Yusuke Kei: Living the Springtime of Shinpa

2021/01/23

The term "Shinpa" (New School) to which I belong refers to a genre of theater originating in the Meiji and Taisho periods called "Shinpa-geki." Since there is only one organization in Japan that performs Shinpa-geki, it is also the name of the theater troupe itself. While it was called "Shinpa" in contrast to the Kabuki of the time, which was called "Kyupa" (Old School), there has been significant interaction with the Kabuki world throughout history. Although it started as a reaction against Kabuki, it fully learned its stylistic forms, and today the two maintain a very close relationship.

I became fascinated by Shinpa-geki while I was active in small theaters, after I had the opportunity to perform in Bandō Tamasaburō's "Furu Amerika ni Sode wa Nurasaji" and "Nihonbashi." What seemed incredibly fresh to me at the time was, first and foremost, how it depicted human activities and life with such beauty and vitality. I even felt that, rather than being mere "entertainment," it might essentially be no different from academic pursuit. Just as the natural, human, and social sciences look at the "universe" within their respective subjects to uncover the truth, Shinpa-geki focuses on people's lives and the human heart, using language and technique to approach the truth of human existence. Works are often labeled as things like "tragic romances," but the essence is always human activity itself. Any label is merely one aspect, which is why one can watch the same Shinpa-geki play many times and find it fresh every time.

What is most characteristic is that while it depicts the lives and daily activities of common people of that era in a very vivid and realistic way, it simultaneously moves freely between that realism and a formal beauty that might seem like its polar opposite. It is said that "any sufficiently advanced technology is indistinguishable from magic"; similarly, realism and stylistic beauty intersect in that far-off place.

In a world where local value is increasing, I strongly hope that many people across a wide range of regions will see this unique theater born and nurtured in Japan. To that end, I launched an organization called PRAY▷ last year and began an attempt to perform Eastern and Western classics in a fresh way using Shinpa-geki and Japanese theatrical styles. I am working energetically with an eye toward overseas performances in the near future.

Among the teachings I have received is the phrase, "If the content is there, the style can be changed at will." I intend to continue devoting myself to creating wonderful stages flexibly, without losing sight of the essence.