Berlin Now!2
Feb,15,2011 ベルリン Filmknstでの初ギグが終わり、その帰りに向かいのスペイン料理屋で打ち上げをしていたら、たっぷりと太った黒出目金の女“フラメンコダンサー”が、お前達は「ダンサーで音楽家なのか？だったらバトルしようぜ！」と勝負を挑んで来た。
深夜１時過ぎに、勝負ですか？やってやろうじゃないかぁぁぁ。。。
ギリシャから来ている相手方のギターリストに適当なコードを伝えて日本の民謡「貝殻節」をがなった。なぜか、その夜の未國の本番よりもエネルギーがほとばしり、俺の血は躍動した。
自分自信のプリミティブな根底と向き合い、今後ベルリンでなにをすべきか強烈に理解した。
感謝！！
Berlin Now!
Dec,8,2010 我々はベルリン・シェーネフェルトに降り立った。
粉雪の中、ちっとも様相のわからない街を50kgに及ぶ荷物を抱えて
今夜の宿にたどり着いたのは、深夜1:00。
そんな時間にも関らず、日本語ぺらぺらのアイルランド人“ジョニ”は
我々を笑顔で迎え入れてくれた。
日本で忘れかけていた“情け”をこんな異国の地で痛感するとは・・・
感謝！
What I knew through creation of this work is that thoughts and everyday life of peoples in the past still exist in the space around us even after they died,,,
Explanation of a film work “Himawari (Sunflower)” (from staging note)
I had seen many works of Taro Okamoto, but felt something special when I saw this huge painting on the wall, “Ashitano Shinwa”. I immediately studied about this work. Then, I learned that this painting featured “atomic bombings” in Nagasaki and Hiroshima as its theme.
A friend of mine is a stage actor who performs a play written for sending antiwar and antinuclear messages, “Hadashi no Gen (Barefoot Gen)” in various places through the world.
But as I felt such antiwar and antinuclear activity unfamiliar to me, I did not bring up the play as a subject as much as possible when I met and talked with him.
It was because I believed that a work which dealt with atomic bombing as its theme just made people feel misery, and could not be a subject of any visual art.
However, the huge painting, “Ashitano Shinwa” is different. It is a real art sending strong messages to us.
Taro Oakamoto transformed the energy of atomic bombs into vivid colors, damned wars with the strong lines, and humorously depicted spirits of the dead. The painting not only represents deformed grievousness in the war, but carries many points of view and a touch of divinity. In other words, it raises an issue to us, but at the same time, entertains us as an art.
Around that time, I was at a standstill of creation of performing arts, and truly facing a question, what was “primitive stage art” for Japanese. That was a reason why I had interests in “primitive arts” which inspired Taro Okamaoto, Picasso and also present-day artists.
In the process of making my work, “Himawari”, I was chanting “Pika” and “Dohn”, onomatopoetic words in Japanese expressing ‘flashing’ and ‘blasting’ of atomic bombing, all the time I was considering music and movements of the
work. And also, I wrote songs by sharing footstep sounds and voices given out from the movements with dancers and musicians.
What I knew through creation of this work is that thoughts and everyday life of peoples in the past still exist in the space around us even after they died, and we living in the present surely have sensitivities to feel it.