Japanese   

 
Quoted from A TORRENT DASHING AGAINST THE ROCKS -NINAGAWA YUKIO 2006-2007

 

Director:YUKIO NINAGAWA Actor:YUTAKA SUZUKI


[Quoted from the Episode 8 YUTAKA SUZUKI    HOME & AWAY  ]

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In the beginning of March, Yutaka Suzuki appeared in the rehearsal for LOVE’S LABOURS LOST ( SAITAMA ARTS THEATRE ).
He found the time in between the tour of CORIOLANUS. Ninagawa was trying to get the lyricism than the comedy sense in the Act 4 scene 3 where the king and his friends were meditating for love. Watching this rehearsal, Yutaka said ‘ I feel so many things when I am watching the rehearsal.’

I asked him to have interview with him in the corridor in front of the rehearsal room. Many members from the company of LOVE’S LABOUR’S LOST came across to him and talked with him during then.
I felt the time he has taken through the productions with them.

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[FOR THE THREE MINUITES SCENE]

I said to him that Act 4 scene 9 in the CORIOLANUS where Yutaka  played Roman Nicanor. The play was set around the battle field. I felt this scene is one of the important scene for the audience to see the people struggling to live out in those days.

Yutaka’s Nicanor walked on crutches from DSR. He called the man coming from DSL and took out his crutches and reveal himself. There, we found that he was a traitor against the Roma and that had the news of Coriolanus  in exile for Volscians.
‘ That scene was said to be on the closest ticket for cutting. We thought over before the rehearsal not to be cut.’ First of all, he judged that he could not use the stair stage during the course of the rehearsal. He thought over the best way to use the front stage. By using the effect of the crutches, there became the drama in the short scene. The trick of the crutches would go along with the settings of the character who is traitor. It would express his bending feelings as well. ‘The feelings and the body would become together. I wanted to express his heart of traitor by bending my own axis of the body.’
He had come to the conclusion to play this way at last. It was two days before the rehearsal of this scene in front of Ninagawa.
I read the subtext that  Nicanor thinks himself to turn over the Roman city with his news and that the traitor could be a hero. I read that  Nicanor was rushing the road with his ambition.
Watching this rehearsal, Ninagawa gave them ‘Brilliant!’
Only two pages in the huge text, merely three minutes in this huge production, but this scene became strong and sharp scene like a glass of tequila.

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出番直前、気持ちが高まった時                   


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‘ It is strange to say but, when you had an experience of the taste of  Ninagawa Shakespere, you would never forget. The lyricism will be the spice for you. It will overlap with our feelings now. It will go beyond the border of time and space. CORIOLANUS was the production which was merely performed before, but now wherever we go on tour, there we could hear the sob during the play and there we came across the standing audience with their warm applause. I feel that Ninagawa’s direction would communicate some sort of memory within the audience.’

Within the Ninagawa’s severe notes, the unforgettable one was ‘You would never go up like that state.’  With this word in his heart, Yutaka looks higher up. It will be the second time to visit Barbican with CORIOLANUS since MORDERN NO PLAY. ‘ It would be the challenge that my own Nicanor will be accepted in London.’ He thanks for Ninagawa to be lead ‘ to the first class level in the world.’ But at the same time, it is the pressure.
To be one of the first class actor.

Not to have a big gap when he is on stage and when he is out in the street. That is his ideal. He would like to keep his feelings enrich all the time so that he could enrich the character. Through the works of Ninagawa, he has started to enquire the acting  that gives you his own human nature. 
‘ There were the times when I could act with only some power. I feel like to enquire the nature of human beings. To train my own body would lead finding my own nature. Daily matters like communication between human beings became important to me.’

I took his photo after the interview. He leaned on the back of the auditorium naturally. The posture was like the one in the Rock magazine. His fashion is like the one of Rock musician with skeleton printed T-shirt, silver accessories.
‘ I have read so many Rock magazines so that I could easily  pause that way.’ He smiled. ‘ The memory is important…, isn’t it.’

‘Theatre where our experience and our recognition would live’ Ninagawa’s word come to life within Yutaka’s memeory.

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Transator:Naoko Okouchi