³ãããã things which are important in an intercultural society ãšãªãè¡ãããšãã§ããããšã«ãããã ããããã ãçº with its many different ways of life. Even the first steps å±ã®ããã®æŒåãã¯ãèžè¡ã«ãããæè²ãšããäŸãšã towards addressing and coping with past events can ofãŠããŸãã¯æŒåã®ããã®çºå±ãªã®ã§ãããèžè¡ã®ãã ten be found in art when their repression in a society ã®æè²ãèå°èžè¡ã®åŠã³æ¹ã«ã€ããŠã®æè²ã§ãããã makes it unable to shape the future. The power of art ã¡ããããã¹ãŠã¯ããããäžçãäœããšããé¢å¿ã«ã consists precisely in its being able to act in an indepenãã®ã ïŒ dent manner, free of outside instructions. For this reaïŒç¿»èš³ã»äœè€ããåïŒ son Theatre for Development is firstly development for
theatre, and as such an example of education in the arts. Education for the arts, education on how to study the performing arts. All in the interest of creating a better world, of course!
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Theatre for Development
èš±ãããšã®çšœå€ Rehearsing Forgiveness ããã¯ã»ãã¬ã€ã³ by Nick Boraine
ããã¯ã»ãã¬ã€ã³ïŒ» N i c k B o r a i n eâãšããã¹ãã«ã° ïŒåã¢ããªã«ïŒã®ãŠã£ã倧åŠã 1994幎åæ¥ãèå°ããã¬ããæ ç»ã®åºæŒãèæ¬ãæŒåºãå€æ°æ ãããã2011幎ïŒæããGAC ïŒã°ããŒãã«ã»ã¢ãŒãã»ã³ãŒã ã¹ïŒã®æºæŒåºå®¶ãšããŠæŽ»åã Nick Boraine Since graduating in 1994 from Wits University in Johannesburg, Nick has been involved in countless aspects of performing, writing and directing for stage, television and film. Nick began work for Global Arts Corps as an Associate Artistic Director in March of 2011.
ãèš±ãããšã¯ãããŸããŸèµ·ããããšã§ã¯ãããŸãããã âForgiveness is not something that just happens; ãã¯ç§ã«ãšã£ãŠæ¯æç®ãããããšã 決å¿ããè¡çºã§ãã ã it is something that I decide to do every morning ïŒããæã®å°å¥³ã18 æ³ïŒ2007 幎ãã«ã¯ã³ãïŒ when I wake up.â 18 year old Tsutsi girl, Rwanda 2007 âãã®èšèã¯ã2007 幎ã«ã¢ããªã«ã®ã«ã¯ã³ãå ±ååœã 蚪ããæãããã£ãšç§ã®å¿ã«æ®ã£ãŠããŸãã ãã®å°å¥³ã¯ The words above have stayed with me since my trip 家æã®ã»ãšãã©ã©ãã æ°å¹Žéç¶ãã倧éè殺ã§æ®ºå®³ãã to Rwanda in 2007. Most of this girlâs family had been ãŠãããããã§âèš±ãâãšããããšãäœã§ãããããã killed in the genocide years earlier so she really knew ã®è¥ãã§äœéšããŠããã®ã§ãã ãã®èšèã¯ãŸãåœéçèž something about forgiveness despite being so young. è¡çµç¹ã® NGO å£äœãã°ããŒãã«ã»ã¢ãŒãã»ã³ãŒãã¹ã Those words were also my inspiration to join a New York ïŒç¥ç§°GACïŒæ¬éšãã¥ãŒãšãŒã¯ïŒã®æŽ»åã«åå ããæã® based NGO called the Global Arts Corps. For the past ç§ã®å®æã§ããããŸãããçŽïŒå¹Žåããç§ã¯GACã§å two years I have been working with the GAC in post ããäžçåå°ã®çŽäºå°åãäŸãã°åã¢ã€ã«ã©ã³ããã³ãœ conflict zones around the world such as Northern Ireããã«ã³ããžã¢ãªã©ã蚪ããŠãçŸå°ã®äººã ãšäžç·ã«åã land, Kosovo, and Cambodia to single out a few. We use äœããŸããã ãã®ä¿³åªãã¡ã«ã¯ãªãã¹ãçŽäºã®æµå¯Ÿå°åŽ actors who used to be on opposite sides of the conflict ãããæªã äºãã®èšæ¶ãæ®ã£ãŠãã人ãèµ·çšããŸãã俳 and still deal with painful memory, to create theatre. åªãã¡ã®æãé³æ¥œã å®è©±ãç¹ã亀ããªããäœåãäœã㟠Utilizing actual stories from these actors together with ãããããã¯ãã çŽäºã®æãåºè©±ã ãã§ãªããçŽäºã®åŸ songs and music we make theatre pieces that will be å§æ«ãä»åŸã®ããšã ãããŠèš±ãã«ã€ããŠè©±ãåãæ©äŒã both a memory of the conflict as well as create a platäœãããšããæå³ããããŸãã ãããã®äœåããã®å°å form to talk about forgiveness and conflict transformaã ãã§ãªããäžçã®ä»ã®çŽäºå°åã§ãäžæŒããŸãããã® tion. We tour these plays within the countries of origin ç®çã¯ãæŒå人ãèžè¡å®¶ã®äžççãªå ±åäœãäœãããã as well as taking them to other conflict zones around the ã«ãã£ãŠå¹³åç¶æã®æ倧ã®åŠšå®³ã¯äœããªã©ã«ã€ããŠè©±ã world. The idea is to create a global community of actors åãå ŽãæŒåãèå°èžè¡ãéããŠäœãåºãããšããã and artists that have the ability to use theatre and other ãšã§ãã media as a tool to spark dialogue about some of the most difficult obstacles to lasting peace. âãã®åå°ã§ã®æŽ»åã«ãããŠã çŽäºã®äžã§è²ã£ãè¥è ã åã©ããã¡ãšå ±ã«ä»äºãããããšããããããŸãã ãã® In the course of our work we often work with chilã«ã¯ã³ãã®å°å¥³ã®å¿ã«é¿ãèšèãæãåºããŠã ç§ã¯è¥ã dren and young people that have also been affected by 人ãã¡ãšã®æŽ»åã¯ãã å¿ èŠã ããã§ã¯ãªãã 矩åãªã®ã conflict. That fact coupled with those insightful words I ãšæããŸããã had heard from the young girl in Rwanda made me aware that including young people in what we do is not just âç§ãã¡ã掻åããåœã ã®å€ãã¯ã 人ã ã«å ±éã®æŽå²ãš necessary, it is imperative. ãèšæ¶ããªãå Žåããã°ãã°ã§ãã ç©ççæŽåã¯çµã㣠ããšããŠããçæãææã¯ãŸã æ®ã£ãŠããŸããæŽåãèŠ
In many of the countries in which we work there is
é£ã¯ãšãã被害è ã®ç«å Žã®èšæ¶ãšããŠã®ã¿æ®ãã ãã€ãŠ often no common agreement on history and indeed ã®æµåŽã«ãèŠé£ããã£ãã ãããšããæšå¯ã®äœå°ã¯ãã memory. While the physical violence may have ended, ãŸãããããããŠâçŽæœãªç¥è©±âãåãç¶ãããŠãã㟠suspicion and fear remain. The violence and suffering is ãããã®âçŽæœãªç¥è©±âã«ãã£ãŠäººã ã¯ç ç²è ã被害è often only remembered from one or other group perspecã®ç«å Žãä¿ã¡ãŸãã ãæã ã¯äžåœãªæ±ããåãããæã tive, never allowing the thought that the former enemy ã®ç¶æ¯ãäžåœãªæ±ããåããã æã ã¯çžæã絶察ã«èš±ã may have suffered also. This allows for an ongoing âpuãªãã ãããã代ã èªãã€ãããŠãããŸããåã©ããã¡ rity of mythâ. Purity of myth allows people to remain ã¯ãããèããŠè²ã¡ã ãããŠæŽåãšå ±åŸ©ã®é£éã¯ç¶ã㊠victims. âWe have been wronged, our mothers and faããã®ã§ãã
thers were wrongedâŠwe will never forgiveâ. This be-
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Rehearsing Forgiveness
comes their story, their narrative. Children and young âåã©ããã¡ã¯ãã®çŽæœãªç¥è©±ãšããå ±åäœã®äžã«ãã people pick up on this and the cycle of violence and reãšå®å¿æãåŸãããã®ã§ã 芪ãå ç¥ã®ä»£ããã®å®¿æ ¹ãå venge remains unbroken. ãç¶ãã§è²ã¡ãŸãããã®çµæãå€ãã®åã©ããã¡ã¯èªå èªèº«ã®å£°ãå åã«çºéãããããªããŸãŸã ç¥è©±ã®å£°ã«åŸ Children take on the burden of their ancestral feuds ãããšã«ãªããŸãããããéèŠãªç¹ã§ããã€ãŸãæŒåã primarily because it feels safe to buy into this âpurity of ã¹ããŒãªãŒããªã³ã°ã«ãããŠã¯ãããªãèªèº«ã®å£°ããäº mythâ. As a result many children fail to fully develop å®äžã象城çã«ãããã£ããéããããšãåºæ¬ãªã®ã§ their own voice, rather taking on the voice of the myth. ããããã«å€é©ãä¿ãæŒåã®æ矩ããããŸãã
This is a critical point, because theatre and story telling is essentially about strengthening your own personal
æŒåã¯ãããšããšãå ±ã«éãŸã£ãŠè³ãåŸããåãããš voice â literally and metaphorically. This is where theã§ããæŒæããã®ååéçšã«ãããŸãããããæŒæã¯ã atre can really begin to affect change. å¿ ãããããªãèªèº«ã®ãã®ã§ã¯ãªãå ŽåããããŸãã ä» äººã®åœ¹æãæŒããããšã«ãã£ãŠã ããªãã¯ä»äººã®ç«å Žã
Theatre, by its very nature, is about working to-
ããããç解ããå Žãèªåã®å¿ã®äžã«åºããããšãã§ã gether, listening. Acting too is a collaborative process. ãŸãããã®æŒå掻åã«ãããŠãç§ãã¡ã¯äººã ã«ã仲çŽã But acting also allows you to take on a narrative that is ããªãããšããåé¡ã解決ããªãããšããä»äººãèš±ã㪠not necessarily your own. By playing another character, ãããšãå£åºãããããšã¯ãããŸãããç§ãã¡ã¯ãä¿³åª another person, you effectively open up a space inside to ãšããŠçšœå€ãããªãããšèšãã ãã§ãã ãã¡ããèæ¬ã® understand that person better â to empathize. In much äžã§ã仲çŽãã ã®èš±ãã ã®ãå¿ èŠãªå Žé¢ãªãã°ãæŒæãš of the work that we do, we donât ask people to reconcile, ããŠè¡ããŸããåŸã£ãŠãçŽäºè§£æ±ºã ã®ãå解ã ã®ãèš±ã to resolve their differences or even to forgive. We ask ã ã®ãšã¯ç¡é¢ä¿ã§ãããã¯æŒåãªã®ã§ããããããªã only that they rehearse, as an actor would. If the part ããã²ãšãã³âããªããäœããâæŒæâããçšœå€ããã requires reconciliation or forgiveness â this is what they ãšãããªãã«ã¯ãããå¯èœã«ãªã£ãŠããã®ã§ããæŒåã® are required to portray. Seemingly this has nothing to å®æŒè ãã¡ã«ã¯ãããããããããŸãã çšœå€ãããã«ã® do with conflict resolution, reconciliation or even forgiveãªã®ã§ããç¹°ãè¿ãããšããããåºæ¬ã§ããçšœå€ã«ã㣠ness. Itâs about acting. However, once you âactâ someãŠããªããèªã£ãŠããç©èªã®ã©ãã匷調ããã°ãããã thing, once you rehearse, you begin to make it possible. ããããŸããåŠå®ããéæŸãããçåãæã€ããšã«ã㣠All theatre practitioners know this â rehearsal is key. ãŠçŽæœã®ç¥è©±ã厩ããŠããâŠâŠããã¯ããããããšãå¯ Repetition is fundamental. Rehearsal creates a space to empathize with the story you are telling. Denial is disèœãªå ŽæãšãªããŸãã turbed and doubt infects the purity of the mythâŠthis âåã©ããã¡ã¯ãã°ãããæŒåçæ¬èœããã£ãŠããŸãã becomes the place where anything is possible. ããã¯å°ããé ããã®äººéã®çŽ 質ã§ãã åã©ãã«ãšã£ãŠ ããŒã«ãã¬ã€ïŒåœ¹å²æŒæïŒã¯åŒåžãšåããããç°¡åãªã
Children have an amazing instinct for theatre. Itâs
ãšã§ã ïŒæ³ã«ããªããšãããããªåœ¹ã«ãªãããšãã§ã㟠a basic human characteristic from a young age. Roleããç§ã®ïŒæ³ã®åšããåã ã¡ãšéã³ãªãããããªè©±ãã play for a child comes as easily as breathing, kids as ãŠããŸããã ããããã人é姫ãããããã¯äººé姫ã®ã young as three taking on all sorts of roles. Just listening ããããããŠâŠâŠãããŠâŠâŠãã€ã±ã«ã¯ããã¹ã®èã£ã± to my own three-year-old daughter with her friends goes ã®äžã®ã«ãšã«ããïŒã âãã®åãã¡ã¯äœã«ã§ããªããã® something like this, âIâm the mermaid, you are the mama mermaid and thenâŠand thenâŠMichael can be a froggy ã§ãã on a Lilly pad!â She and her pals have an endless ability âã»ãšãã©ã®å€§äººã¯ãã®ããŒã«ãã¬ã€ã®èœåã倱ãã å¯ to role-play. èœæ§ãç· ãã ãããšããŠããŸãã ç¹ã«æŠäºãæŽåãªã©ã® ææãçµéšãã人ã«ãã®åŸåã¯å€ãã¿ãããŸãã ããã
Most adults lose this roleplaying ability and tend to
å¯èœæ§ã®ç¡ããšããã«åžæã¯ãªãã åžæã®ç¡ããšããã« shut out possibility, especially those that have been ããè¯ãæªæ¥ãç¯ãããšããæ©äŒã¯å°ãªãã§ãããã through horrific experiences like violent conflict and war. This is understandable as it provides protection against âåã©ãã倧人ã«ãããèŽãç©ã®äžã§æããã°ãããã further hurt and suffering. But without possibility there ã®ã¯ãåžæã§ããç§ãã¡ã¯æè¿ãåã¢ã€ã«ã©ã³ãã®éŠéœ is no hope. Without hope, there is very little chance of a ãã«ãã¡ã¹ãã蚪ããæãããã«æ°ã¥ããŸããã transformed future. âç§ãã¡GACã°ã«ãŒãã¯ãããã®ä¿³åªãã¡ãšåãäœã
Of all the gifts that children give to adults, perhaps
ã ãã§ãªãããã«ãã¡ã¹ãã®éå°å¹Žã°ã«ãŒããã¿ã¬ã³ the most extraordinary is hope. We were reminded of ãã»ãã©ã€ãããšãäœåºŠãåã¥ãããããŠããŸãããã® this on a recent trip to Belfast, Northern Ireland.
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Rehearsing Forgiveness
The Talent Tribe ã¿ã¬ã³ãã»ãã©ã€ãã® å°å¹Žãã¡
ã¿ã¬ã³ãã»ãã©ã€ãã® å°å¥³ãã¡ãšçè Nick Boraine and girls from The Talent Tribe.
ã°ã«ãŒãã¯ãã°ãããæå°è ãã§ãã«ãã»ããŒãã³ã®äž» å¬ã§ã åžå ã®ã«ããªãã¯ããã³ãããã¹ã¿ã³ãã®åæ¹ã®
In addition to producing a play with professional
åã©ããã¡ã貧å°å®¶åºã®åã©ãããããŠåé¡å ãªã©ãå actors, the GAC has been working on and off with a group of young people in Belfast called the Talent Tribe. Run å ããŠããçµç¹ã§ãã âããã倧äºãªããšã¯ããã§äœãããŠããããšããå 容 by the extraordinary Fedelma Harkin, the Talent Tribe ã§ãããã§ãã«ãã¯åã©ããã¡ã«æŒæãæ ç»äœæ³ãæ brings together disadvantaged and âat riskâ kids from ãã ããã«åã©ããã¡ãå°å ã®ã¢ã€ã«ã©ã³ãæ ç»ãã㬠both the Catholic and Protestant areas within Belfast. ãã«åºæŒã§ããããã«åãèšãã£ãŠããŸãã åã©ããã¡ This alone is no mean feat. Fedelma teaches them ã®å¹Žéœ¢ã¯ïŒæ³ãã 18 æ³ãç§ãã¡ GAC ã¯ããã§åºæ¬ç acting and film-making, and also acts as their agent getãªïŒæéã®ã¯ãŒã¯ã·ã§ãããå®æœããŸããã ããã¯ä»ã® ting them into local Irish films and television shows. The å°åã§ã¯æ®éã¯ãã£ãšå¹Žäžã®ããã®ä¿³åªã®ããã®ã¯ãŒ kids range in age from around 8 to 18. We conducted a ã¯ã·ã§ããã§ããåå è ãçã§ååããŠå®è·µããå 容 three-hour workshop in basic ensemble training. This is ã§ããã something that the GAC would normally do with older âéå§ããŠããã«ã åã©ããã¡ã¯ã«ããªãã¯ãšãããã professional actors. The exercises are designed to get the ã¹ã¿ã³ãã®åºå¥ãªãäžç·ã«ãªã£ãŠæ¥œããæãéãããŸã participants working together. Within minutes Cathoããã¹ããŒãªãŒããªã³ã°ã®ç·Žç¿ã§ããã«ãã¡ã¹ãã®æ¥åžž lic and Protestant kids in Belfast are just that â kids, ç掻ã®ç©èªãçã§äœãããšã«ããŸãããäžäººãã€ãé ã having a great time together. We moved on to story ã«åã®äººã®è©±ãåŒãç¶ãã§è©±ããŠããã®ã§ãã åã©ãã telling exercises where we created a group story about ã¡ã¯ãé¢æ£ãã家æãç¡æ³è ãã¡ããã©ãã°ãé ãªã©ã daily life in Belfast. One narrative built on the next and å ·äœçãªäŸããããªããçŽäºåŸã®ãã«ãã¡ã¹ãã§ã®ç掻 each child fed off the last story. Many of the kids went ã倧å€ã ãšãã話ãããŸããã ãŸãå°åã®éã«ããå¢ç straight to the specifics of how hard it is living with broç·ããä»ãéå€ãåæããŠããâå¹³åã®å£âã®ããšãã ken families, gangsters, drugs and alcohol in post conããããã«è©±ãåããŸããã
flict Belfast. No punches were pulled as they talked about the divisions between communities and the âpeace wallsâ
ããã¯ããšã話ãªã©ãšã¯çšé ãå 容ã§ãããã ãã®æ² that still divide suburbs. æšãªå 容ã®äžããâå¯èœæ§ã®ããç©èªâãæµ®ãã³äžã㣠ãŠããŸãããé©ããããšã«å€ãã®åã©ããã¡ããäœãæ
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While this story was certainly no fairytale, out of
Rehearsing Forgiveness
ãã§ããããããªãããã¯ã£ããè¡šçŸããŸãããããå° the negative emerged a real ânarrative of possibilityâ. It 幎ã¯ã èªåã倧人ã«ãªã£ããã®ã£ã³ã°ãªã©ããªãçºã«ã was amazing to see how many of the kids were clear ããšçºè¡šã ããäžäººã¯ãã«ãã¡ã¹ããäžçªçŽ æµãªé³æ¥œã about what they didnât want, one boy making the point ããçºã«ãããšèšããŸããããŸã女ã®åã®äžäººããäºã that he was determined there would be no gangsters ã®ãªããã«ãã¡ã¹ãã®çºã§è²·ãç©ãã§ãããªããŠããŸã when he grew up, another saying Belfast has the most ã«ããŠããªã®ã§éã«è¿·ã£ãŠããŸã£ããšèšã£ãæã«ã¯ã ç¬ fantastic music. There was laughter when one of the ã声ãèµ·ããŸãããã»ãã®å°ããªå€åãå°ããªåžæã®å girls got lost in how fabulous the shopping is in Belfast ããå¯èœæ§ãžã®éãéãã®ã§ãããã®å¯èœæ§ãæ¯ããŠã now that no one is fighting! Small shifts, small chinks of ãããšã¯ãã©ã®ãããªçšœå€ããããã«ããã£ãŠããŸãã hope opening up possibility. Sustaining that possibility ãã®ç©èªãçãçããšä»äžããããã«ã äœåºŠãçšœå€ãç¹° is what rehearsing is all about. Doing it again and again ãè¿ãã ãã®ç©èªãäžçã®ä»ã®å Žæãžãšã²ãããŠããã® in order to keep the narrative alive and then taking that ã§ãã narrative to the rest of the world. âãã«ãã¡ã¹ãã®è¥è ãã¡ã¯ãã®ã¯ãŒã¯ã·ã§ããã§ç§ã« æåãäžããŠãããåžæãããããŠãããŸããã
Those young people from Belfast genuinely moved me the day of that workshop. They gave me hope.
åã©ããã¡ã¯æŒåãšããå Žã«ãããŠã èªåãšä»²éãã¡ Theatre is where children can begin to rehearse a ã®ããããã®æªæ¥ã®çšœå€ã«ææŠããããšãã§ããŸãã çŽ different future for themselves and their peers. Emergäºããéãåºãåã©ããã¡ããèªåã®å£°ãèŠã€ãåºãã ing from conflict, it can be difficult for children to find æŽåã«æºã¡ãéå»ããæãåºãããšã¯å®¹æã§ã¯ãªã㧠their own voice and break from a violent past. Creating ããããã¹ããŒãªãŒããªã³ã°ãéããŠãå¯èœæ§ãšåžæã possibility and hope through story telling is one way to åµãã ãããšã¯æ°ããªæªæ¥ãžåããæ¹æ³ã®äžã€ãªã®ã§ break that cycle. ãã That young girl from Rwanda was rehearsing a new âãã®ã«ã¯ã³ãã®å°å¥³ã¯ã æ¯æèªåã®æ°ããç©èªã®çšœå€ story for herself every single morning. She was writing ãããŠããã®ã§ããèš±ãã®ç©èªãèªåã§äœããäœåºŠãäœ her own story of forgiveness and making a choice to re床ãã²ãšãã§çšœå€ãç¶ããŠããã®ã§ãã
hearse it over and over again.
幞ããªããšã«ã ç§ãã¡ã¯æŒåãéããŠåœŒå¥³ã®ããæ¹ã« Hopefully, through theatre, we can emulate her exæ¥ããããšãã§ããŸãã ample. ïŒç¿»èš³ã»ååæ¿åïŒ
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Rehearsing Forgiveness
çãã®è¡çºïŒ ãã€ãã«ãããâåŠæ¹ç®ãšããŠã®æŒåâ
An Act of Healing? âPrescription Theaterâ in Germany
ãã«ã¿ã»ã±ãŒã¬ã« by Myrta Köhler ãã«ã¿ã»ã±ãŒã¬ã«ïŒ»M y r t a Kohler âãã«ãªã³çãŸãã㊠ã€ãŒã³ã§è²ã€ãæåŠä¿®å£«å·å åŸã®åŸãæ°å¹Žéãèæ¬å®¶ãæŒåº 家ãšããŠå¹Ÿã€ãã®åå£ããªã ã©åå£ã«åšç±ãçŸåšãããªãŒã® ãžã£ãŒããªã¹ãããã«ãªã³åš äœãå»ºç¯ , èžè¡é¢é£ã®ããŒãã è¿œæ±ã
ã¢ããªã«ã®åªè¡åž«ã¯ä»æ¥ã«è³ããŸã§ã 家æå šå¡ã
Myrta Köhler was born in Berlin and grew up in Vienna. After earning her Master of Arts degree she has worked for several years as a dramaturge as well as a production and direction assistant for numerous theater and opera productions. Myrta is currently living as a freelance journalist in Berlin, her work focussing on topics related to architecture and arts.
ãçµã³ã€ããç¬ç¹ã®èšç»ãåŠæ¹ç®ã®æŒåããçºè¡šã unique project which combines the two: âTheater auf ããããã¯èº«äœãšå¿ã®äž¡æ¹ã«åãããããã®ã§ãå€ Rezeptâ (âPrescription Theaterâ) adresses both body
African shamans are to this day conducting heal-
æäººå šå¡ãåå¡ããŠçãã®ååŒãè¡ãã西欧ã®å» ing ceremonies which involve the whole familiy or åž«ã¯ã人éã®äœãéèŠããéã«è€éãªç§åŠæè¡ã village in acting. Western medical practitioners use çšããããã®åæ¹ãšããããããå¥åº·ã«é¢ããè¡ complex technology to scan the human body. Two çºã§ããã different approaches to what is called health. Stefan âã·ã¥ããã¡ã³ã»ãã£ã·ã£ãŒãã§ã«ïŒã¢ã·ããžå¯äŒ Fischer-Fels, vice president of ASSITEJ and artistic é·ããã«ãªã³ã»ã°ãªãã¹åå£æŒåºå®¶ïŒã¯ããã®äºã€ director of the Grips Theater in Berlin, launched a
ãã®å Žåãäºé²çãªåœ¹å²ãæããã
and soul. And in many cases, it may prevent affliction before it even starts.
ãæŒåã¯èŽ æ²¢ãªãã®ã§ã¯ãªãã ããã¯çåœã®ç³§ã®äž ã€ã§ããããšãã£ã·ã£ãŒãã§ã«ã¯ç¢ºä¿¡ããŠããã ãæŒ
âTheater is not a luxury â it is one of the staffs of life,â
åã¯ã人皮ãåœç±ãéçŽãåãããåã©ããèªä¿¡ã Fischer-Fels is convinced. âTheater is essential for all chilãã¡ã人ãšä»²è¯ããªããåµé åãè²ãŠãè³¢æãªäººé dren â no matter what their social standing â to become ãšãªãããã«ãå šãŠã®åã©ãã«å¿ èŠãªãã®ã§ããã ã self-confident, friendly, creative and smart human beingsâ. âãããããã®æ³å®ãã©ã®ããã«ããŠæåçãæè² But how could this assumption be integrated into cultural çä»çµã¿ã®äžã«åãå ¥ããããšãã§ãããïŒâ ããã and educational politics? âFollowing this thought necessarãŠãã®æèã¯åœç¶ãªãããäºé²ãšããåé¡ãžçºå±ã ily leads to the question of prevention. So I asked myself: ããé¢äžããã®ã¯èª°ãïŒâå šãŠã®åã©ããšæ¥è§Šãã Who is involved? Where can we reach the children â all of å Žã¯äœåŠã§ã幎霢ã¯äœæ³ãããããïŒâããã¯å°å them â at an early age? At the pediatricians!â The idea struck Fischer-Fels in 2009, when he was still ç§å»ã®æã ïŒã âãã£ã·ã£ãŒãã§ã«ã 2009 幎ã«ãã®äŒç»ãæã〠director of the Young Theater in DÃŒsseldorf. In cooperation ããæã圌ã¯ãã¥ãã»ã«ãã«ãã®é幎åå£ãæå°ã with the Professional Union of Pediatricians (Berufsverband ãŠãããå°å ç§å»åäŒïŒBVKJïŒãå人åŸæŽè ã®åå der Kinder- und JugendÀrzte, BVKJ) â and with the supãåŸãŠã圌ã¯äºã€ã®äºé²æ¹æ³ãçµã¿åãããéåã port of a private sponsor â he launched a campaign which éå§ãããããã¯ãå¥åº·èšºæã«å°å ç§å»ã蚪ããå combines two methods of prevention: Children who see a ã©ãã¯ãå ç«¥éå°å¹ŽæŒåã®å笊ãïŒæãç¡æã§ãã doctor for a health check get two tickets for a show at the ãããšããä»çµã¿ã§ããã Young Theater â for free.
â çåœã®ç³§
The staff of life
ãã€ãã®ä¿å¥å¶åºŠã§ã¯ïŒæ³ãã 14 æ³ãŸã§ã®åã©
The German health system recommends three preven-
ãã«äžçš®ã®äºé²å¥èšºæ®µéãUâ10, Uâ11, Jâ1ãé© tive medical checkups â named U10, U11 and J11 â for chilçšãããŠãããããããã®æ€èšºã¯çŸ©åå¶ã§ã¯ãªãã® dren aged 7 to 14. As the checkups are not obligatory, many ã§ãæè²çšåºŠãäœããåå ¥ã®å°ãªã家åºã§ã¯ãå¥ã® poorly educated, low income families prefer to spend their ãã®ã«ãã®éé¡ã䜿ãããšãå€ãã ãåŠæ¹ç®ã®æŒåã money otherwise. âTheater auf Rezeptâ encourages children ã¯åã©ããšèŠªãã¡ã«ãã®æ€èšºå¶åºŠãèªåã®å¹žçŠã®ã and parents to accept responsibility for their well-being â ãã®è²¬åãšããŠå®è¡ããããã«å¥šå±ããŠããããŸã and becomes a powerful tool in fighting the symptoms of æåçã«èŠæšãŠãããç¶æ ããªããæŠãã®åŒ·åãªæ cultural neglect. Especially children with a poor educational 段ãšèããŠããã background profit from the combined medical and cultural â ãã¢ãŒãµãŒã»ãã©ãŒã«ããã°ãæŒåã¯ç€ŸäŒã®å¿æ ãš impulse. é è³ãæ圱ããŠããã ã ãšãã¥ãã»ã«ãã«ãã®å°å ç§ âAccording to Arthur Miller, the theater represents the å»ã§ããã ãåŠæ¹ç®ã®æŒåãã®åµå§è ã®äžäººã§ããã heart and mind of societyâ, says Dr. Michael Strahl, a
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54
An Act of Healing?
åã©ããã¡ã«æŒåãåŠæ¹ããã〠ãã®å°å ç§å»ããŠã«ãªãã¯ã»ãã£ã² ã¬ã«å士 Dr. Ulrich Fegeler, a pediatrician in Berlin, prescribing theater to children. Photographer Vanessa Nieberding
ã€ã±ã«ã»ã·ã¥ãã©ãŒã«å士ã¯è¿°ã¹ãŠããã ããã®èšè pediatricion in DÃŒsseldorf and one of the founding memããã£ããåããšããã°ãçŽã¡ã«ä»æ¥æ±ããŠããå bers of âTheater auf Rezeptâ. âTaking that thought seriously, é¡ã®å»åŠç解決ã«è³ãããšãã§ããã ã you get straight to the medical solution to todayâs problems.â
â èžè¡çãªçãã®ææ³
Cultural healing method
æãç·ãããã§äžäººã®åã©ãããã ãŠããšããè¡š
It takes a whole village to raise a child, they say. It
çŸãããããã£ã·ã£ãŒãã§ã«ã¯ããã«ãªãã£ãŠãæŒ takes a whole theater to heal a single person, says Fischeråãç·ãããã§äžäººã®äººãçããšè¡šçŸããæŒåãšã¯ Fels, convinced that the theater is just that: a place for coléå£ã§ååããŠçããè¡ãå Žã ãšèããã ãå®æçã« lective healing. âRegular visits to the theater will save you a æŒåã«æ¥ãããªãã°ãå€éã®è¬ã䜿çšããã«ããã lot of pillsâ, he comments, his attack on the pharma indusãšè¿°ã¹ãŠã補è¬äŒç€Ÿãç®èã£ãŠããã ãç§ãã¡ã¯èžè¡ try, grinning but only half ironical. âWe want to employ a çãªçãã®ææ³ãåãå ¥ããããšèããã ã âcultural healing methodâ.â âå¥åº·ç®¡çã«ãããèžè¡ã®å¹çšã¯ã 2003幎ã«å šåœèž The benefits of arts in health care were confirmed in a è¡åºéïŒNEAïŒãšå¥åº·ç®¡çèžè¡åäŒã®å ±å¬ã«ããã· symposium held in 2003, hosted by the National Endowã³ããžãŠã ã§ã確èªãããŠãããæè¿ã®èª¿æ»ã§ãã ment for the Arts (NEA) and the Society for the Arts in æŒåã¯ç解åãè²ãŠãã®ã«å€§ãã«å¹æãããããšã Healthcare. Recent surveys have shown that drama is es瀺ããããããã«ãæŒåã¯ç掻ã®å€åãå©ãããã㣠pecially effective in creating understanding. Better still: it ã·ã£ãŒãã§ã«ã¯èå³æ·±ãå®äŸãæããŠãããèå± ã® changes lives. Fischer-Fels relates a particularly rewarding çµäºåŸãåå Žã®ããŒã«ã§ïŒäººã®è¥è ã話ããŠããã® experience. After a show he overheard two boys talking in ã圌ã¯ããŸããŸè³ã«ããã ããããããä»å€ããã¿ã the hall: âAfter tonight, Iâll quit smokingâ, said one. âWhy? ã³æ¢ãããã ããžããã©ãããŠïŒâä»æ¥ã®èå± ãã¿ã The play wasnât about smoking at all!â âTrue â but it made ã³ãšäœãé¢ä¿ãªãã£ãã®ã«ã ããããã§ãäœãå€ãã me want to change something.â ãæ°åã«ãªã£ããã
The life you save may be your own
â ããªããæãåœã¯ãå€åããªãèªèº«ã®åœ Getting â and remaining â well has a lot to do with âå¥åº·ã®æ¹åãç¶æã¯ãèªåã®è²¬ä»»ãæãããšãã accepting responsibility â this is what the campaign points ç掻æ 床ãšå¯æ¥ãªé¢é£ãããããšãã®éåã§ã¯æå± out. âIn years to come, our practices will be flooded with ããŠãããããŒãã³ã»ã«ãŒã«å士ïŒãã«ãã©ã€ã³å° mentally disordered peopleâ, says Dr. Hermann Kahl, åºã®å°å ç§å»åäŒè°é·ïŒã¯ãããããå ã粟ç¥çå Speaker of the Union of Pediatricians in Nordrhein, and é¡ãæ±ãã人ã ã®æ¥é¢ãå¢ããŠããã ãããä»æ¥ã® another of the initiating doctors in DÃŒsseldorf. âOne of the è¥è ã®æ±ããäž»èŠãªåé¡ã®äžã€ã¯ãç¥èèšç·Žãšå®è·µ main problems of todayâs youth is the lack of education and ã®äžè¶³ã§ããã ããšè¿°ã¹ãŠãããããã§ãäºé²ãšãã committment.â Prevention thus becomes the main focus. About 15.000 visits to the theater were âprescribedâ in ããšãåé¡ã«ãªã£ãŠããã âãåŠæ¹ç®ã®æŒåãéåçºè¶³ã®æåã®äžå¹Žéã«ã DÃŒsseldorf during the first year. Thanks to funding by a ãã¥ãã»ã«ãã«ãåžã§ãã®å¶åºŠãå©çšããŠèŠ³åãã health insurance company (Siemens-Betriebskrankenkasse,
çãã®è¡çºïŒ
55
An Act of Healing?
人ã®æ°ã¯ 15,000 人ã§ãã£ããå¥åº·ä¿éºäŒç€Ÿ SBK ã® SBK), the project has meanwhile spread to theaters in other å©æéãåŸãŠããã®æŽ»åã¯ãã«ãªã³ããã¥ã³ãã³ãª German cities, such as Munich (Schauburg Theater) and ã©ãã€ãåœå ã«åºããã€ã€ããã2011 幎ã«ã㣠Berlin: In 2011, Fischer-Fels became artistic director of the ã·ã£ãŒãã§ã«ã¯ããã«ãªã³ã®ã°ãªãã¹åå£ã®æŒåºå®¶ GRIPS Theater and adopted the concept in cooperation with ãšãªãããã«ãªã³å°å ç§å»åäŒãšååããŠãã®éå the Berlin Union of Pediatricians. 280 local pediatricians ãå±éããããã®å°åã®280 åã®å°å ç§å»ãåå ã were provided with information and coupons. The coupons ãŠãæ å ±ã®æ®åãæ€èšºã»èŠ³åã®ã¯ãŒãã³çºè¡ã«åå distributed at U10 and U11 are good for one child and one ãããã¯ãŒãã³ã¯å ã«è¿°ã¹ã U â 10ãU â 11 段é adult; for a visit to J1, each âpatientâ gets to take along a ã§ã¯åã©ã 1 åã«ã€ã倧人 1 åããŸã J âïŒæ®µé㧠friend. Coupons are valid for one year, participation is volã¯ãæ£è ã1åãšå人 1åã®èŠ³åãå¯èœã§ã1 幎éæ untary for doctors and children. å¹ãå»åž«ãšåã©ãã®ä»»æåå ãå¯èœãšããã
No future?
â æªæ¥ããªãïŒ âThe U-checkups are especially crucial to the developâ ãU段éã®å¥åº·èšºæã¯ãå ç«¥éå°å¹Žã®çºéã«ãšã£ãŠ ment of children and adolescentsâ, Mathias Sebbesse, ReããããŠéèŠã§ããã ããšãã·ã¢ã¹ã»ã»ãã¹ïŒå¥åº·ä¿ gional Manager of SBK, points out. Health care, to him, is a éºäŒç€Ÿ SBK ã® å°åºäž»ä»»ïŒã¯ææãããå¥åº·ç®¡ç㯠holistic mission: âEspecially at a young age, mental health 圌ã®ä»»åç¯å²ã§ããã has to be cultivated. Cultural experiences, such as theater â ããšãããç¥çå¥åº·ã¯ã è¥ã幎霢ãã管çããå¿ èŠ performances, can contribute enormously.â ããããæŒåã®ãããªæåçäœéšã¯ããšãŠãå¹æã This view is supported by Dr. Ulrich Fegeler, Speaker ããã ã of the Union of Pediatricians (BVKJ). He mentions an âimãã®èŠè§£ã¯ãå°å ç§å»åäŒïŒBVKJïŒã®ãŠã«ãªãã¯ã» poverishment of educationâ, which is brought about by a ãã£ã²ã¬ã«å士ãæ¯æããŠãããâ圌ã¯ãã¬ããã³ destructive excess of television and computer games. âMore ã³ãã¥ãŒã¿ãŒã»ã²ãŒã ãªã©ã®æ°Ÿæ¿«ã«èµ·å ãããæè² and more, we have to deal with so-called ânew morbiditiesâ, ã®èå»ããææããã ãä»åŸãŸããŸãæã ã¯ã âæ°ã social development disorders, especially with regard to lanãç åŒâãšãã°ããŠãã瀟äŒççºè²äžè¶³ããšããã guage.â Theater may trigger an impulse for development. èšèªé¢ã§ã®æªçã®åé¡ãªã©ã«å¯ŸåŠããªããã°ãªã㪠âTheater is three-dimensional, involving real people. It can ããââãã®æå³ã§æŒåã¯çºéãä¿é²ããåŒãéãš help children to understand what solutions to their indiãªãã§ãããã vidual problems may look like.â To Fegeler, theater is more â ãæŒåã¯ç«äœçã§ãããçã®äººéããããåã©ãã than leisure time, even though the entertaining factor might ã¡ãèªåã®å人çåé¡è§£æ±ºã®æããããæŽãå©ããš be part of it. âChildrenâs theater is therapy â and we are ãªããââãã£ã²ã¬ã«ã«ãšã£ãŠæŒåã¯ã嚯楜çèŠçŽ happy to prescribe it.â ãä¿æããŠã¯ãããã åãªã嚯楜以äžã®ãã®ã§ããã Michael Strahl also attributes the power of theater to ãå ç«¥æŒåã¯ã»ã©ããŒã ããšæããšæ¥œããã ã the live act: âpersonare (lat.) means to soundâ. Feeling the âãã€ã±ã«ã»ã·ã¥ãã©ãŒã«ããŸãæŒåã®åãçã®è¡ acoustic vibration with your own body, you get a feeling for çºãšããŠè©äŸ¡ããã ãã©ãã³èªã§ãã«ãœããŒã¬ã¯é³ã the vis-à -vis, and can then relate it to yourself.â The live æå³ãããããªãã®äœå ã®é³é¿æ¯åãå®æããäœã experience at the theater becomes a means of creating and ãšåãåãæ觊ãåŸãŠããããèªåèªèº«ã§ããããš shaping persons â and personality. ãèªèããã ã âæŒåã®çã®å®äœéšã¯ãå人ã®åœ¢æãš åµé ãåæ§ã®åœ¢æã®æ段ãšãªãã Medicine for GRIPS
â ã°ãªãã¹åå£ãžã®è¬
Unfortunately, the GRIPS itself, one of the longest-
standing institutions in German youth theater, is right now âãã€ãã®éå°å¹ŽæŒåçã§æãæŽå²ã®é·ãåå£ã®äž in need of some strong medicine: For years, it has been balã€ãã°ãªãã¹åå£ã¯ãæ®å¿µãªããšã«çŸåšã匷åãªè¬ ancing on the brink of bankruptcy as the government has ãå¿ èŠãšããç¶æ³ã«é¥ã£ãŠããããã®æ°å¹Žéãæ¿åº refused appropriate funding. In April 2012, the crisis reached ã®é©åãªå©æãæã¡åãããããã«ãç Žç£å¯žåã®ç¶ its peak: the theater faced the possibility of having to focus æ ã«ãããã§ããã 2012幎ïŒæã ããã¯ææªã«éãã on programs for grown-ups, as shows for children do not åå£ã¯æ¡ç®ã®åããªãå ç«¥æŒåããããŠã倧人åã âpayâ. ã®æŒåãžè»¢åãã¹ãããšããå±æ©ã«çŽé¢ãããââ This worst-case scenario would be fatal for the âTheâãã®ææªã®äºæ ã¯ã ãåŠæ¹ç®ã®æŒåãã«ãšã£ãŠéåœ ater auf Rezeptâ. The theater has a good thing going â a çãªãã®ã§ãããæŒåã¯å€§åãªåœ¹å²ããã£ãŠããã great thing, which demonstrates what theater can do not ããããå šãŠã®åã©ããã¡ãè£çŠãªåã©ãã ãã§ãª only for the well-to-do, but for children of all classes. If it is ããããããéå±€ã®åã©ãã«äŒããããšãã§ããã to continue, however, it needs to be funded appropriately.
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56
An Act of Healing?
ããããããç¶ç¶ããŠå®è¡ããã«ã¯ãäžå®ã®è²¡æºã The country, of which these very children are and hopefully å¿ èŠã§ããã will remain valuable members, needs to invest in their wellâåœã¯ãèªåã®åã©ããã¡ããã®å°æ¥ãæ ãã§ãã being and provide them with first-class medicine. Only exãåã©ããã¡ã®å¹žçŠã®ããã«ãæäžè³ªã®è¬å€ãäžã cellent theaters, employing professional actors and a proãã¹ãã§ãããå°éã®ä¿³åªãå°éã®æ§æãæããåª fessional structure, can do that job â fake or cheap drugs ç§ãªåå£ã®ã¿ãããã®åœ¹å²ãæãããåœã®ãå»äŸ¡ãª will, at worst, potentiate the symptoms. Yet, this apparè¬ã¯ãããã£ãŠçç¶ãæªåãããããããããã®å ently simple conclusion is far from being a social reality: the çŽæçœãªçµè«ã¯çŸåšã®ç€ŸäŒç¶æ³ããããé¢ããŠããã GRIPS â just like most theaters for young children all around äžçäžã®å€ãã®å ç«¥éå°å¹Žåå£ãšåæ§ã«ãã°ãªãã¹ the globe â is constantly struggling to be put on a par with åå£ãå±æ©ã«é¥ã£ãŠããã âgrown-up theatersâ. âäžè«ã®æè°ãã人æ°ãšèžè¡å®¶ã®é£åž¯ã®ããããã A public outcry and waves of solidarity from people ã®ãªã®ãªã®ãšããã§å€åãããããããã°ãªãã¹å and artists caused a change at the last minute: The Grips å£ã¯ãããã幎é 10 äžãŠãŒããå©æãããããšã« will probably receive 100.000 ⬠more each year. However, ãªãã ããããããããã§ããã£ãããšã¯ãè¡æ¿ã¯ the situation shows that things have to get really ugly for ææªã®äºæ ã«ãªããŸã§ã¯åããªããšããããšã ãã politics to react. It also shows that the public and audiences ããŠã人æ°ã芳客ã¯å šäœãå€ããåã«ãªããšããäº can move a whole lot. å®ã ã For now, âTheater auf Rezeptâ will continue. The first âä»ã®ãšãããåŠæ¹ç®ã®æŒåãã¯æŽ»åãç¶ç¶ããŠã stage has been passed successfully â whatâs the long-term ãããã®ç¬¬ïŒåå ¬æŒã¯æåãããé·æã®ç®æšã¯ïŒ goal? âOf course, we hope for a voluntary, life-long addiction â ããã¡ããã åã©ããã¡ã«è¬ãèªçºçã«é·æéåžžçš of the childrenâ, Fischer-Fels says slyly. Watching problemããŠã»ããããšãã£ã·ã£ãŒãã§ã«ã¯èªããèå°äžã§ solving techniques on stage is supposed to sustain the abiliy åé¡è§£æ±ºæ¹æ³ãèŠãããšã«ã«ãã£ãŠãåã©ãã¯ãã to reflect and thus strengthen oneâs own personality. âAfter ãå®è¡ããèœåã身ã«ã€ããèªåã®åæ§ã䌞ã°ãã each show, children should be able to say: âNow I know more ãšã«ãªãã ããã ãåãçµãããã³ã«ãåã©ããã¡ã about myself.ââ âèªåã®ããšãå°ãããã£ãŠãããâãšèšãããã« ãªã£ãŠæ¬²ããã ã ââ ïŒç¿»èš³ïŒååæ¿åïŒ
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57
An Act of Healing?
é害è èžè¡ã®åéããã®å£°
Voices from the Field of Disability Arts ãã ã»ããŒã¿ãŒã»ã³ãã㯠by Kim Peter Kovac
â æãããŠäœãšåŒã¶ãïŒ
What do we call it, anyway?
é害è ã®èžè¡æŽ»åã®åéã¯èšèã®æ±ããéèŠèŠããã®ã§ãã© In an arena where sensitivity of language is given high reã®ãããªèšèã§èªããã¯å€§å€éèŠãªåé¡ã§ãããåãèšèã gard, how we talk about the work we do is without a doubt, im䜿ã£ãŠããã®èšèã®å®çŸ©ã¯åããšã¯éããªãã ã¢ã¡ãªã«ã§ã¯ã é portant, and there is not universal agreement about terminol害è ãé害è ã«é¢ãã人ãã¡ã¯ã ãé害è ããšããåèªã¯ãäžèª ogy. In the United States, people from within the disability ç±ãªäººãã¡ããšãšãããããããã®ã§ã ãé害ããã€äººãã¡ããš community advocate for what might be called âpeople-firstâ lanãã¡ããšå®çŸ©ãã¹ãã ãšç°è°ãå±ãããããããä»ã®åœã ã§ã¯ã guageâfor example, âpeople withâ or âartists withâ disabilities; ãé害è èžè¡ïŒdisability arts)ããšããèšãæ¹ã«ãªãã®éåæã the person is not âdisabledâ, but they âhave a disabilityâ. Other æããªãã countries around the globe are comfortable leading with âdisâãã®èšäºã§ã¯ããã®åéã«ã€ããŠãé害è äž»å°ã®ïŒdisabled- abledâ or âdisability arts.â led)ã ããã¢ã¯ã»ã¹ããããïŒaccessible)ã ãã芳客åå åã® In working on this article, the field has been referred to as (interactive)ããªã©ã®èšèã§èªã£ãŠããããŸããã€ã®ãªã¹ã§ã¯ã âdisabled-ledâ, âaccessibleâ, and âinteractiveâ. Many companies å ç«¥æŒåã«æºããåå£ã®å€ãããå æ¬çå ç«¥éå°å¹ŽæŒå in the U.K. who work for young audiences have begun to use the ïŒinclusive TYA)ã ãšããè¡šçŸã䜿ãããã«ãªã£ãŠããââãã® term âInclusive TYAâ, though that term also includes engaging ãå æ¬ããšããã®ã¯ãé害ã®ãã人ã»ãªã人ãå«ããšããã ã㧠with a broad range of diversity of socio-economic and cultural ãªããããŸããŸãªç€ŸäŒçãªç«å Žãçµæžçãªç¶æ³ãæåã®éã㪠groups. In the U.S.A., the most accurate description might be ã©ãåºãå«ããšããæå³ã§ããã ã¢ã¡ãªã«ã§ã®æé©ãªè¡šçŸã¯ ãé âtheater by, for, with, and about persons with disabilities.â (Try 害è ã«ããïŒé害è ã®ããã®ãé害è ãšå ±ã«åµããé害è ã«ã€ saying that three times fast.) The most used term internationããŠã®æŒåããšããïŒãŸãã§æ©å£ããšã°ã®ãããªïŒããšã«ãªãã ally seems to be âdisability artsâ, which is why this article, comäžçäžã§æãåºã䜿ãããŠãã㯠ãé害è èžè¡ ïŒdisability arts)ã piled for an international audience, uses that term. ãšããè¡šçŸã®ããã ããšããããšã§ããã®èšäºäžã§ã¯ãé害è Many art forms â newly formed ones, or ones in a state of èžè¡ããšããèšèã§èªãããšã«ããã transition, like this one - struggle to attain a recognizable idenâå€ãã®èžè¡æ§åŒã¯ââæ°ãã確ç«ããããã®ã§ãããé害è tity so they can be placed in reference to other genres. Do those èžè¡ã®ããã«å€ææãè¿ãããã®ã§ããââç¬èªæ§ã確ç«ãã working in the field want this? Is it important to have a univerããšã«ãã£ãŠãä»ã®ãžã£ã³ã«ãšã®é¢ä¿ã®äžã§ããç¹å®ã®äœçœ®ã sal name? Perhaps that will happen in time, as we all strive for 確ä¿ããããšåªåãããã®ã§ããããããããã®åéã«æºãã language that is clear and respectful. 人ã ãæãããŠãããæãã§ããã®ã ãããïŒâæ®éçã«å ±é Whatever the answer, what matters most is that this art ã®åŒã³åãæã€ããšã«æå³ã¯ããã®ãïŒâãã®çãã¯ãããã form is pushing boundaries and making an impact â not only on ããæ確ã§æ¬æã®ããèšèãè¿œæ±ããéçšã§èŠãã ãããŠãã the artistic sphere, but on the human sphere as well. ã®ã§ãããã âãšãããæãéèŠãªç¹ã¯ãé害è èžè¡ã®åéã¯ãæ¢æã®å¢ç How do we define it? ç·ãè¶ããããšæã¿ãè¡æãââèžè¡ã®ã¬ãã«ã®ã¿ã§ãªãã人 As it stands now, in 2012, Disability Arts, or Inclusive TYA, éçã¬ãã«ã«ãããŠãââäžãã€ã€ãããšããäºã§ããã has many forms. Danny Braverman from the UK sums it up nicely: âAt the heart of the work is the involvement of disabled artists and/or engagement with disabled young people. Typically,
â é害è èžè¡ãšã¯äœãïŒ
2012幎çŸåšã«ãããŠãé害è èžè¡ããããã¯å æ¬çå ç«¥éå° Inclusive Theatre practitioners will see access issues as positive 幎æŒåã¯å€æ§ãªé¡ãæã€ããããŒã»ãã¬ãŒããŒãã³ïŒã€ã®ãªã¹ïŒ creative stimuli and not, as is frequent elsewhere, a nuisance, a ã¯æ¬¡ã®ããã«èŠçŽããã ãæ žãšãªãéšåã«é害ããã€èžè¡å®¶ãé¢ funding requirement or a budgetary burden. This approach to äžããŠããããããã¯é害ããã€åã©ããã¡ã察象ã«å«ã¿èŸŒã access takes many forms, for example by integrating sign lanã äœåã§ããããšãã§ããã ãå€ãã®å Žåãå æ¬çæŒåã®æ ãæ guage and audio description in imaginative ways, or by creating ã¯ãå€æ§ãªäººã ã«ã¢ã¯ã»ã¹å¯èœã«ãããšãã課é¡ããåµé åã multi-sensory environments.â ä¿ããã®ãšããŠè¯å®çã«ãšããã ïŒããæãããã¡ãªïŒäºç®ãäœ åã«å¿ èŠãšããçµæžçãªãè·ç©ãšããŠã¯ãšãããªãããã®ã㢠ã¯ã»ã¹å¯èœã«ããè©Šã¿ã¯ããŸããŸã§ãäŸãã°æ話ãæ³ååãå
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58
Voices from the Field of Disability Arts
FTHïŒKåå£ïŒåã¢ããªã«ïŒ ããã¯ãã£ãŒã»ãªãã» ãŠãŒãããªã¢ã³ã»ããŒã¹ãã€ã³ãšãªãšãŒã«ã» ãã¥ã»ã³ã㯠Dorian Burstein and Liezel de Kock in Pictures of You at FTH:K. Photo by Toast Coetzer
FTHïŒK åå£ã®å ¬æŒã§ïŒåã¢ããªã«ïŒ FTH:K.
èµ·ããé³é¿å¹æãè€æ°ã®ç¥èŠã«åããããç°å¢ã¥ããããªã©ã ãããããã ã
THE VOICES: This field is broad and diverse, with groups working in many different ways. To try and provide a bit of a snapshot, five busy
â声ïŒ
practitioners in four countries found time to answer some quesâé害è èžè¡ã®åéã§ã¯ãããŸããŸãªå°åãå€ãã®ç°ãªãæ¹æ³ tions about their work: Daryl Beeton, Artistic Director of Kazzum ã§æŽ»åãè¡ãããŠãããäŸãšããŠãããã§ã¯ïŒã«åœãã以äžã® in London; Boris Caksiran, Artistic Director of ERGstatus in ïŒäººã®èžè¡å®¶ã«ãèªåãã¡ã®ä»äºã«ã€ããŠã®åãã«çããŠã Belgrade, Serbia; Elizabeth Ingram, Founder of All Star C.A.S.T ãã£ãã in Syracuse, New York, USA; Tanya Surtees, Company Director âããªã«ã»ããŒãã³ïŒãã³ãã³ /Kazzum åå£ / èžè¡ç£ç£ïŒ ãã at FTH:K in Cape Town, South Africa; and Tim Webb, Artistic ãªã¹ã»ã«ã¯ã·ã©ã³ïŒã»ã«ã㢠/ERGstatus ãã³ã¹åå£ / èžè¡ç£ Director of Oily Cart, London. ç£ïŒ ããšãªã¶ãã¹ã»ã€ã³ã°ã©ã ïŒã¢ã¡ãªã«ã»ã·ã©ãã¥ãŒã¹/All Star C.A.S.T./ åå£åµå§è ïŒ ãã¿ãã€ã»ãµãŒãã£ãŒã¹ïŒåã¢ããªã« / 1) How would you describe the work you do at your comFTHïŒK/ åå£ç£ç£ïŒ ããã£ã ã»ãŠã§ãïŒãã³ãã³ /Oily Cart å pany? å£ / èžè¡ç£ç£ïŒ Tim Webb: Since 1981 Oily Cart has been taking its unique ïŒ1ïŒåå£ã§ã®ä»äºå 容ã説æããŠäžããã
blend of theatre to children and young people in schools and venues across the UK. We create innovative, multi-sensory and highly
interactive productions for the very young and for young people ãã£ã ã»ãŠã§ãââ1981 幎以æ¥ãOily Cart ã¯è±åœåå°ã®åŠæ ¡ with profound and multiple learning disabilities. ãæœèšã§ãåã©ããè¥è åãã«ãç¬åµçãªæ··åæŒåãæãã㊠The motto on the van reads âAll sorts of shows for all sorts of ããŸããã幌å ãããã³æ¥µåºŠåŠç¿é害ããã€åã©ããã¡åãã® kids â and over the years weâve created work for many different è€æ°ã®ç¥èŠã«èšŽããé©æ°çãªèŠ³å®¢åå äœåãææããŠããŸãã kinds of young audiences, including babies as young as six months â ãããããåã©ãã®ããã®ããããçš®é¡ã®ã·ã§ãŒã ãšããã¢ã old. ããŒããæã ã®ç§»åè»ã«æ²ããããŠããããã«ãå€æ§ãªåã©ã ãã¡ã®ããã«ãããããªäœåãåµããŸããââïŒãæã®èµ€ã¡ã Elizabeth Ingram: All Star CAST (ASC) is a theater group ãåãã®äœåããã®äžã®ã²ãšã€ã§ãã
created for people who have special needs to work with Drama
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59
Voices from the Field of Disability Arts
ãšãªã¶ãã¹ã»ã€ã³ã°ã©ã ââAll Star CAST (ASC) ã¯ãé害å students in all the basic areas of Drama training. In the U.S.A. åŠçŽã®çåŸåãã®åå£ã§ã ããã§é害å åŠçŽã®åã©ããã¡ã¯ã æŒ people who have special needs are able to stay in the school sysåã®èšç·ŽãåããæŒååŠéšã®åŠçãšå ±åäœæ¥ãè¡ããŸããã¢ã¡ tem until they are 21 years old. After they graduate, the opporãªã«ã§ã¯ãé害å åŠçŽã®çåŸã¯ã21æ³ãŸã§åŠæ ¡æè²ãåããã tunities for work and for any group activity, especially in the ãšãã§ããŸãããåæ¥åŸã®åœŒãã®ã°ã«ãŒã掻åã®å Žãç¹ã«èžè¡ Arts, is greatly diminished. Most of these young people crave a åéã«é¢ããæ©äŒã¯ã極床ã«å°ãªããªããŸããå€ãã®ãããã community where they can be accepted. ASC responds to this è¥è ã¯ãèªåãã¡ãåãå ¥ããŠãããå ±åäœãæ±ããŠããŸãã need in creating a safe space where young people, and also not so ASC ã¯ãããããèŠæ±ã«çããã¹ããé害ã®çš®é¡ã«é¢ãããè¥ young people, can come together irrespective of disability to spend è ïŒã倧人ïŒãå®å¿ããŠäžç·ã«æŒååµé ã«åãçµããå ŽãæäŸ time together in creative play. ããŠããŸãã Boris Caksiran: ERGstatus Dance Theatre was established in ããªã¹ã»ã«ã¯ã·ã©ã³ââERGstatus ãã³ã¹åå£ã¯ãã³ã³ãã³ã 1998, as an educational project of contemporary dance. Since ã©ãªãŒãã³ã¹ã®æè²ãããžã§ã¯ããšããŠã1998幎ã«èšç«ãã㟠then, this project grew as an important independent organizaããããã以æ¥ããã®ãããžã§ã¯ãã¯ãã»ã«ãã¢ã®ã³ã³ãã³ã tion in the field of contemporary dance in Serbia. ERGstatus ã©ãªãŒãã³ã¹ã®åéã§éèŠãªç¬ç«ããçµç¹ãšããŠæé·ããŠã㟠also works as an integrated dance company with disabled and ããã ERGstatusã¯ãŸããé害è ãšå¥åžžè ã®ãã³ãµãŒãçµ±åã non-disabled dancers. As a choreographer and director, most of ããèèžå£ãšããŠæŽ»åããŠããŸããæ¯ä»å®¶ããã£ã¬ã¯ã¿ãŒãšã my work is dedicated to analyzing the human body and explorãŠãä»äºã®æéã®ã»ãšãã©ãã人ã®èº«äœãããããšãã®åãã® ing the way the body moves. ä»çµã¿ã®è¿œæ±ã«è²»ãããŠããŸãã Tanya Surtees: FTH:K makes visual, nonverbal theatre. We ã¿ãã€ã»ãµãŒãã£ãŒã¹ââFTHïŒK ã¯ãèŠèŠçã§èšèã䜿ã㪠specifically donât use any language, but we concentrate on the ãæŒåããŠãããŠããŸããæã ã¯èšèã䜿çšããã人äœãšäººåœ¢ã body as the primary means of communication, along with pupç §æãè¡šçŸã®åºæ¬çæ段ãšããŠçšããŠããŸãããã³ããã€ã 㧠petry, lights, and sets. We do not perform mime or dance. We ããã³ã¹ã§ããªãã人ãšäººã®éã®ç©ºéã远究ããèšèã®å£ãä¹ are investigating the space between people and we transcend ãè¶ããããšãå¿ãããŠããŸãã
linguistic boundaries.
ããªã«ã»ããŒãã³ââKazzumïŒã«ãºãŒã ïŒã¯ãè¥ã芳客ã«ãµã Daryl Beeton: Kazzum (pronounced ka-ZOOM) is a London ãããæ°é®®ãªæŒåäœéšãæäŸãããã³ãã³ã®åå£ã§ããåºãå theatre company dedicated to producing fresh, relevant theatriéã«ãããããŸããŸãªã·ã§ãŒããèå°äœåãã ã楜ããããã㊠cal experiences for young audiences. We put on a wide range of æ³ååãããç«ãŠãã ãšããå ±éããŒãã®ããšã«åµã£ãŠããŸãã very different shows and spectacles with one thing in common Kazzum ã®äœåãç§ã¯ãå æ¬çæŒåããšåŒã³ãŸããããããè± to entertain our audiences, and at the same time inspire them åœã§åããããªäœåãææããèžè¡å®¶ãåå£ããããåŒãã§ã and fire their imaginations. I would call our work at Kazzum ãããã§ã¯ãããŸãããèªåãã¡ã®äœåããåå åããšå®çŸ©ã âinclusive theatreâ. Yet the artists and companies who produce ãè ãããã°ã ãçµ±åçã ãã¢ã¯ã»ã¹ããããããšå®çŸ©ããè ã similar work here in the UK donât share a common language. ããŸããä»ã®äººã ã¯ãé害è äž»å°ãããé害è èžè¡ããšå®çŸ©ã Some define themselves as âinteractiveâ, âintegratedâ or âaccesãŠããŸãã ãå æ¬çããšããè¡šçŸã¯ããããšå ±éæ§ããã€è¡šçŸ sibleâ; others use terms like âdisabled-ledâ or âdisability artsâ. ã§ãã
The term âinclusiveâ recognises a shared ethos.
å æ¬çæŒåã®æ ãæã«å ±éããã®ã¯ãé害è ã®äººæš©ã«åºã¥ã What Inclusive Theatre practitioners have in common is supãè©Šã¿ãæ¯æããããšã§ããå æ¬çæŒåã§ã¯ã瀟äŒãé害è ã« port for a rights-based approach to disability. Inclusive Theatre äžããŠãããããªã¢ãŒïŒèº«äœçã«ãæ 床çã«ãïŒãåãé€ãã recognises the centrality of removing the physical and attitudiãšãéèŠã ãšãããŠããŸãããã®ã¢ãããŒãã¯ãå»åŠçã¢ãã« nal barriers that society puts up. This way of working contrasts ã®å¯Ÿæ¥µããªããŸããã€ãŸããæ²»çãå¿ èŠãªé害è ã®èº«äœã®ãã with a medical model; this is not about conditions that need curãããåé¡ãªã®ã§ãªãã ãé段ãããèŠç·ããåãé€ãããšãã ing, but about trying to remove the âstairsâ and âstaresâ that 圌ãã®å¹³çãªç€ŸäŒåå ã«çµã³ã€ããšããããšãªã®ã§ãã
prevent equal participation in society.
ïŒ2ïŒé害è ã®æåãã©ã®ããã«äœåã«åœ±é¿ãäžããŠããŸããïŒ 2) How does the disability culture inform your work? (In ïŒãŸãã¯ãé害è ã®äœéšãã©ã®ããã«äœåã«åæ ãããŠããŸã other words, how does your work reflect and/or respond ãïŒïŒ
to disability experience?)
ããªã¹ââç§ãã¡ã®äœåã®å ãããã€ãã¯ä»ã®ãã³ã¹äœåãšã Boris: Some of [our] performances are created NOT to be ãã»ã©å€ãããªãããã«åµäœãããŸããããã®çç±ã¯ãåå£ã® different than other similar dance performances. This is because äžã§é害ããã€ãã³ãµãŒã ïŒïŒäººã®å ïŒäººã¯è³ã«é害ãæã€ïŒ ä» of a need to define that our company with dancers with disabiliã®ãã³ãµãŒãšåãã¬ãã«ã§è¡šçŸã§ããããšã瀺ãããã§ããã ties (one of the 3 dancers is deaf) can perform on an equal level as
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60
Voices from the Field of Disability Arts
Oily Cartåå£ïŒã€ã®ãªã¹ã»ãã³ãã³ïŒã®èå°ãã Oily Cart
é害è ã瀟äŒã«è¡åçã«ããããŠåçã«åå ã§ãããšããèªè
any other. The knowledge that people with disabilities can be an
ã¯ããã®ãããªäœåã®æãéèŠãªåŽé¢ã®äžã€ã§ãã
active and equal part of the art society is one of the most important facets of such work.
ãã£ã ââç§ãã¡ã¯ãé床ã®åŠç¿é害ãæã€è¥ã人ãã¡ã®ãã ã®æŒåã¯åå åã»åæ¹ååã§ãªããã°ãªããªãããšãèªèããŠ
Tim: We know that our theatre for young people with severe
ããŸãã èšãæããã°ãç§ãã¡ã¯èŠ³å®¢ã®èŠæ±ã«ãã€ã§ãé©å¿ã§ ããããã«ããå¿ èŠããããŸããç§ãã¡ã¯èŠ³å®¢ã®ããè¿ãã§è¡š
learning disabilities has to be highly interactive. In other words, we need to be able to adapt what weâre doing at any time to the
çŸããã®ã§ãè¥è ã®ââãããŠå€§äººã®ä¿è·è ã®ââåå¿ãèŠ³å¯ ã§ããŸããããåžžã«åœŒãã®åã ã®ããŒãºã«åãããŠèª¿æŽãè¡ã
requirements of a spectator. Because we work in a very close-up way, we are able to observe the reactions of the young people â
ããšãã§ããã®ã§ãã
and their adult companions â very closely, and continually adjust what they are doing to suit individual needs.
ããªã«ââé害ãæã£ãŠçãŸãããšããããšã¯ãèªåã®èœã¡åºŠ ããå·®å¥ããããã®ã§ãªãã ãããä»è ã®èªèã®åé¡ã«ãã£ãŠã Daryl: Being born Disabled meant that growing up I often found å人ãååããå·®å¥ãããããšããããšã§ããé害è æŒåã«é¢ myself segregated from my friends and peers through no fault of ããç§ã¯ããã èå°ãæ©ããšããè¡çºã ãã§ããåžžã«èª°ãã®èª èã«ææŠãç¶ãããšããèš³ã§ãã
my own, but through othersâ perceptions of what I âcouldâ or âshouldâ do. You know, as a Disabled person who works in the-
ãå æ¬çæŒåãã¯ç§ã«ãããå€ãã®æ³åçéžæè¢ãäžããŠãã ãŸãã ç°ãªã£ãçµéšãæã£ãç°ãªã£ã人ã ããåã èªåã®ã¢ã€
atre, Iâm always going to be challenging somebodyâs perceptions just by walking on stage.
ãã¢ããåµé åãæºããŠçšœå€å Žã«éãŸãã®ã§ãããããã£ãçµ éšãæã ã®äœåã«çåœãšæ·±ã¿ãäžããã®ã§ãã
For me [inclusive theatre] allows a lot more creative options, those different people, with different experiences bring their ideas
ã¿ãã€ââæ£çŽã«èšãã°ãç§ãã¡ã¯ãé害è åé¡ããã§ããã
and their creativity to the rehearsal room. I think those experiences enhance and can bring a lot more life and depth to our
ãé ã®ãããšå¿ãããŠããŸããç§ãã¡ã®é¢å¿ã¯æŒåã«ãããäœ åãåµãããšã«ããããã§ããç§ãã¡ã¯ãèããããã®ãããã
work.
ããç®ã«ã¿ããæŒåäžçã®å¯èœæ§ãæ¢ç©¶ããŠããŸããäœåã§ã¯ é³é¿ã䜿ã£ãŠã¯ããŸãããåžžã«èŠèŠã®æåãäžå¿ã«ãªã£ãŠããŸ
Tanya: We honestly try to steer away from the disability stuff. Our interest is in the theatre, in the making of the work. We
ããç§ãã¡ã®äœåã¯é³é¿ãªãã§èŠ³ãŠé ããŠãååç解ã§ãã㧠ãããããŸããç§ãã¡ã®åµãäœåã¯å šãŠãªãªãžãã«ã§ããå šãŠ
concentrate on the theatrical possibilities of a world where you see more than you hear. We do use sound in our work, but the
ã¯ãèŸè ãšå¥åžžè ã®æ··ããåã£ãå Žããå§ãŸãã®ã§ãã芳客ã ã ãæ¬åœã«è³ã®äžèªç±ãªäººãã¡ãäœåã®äžã«ãããã§ããïŒã ãš
visual always trumps it. You would understand our work without sound. Additionally all of our work is original. Everything
èãããã®ã¯ãç§ãã¡ã«ãšã£ãŠæé«ã®ã³ã¡ã³ããªã®ã§ãã
starts on the floor with a mixture of the deaf and hearing cultures. The best comment we could get from an audience mem-
ïŒ3ïŒèªåœã®ä»ã®åå£ãèèžå£ãšã®é¡äŒŒç¹ãç°ãªãç¹ã¯ïŒ
ber after the show would be, âWere there deaf people in that?â
ãã£ã ââãã®çš®ã®æŒåã¯è€åæèŠçã§ããå¿ èŠããããŸã 3) How similar is your work from other theaters or dance ââã€ãŸãã觊èŠãå³èŠãèèŠãèŠèŠãèŽèŠã«èšŽãããã®ã§ãã companies in your country and region? How different? ç§ãã¡ã®äœåã¯ã¢ãããã©ããŒãæ足ãããµãŒãžãæ颚æ©ã泡ã ããã«ã¯è¡£è£ ã®ç¹ç¶ã«ãã£ãŠäººç©ãã¡ãèªèãããããããã Tim: This kind of theatre has to be multi-sensory, addressing
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Voices from the Field of Disability Arts
ã®äººç©ãæã€ç¹åŸŽçãªçœ®ç©ãªã©ã®ïœ¢æãããã®ç©ããã圌ãã〠the senses of touch, taste and smell â as well as the theatrical ããŠããè 茪ã®åããªã©ãããããæã ãŠã䜿ãè¡šçŸã§ããç§ stand-bys of seeing and hearing. Our performances may involve ãã¡ãåžžã«å¿µé ã«ããããã«å¿ãããŠããã®ã¯ã芳客ã®å€ã㯠aromatherapy, hand and foot massage, fans, foam and bubbles ã³ãã¥ãã±ãŒã·ã§ã³é害ãæã£ãŠããããã圌ããäœãèã㊠as well as characters who can be identified by the texture of their ããã®ããå¯ããã®ãéåžžã«é£ãããšããããšã§ãã ã ããã ã© costumes, the âObjects of Referenceâ â iconic props - they carry, or ããªèšèã䜿ã£ãŠããããšãç§ãã¡ã¯åœŒãã«æ³šææ·±ãè³ãåŸã the scents on the wristbands they wear. ãããã«ããŠããŸããã€ãŸãç§ãã¡ã¯ã§ããéãæè¯ã®äœåã We always try to remember, that because many in these audiââç§ãã¡èªèº«ã§çºèŠããææŠããåºæ¿çã§ããããŠæºè¶³ã§ã ences have communication impairments, it is very difficult for ãããããªäœåãåµãå¿ èŠãããã®ã§ãã us to know what they might be thinking. Yes, we listen very carefully to whatever language they are using. It means that we ãšãªã¶ãã¹ââASCã¯ãé害å åŠçŽã®äººã ãæŒååŠæ ¡ã®åŠçãš have to create the very best work that we can, work that we å ±åäœæ¥ããããšããç¹ã§ã ä»ã®æŒåéå£ãšã¯ç°ãªããŸããæŒ ourselves find, challenging, stimulating, and satisfying. ååŠæ ¡ã®åŠçã®ã»ãšãã©ã¯ããããŸã§é害å åŠçŽã®çåŸãšæŽ»å ããèšç·Žã¯å šããããããšããããŸãããæŒååŠæ ¡ã®åŠçãã¡ Elizabeth: ASC is different from other Drama groups in that it ã¯åãã é害è ãå©ããããšãç®çã«åå ããŠæ¥ãã®ã§ããã ã is for people who have special needs to work with Drama stuã°ãããããšèªåãã¡ã圌ããå©ãããšåæã«ãèªåãã¡ã㟠dents, young people who are in a college drama training proããé害è ããå€ãã®ããšãåŠãã§ãããšæ°ã¥ãã®ã§ãã gram. The drama students have not been trained in Special âASCã§ã¯ãäœåã®ææããããäœåãåµãéçšã«æå³ãããã Education and very few of them have had any experience with åã ã®ã¡ã³ããŒããå®å¿ããŠå£°ãšåããéããŠèªåèªèº«ã®æ®»ã people with disabilities. They come to the group with a wish to æã¡ç Žãããšãè©Šã¿ãå ŽãæäŸããããšãéèŠããŠããŸããã help people that they view as being disadvantaged, but they soon ã®ããã«ã¯ãèŠå¶ã§çžãã€ããããããããèããå±ãŸããæ° discover that they have as much to learn from them as to give. ããã¢ã€ãã¢ã®çãŸããå Žãäžããããšã®æ¹ãéèŠã§ãããšåŠ In ASC the production is not the most important aspect of ã³ãŸããã the work. The importance lies in the process of making it safe for every individual member of the group to reveal themselves ã¿ãã€ââãã¡ã®åå£ãšåãäºããã£ãŠããéå£ã¯ãããŸããã through their voice or movement. We therefore learn that it is åã¢ããªã«ã§èŠèŠçãªæŒåãææããã°ã«ãŒãã¯ããã¡ã®åå£ more important to listen, encourage, and make space for new ã®ã¿ã§ãã èŸåè ãšå ±åäœæ¥ããä»ã®ã°ã«ãŒãã¯çã æ話ã䜿㣠ideas, than to try to impose structure. ãŠããŸãã Tanya: There is no one else. Seriously, we are the only group ããªã«ââKazzum ã¯ãåã©ã察象ã®éå€æŒåãåµäœããå¯äž that creates visual theatre in South Africa. Other companies ã®å æ¬åå£ã§ããã€ã®ãªã¹ã®å声ã®ããå ç«¥éå°å¹Žåå£ã®èžè¡ who work with deaf culture use sign language. ç£ç£ã§ãé害è ã§ããã®ã¯å¯äžãç§ã®ã¿ã§ãã Daryl: Our work at Kazzum is unique as we are the only incluïŒ4ïŒèªåã®äœåããé害è ãžã®æ¢æ芳念ãããã©ãŒãã³ã¹ãžã® sive company producing work for the outdoors that is focused on æ¢æ芳念ãå€ãã圹å²ãæããããšæããŸããïŒâããã ãšã young audiences. I am also the only disabled Artistic Director ãã°ãã©ã®ããã«ïŒ running an established theatre company for young audiences in the UK. ãã£ã ââæè¡çãªé¢ã®ã¿ã§ãªãã æ 床é¢ã«ããã圱é¿ã§ããã äœåã®äžã«ãæ³ååãéã³å¿ãæãããããã§ããã ãåãå ¥ 4) Do you think your work plays any role in changing ããããã«ããŠããŸãã芳客ã¯ïŒåžžã«ãšã¯èšããŸããããé »ç¹ traditional perceptions of persons with disabilities or ã«ïŒåå¿ã瀺ããæ¢æã®ãé害è ã«å¯Ÿããã¬ããã«ãæ 床ã«ç changing traditional perceptions of performance? If so, åãæãããããããªæ¹æ³ã§èŠ³å®¢ã«åããããŸãã芳客ã®æ 床 how? ã¯äžè»¢ãã ãã®äœéšã圌ãã®æ¥ã ã®ç掻ã®äžã§ãç¶ãããšãæã¿ ãŸããç§ãã¡ãå°å±ããããã§ãçºãå»ã£ãåŸããç¶ãããšãã Tim: Itâs not just about techniques; itâs also about attitudes. We put as much imagination, playfulness and care into our work as ããªã«ââãã¡ã®åå£ã§ã¯ãé害ãç§ãã¡ã®äœåã®åºç€ãšãªã£ we can. Audience members respond to this (not always, but ofãŠããŸããé害è èžè¡å®¶ãšåã©ããã¡ãšã®éã«ããµãããã®æ© ten enough) by reacting in ways that challenge the labels, the äŒãäžãããã£ãããäœãã®ã§ãããã®ããµããããéããŠã syndromes, the behaviours, which are used to define them. Attiéã£ãã¬ãã«ã®ç解ããããŠä»ãŸã§æ¢æã®èŠ³å¿µã§é害è ãèŠãŠ tudes shift, and it is my hope that the spirit will become part of ãã人ã ããåãå ¥ããããããšãã倧ããªå€åã«ã€ãªããåŸ the day-to-day routine and influence behaviour long after we have ãã®ã§ãã packed up our van and are on the road to the next gig. ãšãªã¶ãã¹ââç§ã¯ããŠã³çã®åšãæã€ãããé害è ã«å¯Ÿãã Daryl: Our work profiles disability on an artistic platform. It æ¢æ芳念ããããŠã³çã®åã®æ¯ãšããŠäœéšããŸããã瀟äŒãåš creates opportunities for personal interaction between disabled
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Voices from the Field of Disability Arts
ãåŠå®çã«ãšããããšãããšãŠãå³ããéã§ããããã€ãã圌 artists and young audiences, this process of the shared artistic 女ã¯äœãã§ããªããšããã°ã«ãŒãã«ãšã蟌ããªããšããããã experience inspires and creates a different level of understandãªåãæ¹ããããšããç解åºæ¥ãªãããªã©ãªã©ããããŠãéé㣠ãŠããã®ã¯åšã®æ¹ã§ãä»ã®çãæ£ããã®ã ãšããã¬ããã«ã貌
ing and can lead to a greater acceptance by those who wouldnât normally see past the stereotypes of disability.
ãã€ãããããã¯å³ããã¬ããã«ã§ãã幞éãªããšã«ãå»è 㮠玹ä»ã§ããã«äŒãããšãå§ããããããã圌女ã®åµé åãçºæ®
Elizabeth: My own experience of traditional perceptions of per-
ãããã£ããã«ã€ãªãã£ãã®ã§ãã圌女ã®æ¯æ²å·çãšãæŒæãž ã®èå³ããAll Star CAST ã®èªçã®ãã£ãããšãªããŸããã
sons with disabilities comes from being the mother of a daughter with Down syndrome. It was a hard road as at that time the
All Star CAST ã®äœåã¯ãé害è ãžã®æ¢æ芳念ãå€ããçª®å± world looked at her in very negative terms. Everything was about ãªã¬ããã«ãåãé€ãããã®ã¬ããã«ã®äžã«é ããŠãããçŽ æŽ what she couldnât do, how she didnât fit in, how she looked differãããäžäººã®äººéãçºæããã®ã§ãã
ent, talked âstrangeâ, didnât understand etc. and the message the world clearly gave her was that âshe was wrongâ and that every-
ã¿ãã€ââç§ãã¡ã¯ãç¹ã«äžã®äžãå€ãããããšãæè²çãšã one else was ârightâ. Thatâs a hard message to live with. Howãããšãæ¯ããããããšã¯æã£ãŠããŸããã芳客ãæ²é»åã芳 ever, with the help early on from our doctor, we were encouraged ãŠæåããŠããã®ãç®ã«ããã®ãæã³ãªã®ã§ããåã¢ããªã«ã§ ã¯ãããŸãå æ¬çãšããæèã¯æµžéããŠããŸãããå€ãã®äººã¯
to see Becci as an individual in her own right, and to give her every opportunity to express herself creatively, which she did.
èŸåè ã«äžåºŠãäŒã£ãããšããªãã圱é¿ãåããããšããªãã® Her passionate interest in playwriting and acting was the inspiã§ããFTH:K ã§ã¯ãèŸåè ã®èŠ³å®¢ãå¥åžžè ã®èŠ³å®¢ã®é£ã«åº§ãã ration for the beginnings of All Star CAST. åãäœåã芳ãŠãåæã«ç¬ãããšãã§ããã®ã§ããéèš³ã«ãã æéå·®ã®ç¡ããå ±éã®æéãšããã®ã¯ãå€ãã®äººã«ãšã£ãŠæ°é®®
So the work of ASC changes traditional perceptions of persons with disabilities by getting under the limiting labels and
ã¯äºãªã®ã§ãã âãã¡ã®åå£ã¯ãèŸåè 察象ãšããäºå®ãå¥ãšããŠãèŠèŠåã
revealing the wonderful individual underneath, whoâs take on life is often precious and worth listening to and learning from.
åªäœãšããã°ã«ãŒããšããŠåãå ¥ããããŠããŸãã Tanya: We arenât out to change the world. We donât try to be ïŒ5ïŒä»åŸã®äœåââå ç«¥éå°å¹ŽæŒåãé害è ã®åéã§ã®æ¹åæ§ ãšèŠç¹ââã«ã€ããŠã®èãã¯ïŒ
didactic or âteachy-teachyâ. It is amazing when audience members are surprised when they are so moved by a silent piece.
There is not much integration in South Africa, many people have ãšãªã¶ãã¹ââ1991 幎㫠ASC ã®ã°ã«ãŒããå§ãŸã£ãŠä»¥æ¥ãå never met a Deaf person or been impacted by Deaf Culture. At å£ã¯æé·ãç¶ããŠãããæšå¹Žã¯ïŒã€ã®ã°ã«ãŒããæ§æãã俳 FTH:K we have Deaf audience members sitting next to hearing åªãæŒååŠæ ¡ã®åŠçå ±ã«åå åžæè ãå®å¡ãäžåã£ããããå audience members and they are all able to laugh and respond at å åŸ ã¡ã®ãªã¹ããã§ããã»ã©ã§ããã2010幎ã«ãã©ãªãŒã»ãšãª the same time. There is no lag because of an interpreter and ã³ããããŒãã«âã©ã€ã¯âã㌠(People Like Me) ããšããã that shared moment is new for many people. ãã¥ã¡ã³ã¿ãªãŒæ ç»ãäœããããã PBSæŸéã§æŸæ ããããã® Affecting the content is different, but we have been recogçµæãããã°ã©ã ãžã®å€ãã®é¢å¿ãå¯ããããããã«ãªããŸã nized as a company that leads visual theatre as a medium, reãã次ã®ã¹ãããã¯ãä»ã®ãããããªå€§åŠã®æŒååŠéšã«åŒã³ã ããŠãèªåãã¡ã®ã°ã«ãŒããå§ããããšã§ãã
gardless of our Deaf focus.
5) What is your vision for the future of your work and the ã¿ãã€ââïŒã¶æåã«ã¯æããéã£ãçããããŠããã§ãããã field of TYA (theater for young audiences) and disabilèªåãã¡ã®é©å¿æ§ãšã誰ã察象ã«æŽ»åãè¡ãã®ãã®æ矩ãèã çŽãå¿ èŠããããŸããããããã¡ã¯ãäºã€ã®ããšââèžè¡äžç
ity?
ãåµãã瀟äŒã®èªèãæµ®ã圫ãã«ãããšããäºã€ââãåæã« è¡ãããšããŠããŸãããããã¯æãããŠé©åãªããšãªã®ãã©ã
Elizabeth: The ASC group began in 1991 and has grown ever since, so that last year we had four groups and a waiting list for
ããçåãæã£ãŠããŸããå ç«¥åãã®æ¹åæ§ã«è»¢æããå¿ èŠæ§ both actors and drama students wanting to join the program. In ãããããšã¯ç解ããŠããŸãããªããªãå ç«¥æŒåã¯ããã®äºã€ 2010 Larry Elin directed a documentary film called âPeople Like ã®ããšãåæã«å¯èœã«ããããã§ããåã©ãã®èŠ³å®¢ã¯ãæªæ¥ã« åãã£ãŠæºåããã人ã ã ããã§ãã
Meâ which was shown on PBS and which has brought a lot of interest to the program. Our next step is to approach other Drama
ããªã¹ââåã©ããã¡ã¯ãããç©äºã«éããç®ãæã¡ãåãå ¥
departments within universities and colleges, with the idea of opening their own groups.
ããèœåãæã£ãŠããŸãã圌ãã¯ãäŒçµ±çãªç€ŸäŒåœ¢æ ãå€ãã ããšãæ¢ç©¶ããããšãåŠã¶ããšã«ç©æ¥µçã«åãçµã¿ãŸãããã Tanya: Two months ago I would have responded differently, but ãã®æ°ããçµéšãå®ç掻ã«ãªããé害è ã«å¯Ÿããé æ ®ã®å¿ èŠæ§ ãäœãäžããã®ã§ããç§ãã¡ã«ãšã£ãŠãæ¯æŽãšæãããã®ããš
we really have to reinvestigate our relevance and whom we are here to serve. We are trying to do two things at once. We want to
ã§æé·ã§ããå®å šãªå Žãäœãããšããããšã掻åã®åºæ¬ãšãªã ã®ã§ãã
create an artistic world and uncover societyâs perceptions, and Iâm not sure if thatâs sustainable. I know that we do need to shift
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Voices from the Field of Disability Arts
more towards young audiences because that will help us achieve ããªã«ââæã ã®æŽ»åããä»åŸã®ä»äºã®èŠæš¡ã®æå³ã§ãã芳客 both goals. The young audiences are the ones who need to be ãšã®é¢ããã®é¢ã§ãçãã«ãªãæé·ããããšãæãã§ããŸãã prepared for the future. å€ãã®äººã«èŠããããšãã人ã ã®èªèã«èšŽããããæãæãé èŠãªèŠå ãšãªããŸããé »ç¹ã«ãéã人ã ããç®ã«ããã°ããã» Boris: Youth and young people are more open and accepting. ã©ãããåãå ¥ãããããªããã®ã§ãã
They are more willing to change traditional forms of society, to
â ãã®ä»ã®ïŒã€ã®å£°
explore and learn. All those new experiences become a real life and create a need to be aware of others who are different. For us
this is a seed that we have to care for, creating a safe place to âãã³ãµãŒãšããŠã®ä»äºã®è³ªãä»äºãžã®åãçµã¿æ¹ããå šã grow with support and encouragement. å¥åžžè ãšå€ãããªãããã®ãã³ãµãŒãããŸããããæ ãç§ã¯ã Daryl: I want our work to continue to flourish and to grow, both ææŠãç¶ãããã¢ãŒåå£ã奚å±ããå ±åäœæ¥ã«ç©æ¥µçã«åã in scale and in audiences. Visibility is a key factor when wanting çµã¿ããã®ã§ããããããŠåããŠã人ã ã¯ãããã¯æ¬ç©ã ããš to address perceptions; the more we see âdifferenceâ the sooner èšãããã«ãªãã®ã§ããââãã£ãªããã»ãã£ãã«ã¹ïŒãªãŒã¹
we accept it.
ãã©ãªã¢ / ã¬ã¹ãã¬ã¹ãã³ã¹åå£ïŒ
Three other voices: âç§ãã¡ã¯ãå·ããæãæã«èžã¿èŸŒãããšãæããŠããŸãã æåã¯æããããã®ã§ãããåŸã«ãªããšãããå¿å°ãããªã ãŸããç§ãã¡ã¯ãŠã£ããããããŠãææ çã§ãäœåãæ·±ãæ ãäžããæ¥åžžç掻ã§ã¯è¡ãçããªãæãŸã§è¡ãããšãã§ã㟠ããââããã¯ïœ¥ãã¥ãŒïœ¥ããã¯åå£ã®ã³ã¡ã³ãïŒãªãŒã¹ãã©ãªã¢ïŒ âãŸã ãŸã ããã¹ãããšã¯å±±çãã§ããæŒåãéããŠã芳客 ãä»ã®æåã«è¿ã¥ããå¿ èŠæ§ããããŸããæŒåã¯åš¯æ¥œã®ãã ã®ç©ã§ãããªããã åæã«ç解ãå°ãåªäœã«æãåŸãã®ã§ãã ââãã€ãã»ããšããïŒã¡ãã·ã³ïŒ
These are professional dancers in the sense that the quality of their work and the quality of their commitment as dancers is the same as if that person does not have a disability. Thatâs why I want to push things, to promote the touring company, to engage in [more mainstream] collaborations. I think thatâs when people actually start saying, this is serious. â Phillip Channells, Artistic Director of Restless Dance Theatre, Australia We are not afraid to step into the cold, dark side. At first weâre scared, but afterwards we feel good. We are witty, emotional, we go deep into the work, we go places you canât go in real life. Statement from the ensemble of Back to Back Theatre, Victoria, Australia
â å æ¬çå ç«¥éå°å¹ŽæŒåã«ã€ã㊠ãããŒã»ãã©ããŒãã³ âè±åœã®æŒåçã§ã¯çŽ æŽãããããšãèµ·ãã€ã€ãããä»ãã㧠ã¯ãå æ¬çå ç«¥éå°å¹ŽæŒåïŒInclusive TYA) ãšåŒã¶ããšã«ãã ããæããããã®å ãã£ãšè¯ãè¡šçŸãçãŸããã ããããã®å éã®äœåãç¥ãããŠããªãããšã¯å¥ã«é©ãã«ããããªããç¬¬äž ã«ãå ç«¥ã»è¥è 察象ã®äœåã§ããããšãããã¯åŸã ã«ããŠåºäž ã®ããã®èžã¿å°ãšäžå·ãããããããŠãäœåãé害ã«ã€ããŠã® ãã®ã§ããããšãæ ã«ãããšãç°¡åã«ã䟡å€ã®ãããã®ãã§ã¯
There is still much to be done. Itâs important to use theatre to bring the audience closer to other cultures. Theatre can entertain, but at the same time, it can bring understanding. Haydée Boetto â Seña y Verbo, México City
On Inclusive TYA, by Danny Braverman
ãªããšãããã®ã ãåã«ç€ŸäŒå€é©ã®éå ·ã§ãã£ãŠãããããäž è¬æŒåã®ãé«ã質ãããå®éšçæŒåã®ãé©æ°æ§ããæ¬ ãããšã
Something remarkable has been happening in theatre in ãããããããå®ã¯å æ¬çå ç«¥åã¯èå³æ·±ããé©æ°çã§ããã the UK: letâs call it Inclusive Theatre for Young Audiences (Inãã§ãªããã€ã®ãªã¹ãäžçããªãŒãããŠããåéã§ããã®ã ã clusive TYA) for now; perhaps a better term will emerge later. The lack of proper recognition for this work should come as no âäœæ ãå æ¬çå ç«¥åã¯å¿ èŠãïŒ surprise. Firstly, the work is for children and young people: a âäžè¬æŒåââå ¬çæ¯æŽãåããŠãããã®ãšãåæ¥çã®ãã®ã® Cinderella sector that is often denigrated as the first rung on the åæ¹ââããé害è ã®åå Žäœéšãåäžããããããããªè©Šã¿ã career ladder; then, the work is about disability, so itâs easily ããŠã¯ããããããããŸã ãŸã ãªãããã¹ãããšããªãããŠã dismissed as âworthyâ: an instrument of social change lacking ãªãã®ãçŸç¶ã ããã®åé¢ãå æ¬çå ç«¥åãç®æãããšã¯ãå š the âexcellenceâ of the mainstream or the âinnovationâ of experiãŠã®åã©ããã¢ã¯ã»ã¹ã§ããã·ã¹ãã ãæ€ã蟌ãŸããŠããããš mental work. But a closer look reveals that not only is Inclusive ã§ãããåå ŽäŒç»æ åœè ãã¡ã«ã¯ãé害ããã€åã©ãã¯ã倧人 TYA exciting and innovative, itâs also an area where the UK is ã®èŠ³å®¢ãä»ã®å¥åžžè ã®åã©ããã¡ãšåããã芳客ã®äžå¡ã§ãã arguably leading the world. ãšããèããæã£ãŠãããå¿ èŠããããäžäººã«äžäººã®åã©ãã Why is Inclusive Theatre for Young Audiences needed? é害ããã£ãŠãããšèããããŠããââ圌ãã®æåçéèŠãšæš© å©ããå¥åžžè ãšåãããã«èªããã¹ããªã®ã ãæãã§å æ¬çå
Mainstream theatres, both publicly funded and commercial,
have a range of schemes and measures that at their best are ç«¥åã«æºãã人ã ã¯ç¡è«ãå¹³çã«å¯ŸããŠã®ç±ãæããæ±ãããš improving disabled peopleâs experiences, but at their worst are
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Voices from the Field of Disability Arts
ã«ãªãã ãããããã®ã¿ã§ãªãããããã幎霢ã®å šãŠã®èŠ³å®¢ã® ããã«ãªãæŒåãäœãæ¹æ³ãéæããããšã«ãªãã ããããã
token efforts to remain compliant to legislation and to tick a box for the Arts Council. What Inclusive Theatre aims to do by con-
ãŠãã©ã®èžè¡ã«ãå ±éããããã«ãå¶çŽã«èŠãããã®ãå®ã¯åº æ¿ãäžãããã®ã§ããããããšããããšã«æ°ã¥ãã®ã ã
trast is to make sure that access for all children is built-in, not bolted on. We need theatre producers to consider the disabled
é害ããã€åã©ããã¡ã«ãšã£ãŠãå æ¬çæŒåãäœéšããããš
young person as an audience member of equal status to everyone else in the community. One in seven children is considered
ã¯ã人çãå€ãã倧ããªåºæ¥äºãšæãåŸããã³ãã¥ãã±ãŒã·ã§ ã³é害ããåŠç¿é害ãæã£ãè¥è ãã¡ã«ãšã£ãŠãèªãã¯èŠèŠã
to be disabled - do their cultural needs and rights get given the same consideration as their non-disabled peers, let alone adult
æåã§è£åŒ·ããåŸãã®ã ãæããããªã芳客ã®åå¿ã¯åãå ¥ã ãããããã©ãŒããŒãšèŠ³å®¢ã®æ©æž¡ããããéå ·ãšæããããèŽ
audiences? Those that choose to go on the Inclusive Theatre journey will of course be driven by a passion for equality, but will
èŠçµµç»ã¯èŠèŠé害å ç«¥åãã«æ³šææ·±ãäœããåŸããèŸå芳客å ãã®æ話ã¯ãã¢ã¯ã·ã§ã³ãšå®å šã«çµ±åãããŠããããããŠãé
also find it opens up ways of making theatre that will benefit all audiences of all ages; as with so much art, what can seem limit-
床ã§è€æ°ã®åŠç¿é害ã®ãã人ã åãã«ã¯ã觊èŠã«ãã£ãããç° ing is actually stimulating. å¢ãäœãäžãããããã®é害ãæã£ãããã©ãŒããŒã®ååšã¯ã For the disabled young person then, experiencing an Incluãç§ãåºæ¥ãããšããåžæãäžãããããŠãã¡ãããéžã°ãã ã¹ããŒãªãŒãšããŒãã¯ãé害ãæã€è¥è ã®äœéšãåæ ããã®
sive Theatre show can be life changing. With access at its heart, the show can meet young people on their own terms. So, for
ã§ããã
young people with communication impairments and learning difficulties, the narrative can be re-enforced visually as well as
âæªæ¥ã¯ïŒ âæªæ¥ã¯æããããã«æããããããå€ãã®åå£ãããå€ãã®
verbally; unusual audience responses can be embraced and be part of the rapport built between performer and audience; a sound
èžè¡å®¶ãããå€ãã®å æ¬ã®æ©äŒãäœãããšãããå€ãã®ããç åå ããããŠãããå€ãã®èŠ³å®¢ãããã匷ãå ±åäœæèãäœã
picture can be carefully crafted for blind and visually-impaired young people; sign language integrated fully into the action for
ã®ã ãæã ã¯ãéãããšãåãå ¥ããããè³è³ãããäžçãžãš 移ãã€ã€ããã®ã ã
deaf audiences; and tactile and olfactory environments created for those with profound and multiple learning difficulties. The presence of professional disabled performers encourages an âI can do thatâ response and, of course, the stories and themes cho-
â è±åœããã®ã¬ããŒããšåèè³æ sen will resonate with the disabled young personâs experience. ã»éèŠãªã¬ããŒã㯠TYA-UK ã®ãŠã§ãäžã«æ²èŒãããŠããã What about the future? http://www.tya-uk.org/site/reports/ ãã®äžã«ã¯ããããŒã»ãã©ããŒãã³ã®å šã¬ããŒããå æ¬çå
The future is bright, it seems. More companies, more artists, more inclusion, more professionalism, more audiences, a
ç«¥åãããã³ãã¢ã·ããžäžçäŒè°2011ã§TYA-UKã»ã³ã¿ãŒ stronger sense of community. We are moving toward a world ã«ããçºè¡šãããã å ç«¥æŒåã®äžã®é害èžè¡ã®æ¢ç©¶ãè¿œã£ãã where differences are embraced and celebrated. ãäžäœèª°ã®æŒåãªã®ãïŒïŒWhose Theatre is it Anyway?)ã ãå«ãŸããã ã»ãäžäœèª°ã®æŒåãªã®ãïŒïŒWhose Theatre is it Anyway?)ã Reports and resources from the UK ã®æ åã¯ãŠã§ãäžã§èŠãããšãã§ãããhttp://vimeo.com/ Some important reports and resources are on the TYA-UK user10971930 ã»åãåããã¯ãdaryl@kazzum.orgâãŸãã¯ãvicky.ireland@ virgin.netâãŸã§ã
website at http://www.tya-uk.org/site/reports/ These include Danny Bravermanâs full report entitled âInclusive Theatre for Young Audiencesâ as well as âWhose Theatre is it Anyway?, an interim report issued following a major cel-
â ã¢ã¡ãªã«ã§ã®åèè³æ ã»ã¯ã·ã³ãã³ DC ã®ã±ããã£ãŒã»ã³ã¿ãŒã§ãé害è å ç«¥åã«ã€
ebration and exploration of Disability Arts in Theatre for Young Audiences presented by TYA-UK Centre of ASSITEJ at World
ããŠã®è³æãå ¥æå¯èœã§ããããŠã§ããµã€ã http://www. kennedy-center.org/education/vsa/resources ãåç §ã
Congress 2011 Watch the âWhose Theatre is it Anyway?â film at http://
ã»åãåããã質åã¯ãVSAinfo@kennedy-center.org ãŸã§ã vimeo.com/user10971930 For additional information, contact daryl@kazzum.org or vicky.ireland@virgin.net Selected resources in the USA The Kennedy Center in Washington, DC, has a number of resources in this area available on the internet at http:// www.kennedy-center.org/education/vsa/resources/ . If you have questions or would like more information, please email VSAinfo@kennedy-center.org.
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Voices from the Field of Disability Arts
Theatre,Dance,Opera, Performance,Puppet-, Object-& MusicTheatre foryoungaudience. Focusontheatrefortheveryyoung!
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THEATREHOUSE FOR YOUNG AUDIENCE www.dschungelwien.at
MuseumsQuartier,Vienna,Austria
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International theater festival for a young audience
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