Playwright Suguru Yamamoto, who won the Kishida Kunio Drama Award, akin to the “Akutagawa Prize” in the theater world with his play “Banana no Hana wa Taberareru” (first performed in 2021), stands as an unparalleled prodigy carrying the contemporary theater scene on his shoulders. His theater group, HANCHU-YUEI, which he leads, delicately addresses actual themes such as controversies, media scrutiny, and gender disparities. Their latest production revisits “Kokoro no Koe Nado Kikoeru ka,” first staged in 2021, highlighting Keiichi Sokabe’s involvement in its music composition.
Several tracks from Sokabe’s 2018 album “There is no place like Tokyo today!” released via digital and LP formats are featured, alongside the specially composed piece “Steki na Yoru” created for this production. Sokabe composed this piece in response to viewing the play and rehearsals as a whole. Starting with this portrayal of trivial disputes between neighbors and spouses, the discussion flows into the creative stances of Yamamoto and Sokabe. Thus, a far-reaching dialogue unfolds, not only exploring their current positions but also looking ahead to the future trajectories and legacies of these artists.
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Depicting Tokyo While Evoking Another World
-When did you start listening to Mr. Sogabe’s music?
Yamamoto: (The theater company) Lolo used Sunny Day Service’s music in their performances, and that’s when I started listening to them a lot. Then I heard that Mr. Sogabe bought a regular ticket to see “Banana Flowers Can Eat” and came to see the show.
Sokabe: I am not a frequent theater-goer, but I thought I had to see this. I sometimes have that intuition when it comes to movies or music. When I actually saw it, I was shocked at how much I enjoyed it. One viewing was not enough, and I would like to see it again or twice if I have the chance.
Yamamoto: Thank you very much. I had that kind of connection, and when I listened to more of Mr. Sogabe’s music, I realized that he is extremely prolific. I was curious, “Where in the world does this energy come from? I became curious. At that time, I happened to listen to an essay by Mr. Sogabe titled “The One with the Good Smell” on Audible, which was read by his own voice. I thought, “Oh, I definitely want to meet this person,” and I offered to use his music for the reenactment of “Can You Hear My Heart?
Suguru Yamamoto
Writer, director, actor. Representative of HANCHU-YUEI. Born in Yamanashi Prefecture. Cultivates an artistic sensibility from childhood absorption in film, literature, music, and art, vividly reflecting the rapidly transforming ethical perspectives of contemporary information society in his theatrical worlds. Explores “theatre on the other side” using online platforms, creates works for both adults and children in the “Series for Adults and Children,” and conducts workshops for youth and welfare facilities, showcasing a wide-ranging repertoire. Engages in performances, international collaborations, and script contributions in Asia and North America, expanding his activities globally. Named a Grant Artist at ‘ACC2018,’ he studied in New York from September 2019 to February 2020. Awarded Best Script and Best Production at the Bangkok Theatre Festival 2014 for “Young Girl X.” Winner of the 66th Kishida Kunio Drama Award for “Banana no Hana wa Taberareru.” Saison Fellow at the Saison Foundation.
-Additionally, it seems that you felt that the tracks from Sokabe-san’s album “There is no place like Tokyo today!” released on digital and LP formats, resonated well with the thematic elements of this production. Could you elaborate on specific examples?
Yamamoto: “In ‘Kokoro no Koe Nado Kikoeru ka,’ it seems like it’s talking about Tokyo, but in my mind, the stage of the play is a fictional suburb. And ‘There is no place like Tokyo today!’ also seems to talk about Tokyo, but it gives me the impression of discussing things on a world or cosmic scale. That common ground is why I thought they would match well.”
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Embracing the Challenge of Recreating Past Works
-I think we live in a society where ethics are changing at an accelerating pace, partly due to the proliferation of social networking services. Have you rewritten the script?
Yamamoto: I have hardly rewritten it. Ethical views are changing so rapidly that it is like being swept away by a muddy stream. But, for example, I didn’t change the word “Twitter” to “X” and left it as it is because the person I was three years ago and the person I am now are two different people, and I thought I had to respect the person I was three years ago. Also, I am not comfortable judging the feelings of 2021 by the ethics of today. I don’t think the present is there to judge the past, nor is it there to drag the future down.
Sokabe: How do you feel when you perform again? In music, I suddenly play a song I wrote 30 years ago at a live performance, and I sing it while remembering, “Oh, I remember that I wrote this when my child was born.
Born on August 26, 1971. Virgo, blood type AB. Originally from Kagawa Prefecture. He began his career in the early ’90s as the vocalist/guitarist of Sunny Day Service. In 1995, he released his first album “Wakamono-tachi,” interpreting and reconstructing 1970s Japanese folk/rock in a ’90s style, creating a completely new sound that left a strong impression on listeners. Inspired by the Christmas 2001 and the simultaneous attacks on New York, he made his solo debut with the single “Guitar.” In 2004, he founded his independent label ROSE RECORDS, focusing on independent/DIY activities. Since then, alongside Sunny Day Service/solo work, he has continued diverse expressions including production, songwriting, film and commercial music, writing, and acting without being confined to a single form.
Yamamoto: Yes, that’s right. Especially in the case of theater, a set is a set of troupes. The larger the troupe, the more each person carries memories of the past, and the more everyone’s thoughts and feelings are carried, the heavier they become. I would like to do that again with a different group of actors, but with a lighter touch. And I think that requires determination.
Sokabe: I see, I’m learning a lot. I practice with the band every day, but when we decide to play a song from 30 years ago, I sometimes feel like it’s a bit of a hassle. But as I try, I think, “This is what I meant when I wrote that song back then,” or “I was still young. I also feel that it is a bit heavy, because my growth, scars, joys, and regrets have accumulated over the years from 30 years ago to now. But I always want to do it lightly.
Yamamoto: That’s right.
-For example, Sunny Day Service performed a live reenactment of “Tokyo” (1996) in 2016. Naturally, musicians perform songs from 20 or 30 years ago in their live performances. Don’t you feel embarrassed when you do that? Some people change the lyrics and arrangements, don’t they?
Sokabe：Yes, that feeling of embarrassment is the heaviness I just mentioned. It’s like, “Is this really okay? or “I am so young, I don’t understand it yet.” When you go beyond that embarrassment, there is a part of you that has nothing to do with age or anything else.
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Harnessing Collaboration for Enrichment
-After this, you will delegate directing duties to others at HANCHU-YUEI. What are the reasons behind this decision?
Yamamoto: I consider myself a writer and an artist. However, from that standpoint, directing has its challenges. Directing involves handling people, so one must possess the skill to make human communication worthwhile. But when I invest my energy in dealing with people, I find it hard to write. The urge to write is always there, and I feel relieved when I’m writing, but I physically don’t have time to write plays. That’s the first reason why it’s become stressful for me right now.
Yamamoto: Another reason is that I believe the theater industry should encourage more collaboration between playwrights and directors. Many people combine both roles, and while it certainly allows them to present their name prominently, I think in the long run, it’s better for various directors to interpret my words in various ways. When Keiichi Sokabe and I team up for this project, it causes a bit of excitement, right? Similarly, I might feel the same excitement if I collaborate with another director, and Sokabe-san might feel it when working with another theater team. I think it’s a really good thing. If such collaborations become more casual, I believe we can both take pride in each other’s work more.
-I think you probably have a lot of thoughts on this subject. I would like to interject a little. In music, this is a story about the division of labor, isn’t it?
Sokabe: Well, that’s mostly true.
-You know, in bands, there’s this kind of curse where you’re expected to handle everything from conception to the final product on your own. But back in the heyday of Kayo-kyoku with figures like Tsutsumi Kyohei and Matsumoto Takashi, division of labor was fully functional. And I think recent idol songs also operate on a similar principle. So, maybe you felt a sense of urgency because you were drawn to that idea for yourself?
Sokabe: Yeah, that’s right. Since The Beatles, almost every band has played their own songs, and especially since punk, they’ve gone DIY, managing everything from management to running their own labels. For me, I’m right in the thick of that. I handle management, accounting, everything related to the company, and I write and sing the songs myself. But when asked if that holistic entity is really me? Well, not exactly.
Just yesterday, I was asked by an idol to submit a song, and I created a very rough demo with the intention that the recipient could have fun playing around with things like tempo and arrangement. I enjoy the idea of not meticulously planning everything to the end result myself, but rather having moments like, “Oh, you did it like this!?”
Sokabe: But you know, it was totally different when I was younger. For example, when we made music, technical professionals always got involved. We’d ask engineers to adjust the sound, because I couldn’t accept anything that didn’t sound exactly like what was in my head. But after I turned 50, I’ve started to appreciate it when things turn out like, “Oh, you did it that way!? That’s amazing!” Finally, I can see it that way now [laughs]. So, I admire and think it’s wonderful how you have that peace of mind.
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Embracing Beethoven’s Inspiration: Joy in Uninterrupted Creation
-Music allows for instant creation with just a guitar, playing, singing, recording, and streaming on the go. In contrast, theater involves long-term planning with schedules set years in advance, and stage performances are transient, almost fleeting. Does that sense of frustration ever occur to you?” I was planning to ask you about this today… However, plays do endure, don’t they? It’s something I’ve just come to realize.
Yamamoto: That’s exactly what I realized. Plays will remain, and with the evolution of AI and the increasing accuracy of translation, there is an even greater possibility that they can be transcended without location or limitation. For example, I think that a future in which plays written in Thai, for example, are performed in Japan will soon be possible. If that is the case, I really want to focus on writers now.
Sokabe: I see. Does that mean that you want to write a certain number of books?
Yamamoto: I want to write the number of books.
Sokabe: The number is important, isn’t it?
Yamamoto: It is important.
Sokabe: I tend to write so many songs that people laugh at me. and everyone says, “You did it again! I would say, “I’m sorry,” and smile a little shyly. But there are actually things that I learn and things that I become able to do as I do more and more. I am embarrassed to say so, so I try not to tell people about it.
Yamamoto: I think people can tell how much I like numbers, even if I don’t say it [laughs].
– Are you the type of person who is not bothered by mass production?
Yamamoto: I’m going off on a tangent here, but I really love Beethoven. I find his intense dedication to composing music incredibly inspiring. While he composed, his theme of moving from anguish to joy feels like a message to future generations. Confronting the challenging process leading to joy can offer something profound. He took it to a weighty level, but I want to overcome it lightly. Still, I think heavy like him is good.
Sokabe: Did Beethoven suffer when he created it? Like birth pains?
Yamamoto: Well, it was painful, but I also think it was a lot of fun.
Sokabe: I see.
Yamamoto: He wanted to make something every day.
Sokabe: Do you have that kind of feeling, too?
Yamamoto: Yes, a little. I want to write all the time.
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Authentic Emotions from Viewers in Live Streams
-By the way, I think the pressing issue in both theater and music is how to balance physical performance and distribution. HANCHU-YUEI also distributes videos, but what is your stance on this?
Sokabe: In the case of music, the content is almost the same for both physical and distributed performances, but for theater, even distribution is completely different.
Yamamoto: That’s right. That is something I have been thinking about for a long time. It is certainly very important to have the audience see the performance live, but I think there is another way for the audience to find the right answer. If they are moved by the delivery, that’s the real thing. Sometimes there are people who say, “I’ve seen HANCHU-YUEI’s work before. But I’m sorry, I’ve only seen it on streaming.”
Sokabe: Do you mind that?
Yamamoto: Not al all. I would say, “Please watch more and more on streaming.
Sokabe: For us, it’s like the difference between a live performance and a live video streaming.
Yamamoto: That’s right. Also, there were many things that were made possible thanks to the distribution. For example, people in China were able to watch us.
Sokabe: Eh. Is that going to be subtitled?
Yamamoto: It seems so. There are also people studying Japanese and so on.
Sokabe: Excellent, I see.
Yamamoto: Yes, and HANCHU-YUEI is surprisingly well known in China. There have been cases where people from South Korea have seen the video distribution, become interested, and come to Japan to take the workshop. I am very happy to have done this.
Sokabe: I see. The more you put out there, the better, even on the Internet.
Yamamoto: I think so.
Sokabe: Are there many of your works available on the Internet now?
Yamamoto: There are about 10 works.
Sokabe: Oh, I see. Let’s take a look. But, as you said, it is impossible to deny the impression of someone who was moved by a live performance, and that person’s impression is genuine. In many ways, the size of the video distribution may be getting smaller, but that doesn’t mean that the size of the emotion is also getting smaller, right?
Yamamoto: That’s right.
Sokabe: I see. The scales fell from my eyes. I used to be hesitant about live broadcasts and would not archive them, but now I don’t have to think about that at all. That is the band’s problem.
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Navigating the Conclusion of Creative Pursuits
-In my view, both in bands and playwrights, there’s often a pattern where they start off edgy and gradually mature. However, I feel like it’s the opposite for both of you. Sokabe-san had songs like just chanting “FUCK YOU,” and HANCHU-YUEI also started out with more pop and comedic elements that have gradually evolved into a more unsettling style. It’s not rejecting maturity but rather becoming sharper and sharper.
Sokabe: I think that is maturity.
-I see.
Sokabe: I don’t think I’m trying to be young again at all, but I think I’m becoming sharper and more minimalistic. I think the last song I’m going to sing is something like, “Grandpa, you don’t talk anymore.
-Sato Shinji of Fishmans once said something to the effect that the ultimate form of expression is silence.
Sokabe: Oh, I see. That’s right. I wish I could go that far. What do you think? Where do you want to go in the end?
Yamamoto: I’ve decided until what age I’ll actively keep going.
Sokabe: Until what age? Can you say?
Yamamoto: No, I don’t want to tell you this [laughs], but I have set myself the goal of staying active until that age, no matter what happens.
Sokabe: Why did you decide that?
Yamamoto: There was a moment when I faced the stark choice of whether to quit creative activities or not. It was like hell… At that time, I thought, no matter how I struggle, I have to keep going. I realized that the world of “quitting” didn’t make me happy at all. So, when I wondered what it meant to “not quit,” I had to decide in myself until when I would continue, and prepare myself for that.
Not being able to quit expressing oneself is like a kind of illness in a way. But for me, it’s something that brings me a lot of happiness. So, I may not be skilled, and there may be areas where I fall short, but each time I face a work, I strive to renew my values within myself. Also, I hope that improving my own work will contribute to improving art in general.
Sokabe: Wow, that’s great. I am more of a lazy person, and I don’t feel like I have been engaged in expressive activities to improve myself. I think I was more interested in transferring something inside of me to the sound source and leaving it empty at the end. I don’t feel like I’m trying to improve myself at all, and that makes me a little sad.
Yamamoto: [laughs].
Sokabe: I now feel that I should try to sharpen myself every time I make a new work, and be prepared to do so. I think there is of course something good and wonderful about the feeling of abandoning oneself, but I want to reconsider whether it is really a good thing to do so. I don’t know how to do that, but I would like to think about it carefully. I feel that your words will be very important for me in the future.
HANCHU-YUEI “Kokoro no Koe Nado Kikoeru ka”
Schedule
July 6 (Sat) – 14 (Sun), 2024
July 6th (Tue) 18:30
July 7th (Sun) 14:00
July 8th (Monday) Closed
July 9th (Tue) 19:00
July 10th (Wed) 19:00
July 11th (Thu) 14:00
July 12th (Friday) 19:00
July 13th (Sat) 14:00/18:30
July 14th (Sunday) 14:00
Reception: 45 minutes before the show starts / Doors open: 30 minutes before the show starts
Running time: approx. 115 minutes
After Talk: Details will be announced as soon as they are finalized.
Venue
Tokyo Metropolitan Art Space, Theater East
1-8-1 Ikebukuro, Toshima-ku, Tokyo 171-0021, Japan
Phone: 03-5391-2111 (main line) Fax: 03-5391-2215 (office hours) 9:00 – 22:00 (except holidays)
Access: 2 min. walk from Ikebukuro Station (West exit) on JR, Tokyo Metro, Tobu Tojo Line, and Ikebukuro Line. Direct connection from exit 2b of the station’s underground passage.
Fee
General admission: 4,500 yen U25: 3,500 yen High school students and under: 1,000 yen (flat rate)
Distance discount, discount for the disabled: 1,500 yen off each Day ticket: 500 yen more each
Please show proof of discount tickets.
DISTANCE DISCOUNT is available for those coming from outside of Tokyo, Kanagawa, Chiba and Saitama.
Discounts for the disabled include one caregiver at the same price. Please apply for two tickets using the form.
Tickets: May 18th (Saturday) 10:00am, on sale to the general public
Seats with number of entrance number
Seats will be allocated in the order of reservation.
Seats will be allocated in the order of reservation. Since the tickets are issued from Play Guide No. 1, please enter at the same time even if there are several people with the same number.
Advance tickets must be paid by credit card or at a convenience store, and tickets must be issued in advance.
Changes to reservations and reissue of tickets are not possible.
Please be aware that you may not be shown to your seat after the performance time.
Pre-school children are not allowed to enter.
*If you are coming in a car with a wheelchair, please contact the theater company in advance to secure a space.
Credits
Cast: Kan Fukuwara, Sae Igami, Tomoka Ishihara, Mizuki Kano, Takayuki Ueda, Suguru Yamamoto
Writer & Director: Suguru Yamamoto
Music: Keiichi Sokabe
Art: Tomomi Nakamura
Lighting: Takayuki Tomiyama
Sound: Nobu Ikeda
Costume: Rie Usui
Stage Manager: Yoshiko Haraguchi
Director’s Assistant: Takayuki Ueda
Assistant Director: Yuya Kimura
Promotional Art: Hokuto Kudo
Production: Chiyori Fujii
Producer: Momo Sakamoto
Collaboration: Prissima, Momerasu, Youstail LLC, Conel LLC, Momonga Complex LLC, Roro LLC, Morishita Studio, Kyuuna Saka Studio
Grant: Arts and Culture Promotion Fund, Saison Foundation (Saison Fellow)
Partnership: Tokyo Metropolitan Foundation for History and Culture, Tokyo Metropolitan Theatre
Organized by: HANCHU-YUEI LLC
HANCHU-YUEI “Can You Hear the Voices of Hearts?” Special Page: https://www.hanchuyuei2017.com/kokoronokoe2024
HANCHU-YUEI Official Website: https://www.hanchuyuei2017.com/
