Modern Noh Plays ~Yorobshi~
KINDAI NOUGAKU SHUU ~YOROBOSHI~
Role: Toshinori (俊徳)
Director: Yukio Ninagawa
Writer: Yukio Mishima
|09 November 2000||Actcity Hamamatsu, Japan|
|14 - 15 November 2000||Biwako Hall, Japan|
|19 - 23 November 2000||Aichi Kinro Kaikan, Japan|
|27 - 30 November 2000||Theatre Drama City, Japan|
|27 - 30 June 2001||Barbican Theatre, London|
|12 - 14 July 2001||Saitama Arts Foundation, Japan|
|20 - 21 July 2001||Ryutopia, Japan|
|25 - 27 July 2001||Theatre Drama City, Japan|
|31 July - 12 August 2001||Bunkamura Theatre Cocoon, Japan|
In "Yoroboshi," set in an antiseptic courtroom that will be magically transformed by Tamotsu Harada's lighting, two couples argue over who should take charge of Toshinori (Mr. Fujiwara), a 20-year-old man who was lost at age 5 during the war and blinded. Does he belong to the urbane pair who adopted him (Tetsuro Sagawa and Machiko Washio) or to his original, folksier parents (Mikio Shimizu and Tomoko Jinbo), who have only now discovered that he is still alive?
As in "Sotoba Komachi," the play builds, with surprising shots of nasty humor, to a climactic pas de deux. In this case, the participants are Toshinori and Shinako Sakurama (Mari Natsuki), the court magistrate and a woman of exquisite calm and composure. Sakurama quietly champions the forms that shape the structures of society and family. But before he lost his sight, Toshinori saw a landscape in which form had disappeared, a fiery void that erased all boundaries, including those between the living and the dead. The world, he now insists with shattering and vehement certainty, has already ended.
"Yoroboshi" operates both as a lyrical, abstract study of death-in-life and as a pointed social commentary on the impact of the war on the children who survived it and their guilt-crippled parents. Played as a dazzling counterpoint of asocial rage and toxic, smiling complacency, Mr. Fujiwara's Toshinori is both a bard of destruction and a spoiled brat, expert in emotional blackmail. That you are able to fully grasp both aspects of this character speaks reverberantly of the double-natured genius of Mishima's theater.
Since the first production, Tatsuya has starred in another special revival version of the production, in 2005, which was performed in Japan and the Lincoln Center Festival (New York).