以下はミュンヘンで１時間研究発表する論稿のイントロである！中身は全く自信がない！
ご興味のある方は読まれてほしいがーー？！
IFTR/FIRT 2010 7/25-31 Munich Saraba Fukushu Ryukyukan (Good bye Fujian Ryukyu Mansion)
―Inter Asian Theatre in Okinawa―
(draft)
Introduction
Thinking of inter-Asian Theatre in Okinawa, even if presently
Okinawa is highly flattered as an eco-political gate to the Asia in
Japan, only two plays are recognized as relating to involve Asia
in the theatre context excluding some musicals. They are Saraba
Fukushu Ryukyukan (Good bye Fujian Ryukyu Mansion) and Yamano
Sabani (Mountain Boat)
However, before I get into the theme, I’d like to ask what inter-
Asian theatre or dramas are. Does it mean that themes or
dramatic context are set in Asia in a general meaning? Or does it
concern inter-cultural collaboration of theatrical production and
some c0-works of directors, playwrights and actors/actresses’—in
all Asian countries? In this sense, obviously Japan, and, of course
Okinawa, are part of Asia, so all theatre productions and works
created and produced in Japan and Okinawa are completely Asian
theatre.
Further if the concept of inter-Asian theatre strengthens the
transnational or inter-cultural, multi-cultural, multi-linguistic,
and plural layer’s of theatre productions or texts involving
varied images of Asia/Asian-ness, it brings us to further broad
sphere. Somehow beyond nations/nationalities, there’re so many
Asians all over the world. So it seems to be rather difficult
to make a distinction about inter-Asian theatre.
Nevertheless, even if the definition is ambiguous, I’m aware
of that trans-national image has to be brought in the text and
its performance, and in that sense, still we have only two plays
introduced above. One is Good bye Fujian Ryukyu Mansion, which
is about Ryukyu kingdom’s samurai-class, yukatchu who fled to
Fujian before or soon after the Ryukyu Shobun (“Disposition of
Ryukyu”) to plead with the Qing court to intervene on Ryukyu’s
behalf. Those yukatchu were called Dashin-nin (脱清人). The other
is Mountain Boat which describes Okinawan people who lived in
the northern mountainous area during the land battle of Okinawa
against Japanese soldiers in 1945. There the Japanese military
squad was even accompanying a Korean comfort woman, but she was
saved by a youth from the village. The youth, Seikichi’s love
for the comfort woman, Kim was serious. However, while eloping
to the deep mountain, they were killed by a land mine. In the
play, mountain villagers fought against Japanese soldiers to
achieve their peace and they celebrate the dead Seikichi and Kim’s
wedding.
Why is Mountain Boat inter-Asian theatre? It is because of the
Korean comfort woman’s involvement, which the director koki
intentionally brought her in the production, accordingly Okinawan
people faced themselves through her position, too. The love story
implied some connotation of similar geopolitics of both Korea and
Okinawa, their colonial state. It is also a fact that some Korean
comfort women were taken into Okinawa during WWII.
Those plays, respectively by Oshiro Tasuhiro, an Akutagawa-
Literary awarded writer and playwright, and Oshiro Sadatoshi,
a writer and a college professor, who won the first Okinawa City
Theatre Prize in 1994. Both plays were directed by Koki Ryoshu,
presently the Artistic Director of the National Theatre Okinawa,
in1994.
Mr. Koki recruited two Chinese professional actors for the play
Good bye Fujian Ryukyu Mansion, and also one Korean actress in
the play Mountain Boat. It was a sort of the first collaboration
of different nationalities in the Okinawan contemporary theatre
production. Its inter-Asian collaboration hasn’t developed to the
next stage yet.
Today I’d like to focus on Good bye Fujian Ryukyu Mansion, to
re-examine what inter-Asian feature could be extracted from this
China (Qing dynasty) involved play as it utterly shows the dynamic
change of Ryukyu kingdom and its annexation to Japan’s Meiji era.
Also I’m going to focus on the creative process of Mr. Oshiro,
who first wrote a novel version, and adapted it into a play and a
new Kumiodori (Ryukyu/Okinawan classic drama combining dance
and music) along with the out-coming production.
<The photo is Ryukyuans (Dashin-nin) at the Fujian Ryukyu Mansion>
当時の脱清人の姿、清王朝の典型的な扮装である！
ご興味のある方は読まれてほしいがーー？！
IFTR/FIRT 2010 7/25-31 Munich Saraba Fukushu Ryukyukan (Good bye Fujian Ryukyu Mansion)
―Inter Asian Theatre in Okinawa―
(draft)
Introduction
Thinking of inter-Asian Theatre in Okinawa, even if presently
Okinawa is highly flattered as an eco-political gate to the Asia in
Japan, only two plays are recognized as relating to involve Asia
in the theatre context excluding some musicals. They are Saraba
Fukushu Ryukyukan (Good bye Fujian Ryukyu Mansion) and Yamano
Sabani (Mountain Boat)
However, before I get into the theme, I’d like to ask what inter-
Asian theatre or dramas are. Does it mean that themes or
dramatic context are set in Asia in a general meaning? Or does it
concern inter-cultural collaboration of theatrical production and
some c0-works of directors, playwrights and actors/actresses’—in
all Asian countries? In this sense, obviously Japan, and, of course
Okinawa, are part of Asia, so all theatre productions and works
created and produced in Japan and Okinawa are completely Asian
theatre.
Further if the concept of inter-Asian theatre strengthens the
transnational or inter-cultural, multi-cultural, multi-linguistic,
and plural layer’s of theatre productions or texts involving
varied images of Asia/Asian-ness, it brings us to further broad
sphere. Somehow beyond nations/nationalities, there’re so many
Asians all over the world. So it seems to be rather difficult
to make a distinction about inter-Asian theatre.
Nevertheless, even if the definition is ambiguous, I’m aware
of that trans-national image has to be brought in the text and
its performance, and in that sense, still we have only two plays
introduced above. One is Good bye Fujian Ryukyu Mansion, which
is about Ryukyu kingdom’s samurai-class, yukatchu who fled to
Fujian before or soon after the Ryukyu Shobun (“Disposition of
Ryukyu”) to plead with the Qing court to intervene on Ryukyu’s
behalf. Those yukatchu were called Dashin-nin (脱清人). The other
is Mountain Boat which describes Okinawan people who lived in
the northern mountainous area during the land battle of Okinawa
against Japanese soldiers in 1945. There the Japanese military
squad was even accompanying a Korean comfort woman, but she was
saved by a youth from the village. The youth, Seikichi’s love
for the comfort woman, Kim was serious. However, while eloping
to the deep mountain, they were killed by a land mine. In the
play, mountain villagers fought against Japanese soldiers to
achieve their peace and they celebrate the dead Seikichi and Kim’s
wedding.
Why is Mountain Boat inter-Asian theatre? It is because of the
Korean comfort woman’s involvement, which the director koki
intentionally brought her in the production, accordingly Okinawan
people faced themselves through her position, too. The love story
implied some connotation of similar geopolitics of both Korea and
Okinawa, their colonial state. It is also a fact that some Korean
comfort women were taken into Okinawa during WWII.
Those plays, respectively by Oshiro Tasuhiro, an Akutagawa-
Literary awarded writer and playwright, and Oshiro Sadatoshi,
a writer and a college professor, who won the first Okinawa City
Theatre Prize in 1994. Both plays were directed by Koki Ryoshu,
presently the Artistic Director of the National Theatre Okinawa,
in1994.
Mr. Koki recruited two Chinese professional actors for the play
Good bye Fujian Ryukyu Mansion, and also one Korean actress in
the play Mountain Boat. It was a sort of the first collaboration
of different nationalities in the Okinawan contemporary theatre
production. Its inter-Asian collaboration hasn’t developed to the
next stage yet.
Today I’d like to focus on Good bye Fujian Ryukyu Mansion, to
re-examine what inter-Asian feature could be extracted from this
China (Qing dynasty) involved play as it utterly shows the dynamic
change of Ryukyu kingdom and its annexation to Japan’s Meiji era.
Also I’m going to focus on the creative process of Mr. Oshiro,
who first wrote a novel version, and adapted it into a play and a
new Kumiodori (Ryukyu/Okinawan classic drama combining dance
and music) along with the out-coming production.
<The photo is Ryukyuans (Dashin-nin) at the Fujian Ryukyu Mansion>
当時の脱清人の姿、清王朝の典型的な扮装である！
