By Akihiko Senda
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Additional resources for The Voyage of Contemporary Japanese Theatre
And I was much moved as well when I attended the opening night of the production. Yet, in the days that followed, after I became weary through thinking over the various and complex issues concerned, I wrote a number of articles about the play in various newspapers and magazines in which I expressed the fact that, while in general the production certainly did elicit a deeply felt response from me, I nevertheless sensed a need to add certain criticisms concerning Shimizu’s play. Yet at the same time I must certainly admit that this is a work that, in the ordinary sense of the word, is difficult to criticize.
Each of the individual plays staged by his Situation Theatre company represent one twist or turn, and, as these stages or moments are tied together, we can envision a sort of swirling nebula through which we can see the larger significance of Kara’s work. We can find the early myths of Kara in the tale of the comings and goings of the vulgar one-legged John Silver, who has stepped out of Stevenson’s Treasure Island. To borrow the observations of the theatre critic Tsuno Kaitarò, this is the tale of a romantic search undertaken by the pirate John Silver, who has “fled the sea” but who now takes up again the life of a wanderer.
The curtain can come down, with the excitement that “going as far as we can” serves as some sort of communal password. This was a strong and healthy age indeed. ” The very illusion of “distance” itself has collapsed. The world has shrunk, become homogenized. And it has become expressionless. Even in terms of geography, we live in a period when the camera in a manmade satellite can photograph the entire globe in units of a few centimeters; there no longer exists any “distant” place as yet unknown.
The Voyage of Contemporary Japanese Theatre by Akihiko Senda