[Report] "The Winter's Tale – Michi no Oku no Kuni no Fuyumonogatari" Performances on November 22 & 24, 2024

On November 22 and 24, 2024, I had the privilege of participating in the play "The Winter's Tale – Michi no Oku no Kuni no Fuyumonogatari," performed at the Tagajo Civic Center Small Hall. In this production by the Shakespeare Company, I took part in the ONI KENBAI (demon sword dance - 鬼剣舞) scene as a HAYASHI (musical accompanist).

The music director for this production was Mr. Shigetomo Hashimoto (affectionately known as "Changmoz"), with whom I've collaborated in various events and who is also a label mate from whom we've released music through Ryoondo-tea. The lighting was handled by Mr. Taro Matsuzaki, who also did the lighting for Ms. Ariha Sato's recent solo performance. It was a stage that connected my professional acquaintances with my performing arts activities, making it a truly serendipitous production.

This performance marked my debut on stage as a HAYASHI for ONI KENBAI. Due to scheduling conflicts, I hadn't been able to attend the practice sessions of the club, so the dress rehearsal was my first time playing together with the club members.

"Michi no Oku no Kuni no Fuyumonogatari" is based on Shakespeare's "The Winter's Tale." In the original, the setting is Sicily and Bohemia, but in this adaptation, it has been changed to the ancient provinces of Mutsu and Dewa, with dialogues delivered in the Tohoku dialect.

The themes of "connecting" and "living together" align with the objectives of the Tagajo 1300th Anniversary Project. I learned that this play also carries a sentiment of compassion towards those affected by the Great East Japan Earthquake in 2011.

With this in mind, I read the script multiple times to grasp the overall content and to envision the meaning and atmosphere of the scenes where ONI KENBAI would be incorporated. I repeatedly watched practice recordings and reference videos from preservation societies, listening to them during commutes to internalize the rhythms. I practiced alone to ensure I could naturally produce sounds that matched the movements and ambiance.

I played the flute with heartfelt prayers for the repose of the earthquake victims, hopes for reconstruction, and gratitude for the connections formed. While these feelings are always present, I felt that the space was created by members, actors, and staff who shared the same sentiments.

It was a stage that illuminated the path of future connections and the journey ahead

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tag:

diary, Music, Japanese Folk performing art

Original article(Japanese)
https://note.com/coupieyukki/n/ndfd3247d5961