Round-Table: "Der Zigeunerbaron"
Sep. 26th, 2010 06:49 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
Sorry, even more scrappy English than usual. I'd blame it on being sick, but the truth is I did most of this last week before the cold hit, so I guess being sick just means I feel even less inclined to re-write the bits that don't sound at all natural in English? ;)
Maybe I'm reading between the lines too much here, but I find the references to Moon Troupe seito needing to be "once more [...] taught stage manners and etiquette" to be interesting.
I like Tani-sensei's focus on breaking through Kiriyan's wall. I've definitely felt it a lot since she became nibante, so I hope the plan works. In the same way, if we can get some spontaneity out of Tani-sensei's direction, along with some stricter stage manners, that will be very nice for Tsuki too, I think. I feel like they've been going about things too much by rote, lately, and re-staging famous plays like Elisabeth and Pimpernel wasn't helping.
And I love, as always, reference to our otonappoi combi♥ I hope they will always continue to be used in this very promising way.
Okada: The show playing in the Takarazuka Grand Theater until October 4th is Moon Troupe’s “Der Zigeunerbaron”, with script and direction by Tani Masazumi-sensei. This work was originally an operetta scored in the early 19th century by Johann Strauss II, now remade by Tani-sensei into a more modern Takarazuka musical. Natori Rei-san is making a special appearance from Senka. Everyone, thank you for coming.
All: Thank you for having us.
Tani: This time I said that I wanted to do a fun piece. With all respect, I believe that Kiriyan (Kiriya) has perhaps become uninteresting. Because her disposition has become a little too serious, I wanted to break that down, bring out her “Osaka native—!!”, so to speak (laughs).
Kiriya: Is that how it is (laughs)?
Tani: Yes. That was what I thought at first. Then, when I was looking at the costumes from “Gypsy Baron” in a book, I thought it seemed interesting, and when I listened to a CD of the original at home by chance, I knew some of the music, and thought, “This would work.” Finally, how freely Kiriyan could riot around the stage was important, and the point I was anticipating the most. So the highlight of this work is Kiriyan.
Kiriya: Eeeeh—!
All: (laugh).
Tani: It’s all for Kiriyan.
Kiriya: Oh no— It’s all on my shoulders (laughs).
Tani: (laughs) I haven’t directed Moon Troupe in the Grand Theater since “Jazzy Fairies”, so more than the anticipation, I’m really looking forward to seeing how it has changed. The current Moon Troupe is still….
Kiriya: We still have a little ways to go. We don’t exhibit a distinct quality yet. The best is yet to come (laughs).
Tani: For an operetta, the truth is that a comedic piece is best, but I can’t force it. Because they’re frightened, everyone has forgotten how to laugh. I’d like to expand on that point of interest for everyone.
Distinctly Colored Characters
Tani: Well then, let’s hear about the roles, beginning with Kiriyan’s role of Sterk. Sterk is the only son of a powerful family hunted from Hungary, and his father was once called the “Gypsy Baron”.
Kiriya: His parents died soon after their flight from their homeland, and Sterk has wandered over many lands since he was a young boy, giving him a truly wild feel. Being that kind of person, he is able to mobilize the people around him, and I want to portray that power. Speaking of musicals themed on operettas, there was “Love Sonata” in 2001, which was themed on “Der Rosenkavalier” , but for that performance all of the music was created specifically for the musical, while this is my first experience using the original orchestrations—a new challenge which I look forward to. I hope that the energy that the entire cast will use to breathe life into their various roles on the stage will be transmitted to the audience.
Tani: Kiriyan is really too taken in with being serious now, and I think she’d benefit from being more irresponsible.
Kiriya: Yes. I’m comparatively serious in the very beginning (laughs). For now I’d like to make it perfectly, then go back later and break down the things which I can break down.
Tani: Rather than build something first and then break it down, if you become more disposed to build things without form at the start, I think it might be even more interesting.
Kiriya: I can see that, yes.
Tani: Well, for now, this time we’ll break down Kiriyan (laughs).
Kiriya: Hahaha (laughs). Please do.
Tani: Well then, next is Saffi.
Aono: Yes. Saffi is a girl raised by the gypsy Czipra, played by Mihō-san. Until now the image I had of gypsies was that they were strong, cool, and sexy, but Saffi is very subtle. I feel that it is a role with an image which wouldn’t step forward and speak out. I’m comparatively efficient, and don’t have these qualities of Saffi, so the director is always telling me, “subtly, subtly”, and so that is what I really want to focus on building.
Tani: Saffi is subtle, but on the surface you can be rude or anything you’d like. If you intend to build something as ‘subtle’, you’ll get no where.
Aono: Yes.
Tani: The word “gypsy” is used distinctly, and it has one fixed, established image, but I’d like to take it away in a different direction, and explore all the various shades. Even those kinds of people have subtleties and worries, and if we don’t portray those parts of them, the gypsies will seem very one-dimensional. So I don’t care about outward appearances and actions, but I want to portray what they hold in their hearts. Which means, if their subtleness is perfectly enclosed, it will be impossible to make it out. Continuing on to Pali, played by Ryū Masaki, and Ottokár, played by Asumi Rio.
Ryū: The gypsy Pali has been deeply wounded in his heart, and he has an insurmountable wall of himself versus his country and himself versus other people. I think this is a role which grows up during the course of the story, and so he also grows emotionally as well from start to end. Also, there are scenes where he tests Sterk’s gypsy soul, so I want to clearly burn and seethe with gypsy passion. Pali has a gypsy girl named Violka whom has taken a fancy to him, and through every word she says and her consideration, he grows up. In the end, I think he probably accepts Violka’s love… he does.
Tani: If you’d like it that way, that’s fine.
Ryū: There’s a scene between the two of them, and I’d like to portray carefully his connections to Violka.
Kiriya: Did Pali love Saffi?
Ryū: I don’t quite know that yet myself (laughs).
All: (laugh).
Ryū: I think perhaps Violka thinks so.
Kiriya: I see, I see.
Ryū: I’d like to work on constructing those pieces from now on.
Asumi: I play Ottokár, a servant in the household of Zsupán (played by Natori-san). I dig holes every, EVERY day in search of treasure (laughs), and I’m in love with Zsupán’s daughter Arsena. As he is someone who does everything flat-out, he isn’t able to deceive anyone, even when he thinks of trying to, and so he can be a bit of a dimwit at times. Tani-sensei has told me that he is a simple and clear, straightforward man without a single shadow, so I would like to play him very straightforward.
Tani: In the original work, Pali is a character who suddenly appears and sings “It’s morning! Wake up!”, and that’s all. Because of that, I wanted to add a much deeper, new and completely different role to the show. The original is an operetta, and the various roles represent extremes, so then if I created the exact opposite of Ottokár, how far could I take it? Sterk, Saffi, Pali; all three have a similar personal history of being parentless, but it’s interesting to see how they branch off into different directions. Thinking in this way, I created the role of Pali. The songs aren’t the ones from the original work, but from searches I did of gypsy songs; Johann Strass also used gypsy-style music, and I thought I would make Ryū’s song the most gypsy-ish of them all. And Ottokár plays the fool to the point he becomes one. But he is certainly the type who, even if he lies, it’s written on his face. Because that kind of person is always a good person. When small children lie, you can also tell right away, and I thought if one of those children grew up without changing it would be interesting, so that’s Ottokár. Well then, next are the people of Zsupán’s household.
Natori: I was originally from Moon Troupe, but my last performance with Moon Troupe was “El Dorado”, so I suppose I know only the kumichou now. It feels like I’m meeting almost everyone else for the first time, so I went to rehearsals half anticipating, half anxious, but I think it’s quite an interesting troupe (laughs). I’m playing Zsupán, called the “King of the Swine”, a greedy and shameless older man. But, finally, there’s a part of him you won’t detest, and he’s a bit like the leader of the comedy, so in any case I’d like to play him as shameless and greedy.
Seijō: I have been given the role of István, head of the Zsupán servants. István is all talk, and actually he gives all of the heavy, sweaty jobs to Ottokár and the other servants (laughs), and through that he seems to set himself up as a kind of master, and I think built up his reputation from his position as head of the servants. When Ottokár is looking for some kind of treasure, he is excitedly pulled in by the “I’ve found it!” fever, but in the end it’s revealed to be just show. I’d like to portray that part of István that gets easily carried away, while at the same time showing that he is not entirely dislikable and has his good points as well. Now I’d like to expand the role a bit day by day.
Ayahoshi: I have been given the role of Zsupán’s daughter, Arsena. She’s the middle of three daughters, but certainly the one who resembles her father the most (laughs), and she’s inherited her father’s blood.
Natori: That’s true.
Ayahoshi: Her father’s thinking is really motivated by money, but Arsena uses her head to protect her love with Ottokár.
Asumi: Recently, she called me Oscar (laughs).
All: (Laugh).
Ayahoshi: I’m sorry! No matter what I do, “Oscar” is stuck in my head.
Asumi: It’s fine, it’s fine.
Kiriya: There’s a resemblance.
Ayahoshi: I’m really sorry. With Ottokár, there are countless scenes during the show where I hit on a good idea, and I really want to convey the moment when I get hit by and grab hold of those ideas. Also, her feelings of antipathy towards the gypsies; Arsena isn’t of a noble family, but she was raised as a wealthy young lady, with high pride. In the beginning she isn’t really thinking, but by the end she experiences a change of heart that I really want to bring out.
Tani: All of the people here have faults, but when they break through those faults, I think they are impressive people. When we first meet someone, rather than guard ourselves and smoothing them over, don’t you think there are times when it’s easier to let people in close if you display any weaknesses you have? That’s why for the moment I’d like these members to expose their faults. They’re full of mistakes, but they’re good people. They’re greedy for money, but that’s a feeling that everyone has, and I’d like to bring things to a point where they are admired for taking things so far. I think that can be interesting, and so I made it. We spoke just now about making a mistake with Ottokár’s name, but Ottokár is a name made by joining the names of two emperors, Otto and Kár, and István is the name of the foremost saint in Hungary, an honored holy man.
All: Huuuh.
Tani: The two of them are stupendous just in their names (laughs). That sort of thing is a kind of game in Hungary or for the people there. It’s a kind of play making names for pathetic people, like how in Japan we make names like XXmaro (XX麻呂). If this can make everyone enjoy themselves more freely, I think it’ll be interesting. Next is Conte Carnero, Maria Theresia, Count Homonay.
Koshino: I have been given the role of Conte Carnero. Conte Carnero has been following in his father’s footsteps for twenty years, continuing the job of bringing exiled Hungarians back to their home country. I want to clearly portray the obstinacy, the disciplined strictness, the overly serious—those straightforward aspects of him. This is the Carnero who sets out in search of the last remaining man, Sterk, whom he ends up spending some time with, and Sterk’s freedom acts as a provocation to him—that’s the kind of aroma I’d like to give his personality.
Hanase: I have been given the role of the historical Maria Theresia. When I read various materials on Maria Theresia, she had steadiness and friendly warmth, she often listened to the opinions of her subjects, and she was loved dearly by her subjects. However, I suppose because she ruled for many years as queen, her core was correspondingly strong. So I’d like to draw out both her majesty and flexible heart. The queen also meets Sterk, and is moved to action by him, it seems (laughs). There is also that.
Aoki: Count Homonay, whom I play, goes about recruiting people, as a result of which everyone ends up going off to war. It’s that sort of role. A soldier has a powerful image, but the character whom Tani-sensei has drawn is rather loved by everyone everywhere and impossible to hate, and with a very strong individuality, so I’d also like to portray his slightly exaggerated patriotism and straightforwardness. I was able to speak with the choreographer of the soldier dance scene, Shou Sumire-sensei, and I was giving off such a hot feeling that she wondered, “Is he an airhead?”. I was being serious, but it seems that I came off as amusing.
Kiriya: Matsuoka Shuzo?
Aoki: That’s the feeling, that’s the image I have inside me right now.
Tani: I doubt very much that Maria Theresia and Sterk met in real life. Moreover, today Maria Theresia is dancing and singing (laughs).
Hanase: Yes.
Tani: These people of various social status and positions, when they receive an order from the queen they follow it out, Conte Carnero is told to look for Sterk, and searches for him until he finds him, Count Homonay recruits thoroughly. The queen is an absolute being. And it’s interesting to see Sterk being pulled about amongst these people. I think the point of this show is how everyone pulls on Sterk more and more, so I’d like you to perform more freely.
Koshino/Hanase/Aoki: Yes.
Tani: Lastly, the gypsies, Kiryū and Mihō.
Kiryū:I have been given the gypsy role of Tobol. When I was researching various things for the gypsy role, as Tani-sensei was saying earlier, there wasn’t much that was written well on the topic. So I began by drawing him as someone in opposition with the Zsupán household. Since he was a child, he moved about from place to place, and if treated like a thief, I think it’s only natural that a distrust of people should sprout, but when he listened to tales of Sterk’s father (a man who opened his land to the Gypsies), and when he met Sterk, a new trust in people began to sprout. I think it will make for very interesting scenes to have thirty-five gypsies of like mind performing together.
Mihō: I play Czipra, a gypsy fortuneteller and Saffi’s foster-mother. She remembers the time of Sterk’s father, and so can see something bigger than anyone else—that’s how I’d like her to be. She’s tied to her compatriots by her heart, which I’d like to take care to portray. She has always worried over Saffi. I will be leaving the Revue with this performance, but to this point Tani-sensei has worked me hard in many things (laughs), thanks to which I’ve developed a real love for performing, and so I’m honored to be working with Tani-sensei in the end. But I’d like to work hard to make this a good performance, without being too aware of it being my last.
Tani: When we first did standing rehearsals, the gypsies were very defiant (laughs). As if they’d be fine uprising on their own and had no need for Sterk (laughs). There are many types of gypsies, those called the Roma, and the gypsies. I wanted to portray that there were many kinds of people. Not the usual situation where they are a people who only are discriminated against and revolt, causing violence. And so this work is a little different from the ones that have come before, and I think that’s why everyone is bewildered.
A Stage Where the Actors Move About Freely
Tani: In the prologue, Kiriya and Aono dance together, alone. I have always thought that I’d like to try a prologue with only two. This time, I thought it would be interesting to let these two who can dance, dance, and so I put it into their hands.
Kiriya: On the first day of rehearsals, you said that it would just be the two of us in the prologue, and I thought, “He’s taking it that far?” (laughs), and I felt the pressure. It’s a very essential role, to catch the audience’s attention in that very first moment after the curtain rises, and to have it be not just Kiriya Hiromu and Aono Yuki dancing, but to connect it to a story that’s yet to come, that’s what I want to put into those six minutes. I want to pull the audience into their world with a bang; what do you think?
Aono: I think so too! There is definitely pressure. To not have a feeling of excitement when the music starts, but to begin with a very mature feeling; I want to nurture that atmosphere.
Kiriya: Inside this work there are many characters, each pushing forward, living. You can really feel the energy of these characters in this work, so to begin I want to show us as an energetic pair. The start is slow, but I want to show the crackling flames of human power and souls.
Tani: The prologue is the cover of the work. There is the more common form of having everyone come out and be introduced, but I think here the form of just two people dancing is a good fit. In today’s rehearsals, before this interview, we debuted it before everyone for the first time.
Kiriya: Ah, geez, to put it that way… (laughs). It’s not there yet at all, not at all (laughs). But there’s such a better expression when dancing. If Aono can bring that expression to the performance as well, I think it’ll be great.
Aono: Yes.
Tani: Well then, lastly, let’s hear what everyone is enthusiastic about. Starting from the underclassmen.
Ayahoshi: The work is based on an operetta, so I’m able to sing some tones I’ve never sung before, and I’m learning a lot. I want to whole-heartedly warm to my role, and as Tani-sensei said at the beginning of rehearsals, fully settle into character, so that on opening night I can clearly show what kind of a person Arsena is.
Asumi: It’s the first time in a while that I’ve been directed by Tani-sensei, so my feelings are split: half joyful and half scared. But I want to engrave Tani-sensei’s words clearly in my heart. Also, as this is my first time performing with Natori-san, I want to hold my interactions with those around me precious, and carefully show the pattern of Ottokár’s heart and humanity.
Ryū: I also want to bear in mind how to clearly show the color of my role, so that those watching can feel that out of all of the characters, the role of Pali is a bit painful, has a spice to the burden he shoulders. I want to create the role with care.
Seijō: There are many crowd scenes in this show, so I feel that until each of the underclassmen has reached a point where they can fill out their role vigorously, those scenes won’t be practical. And so my goal is to teach the underclassmen, even if only a little. I want to work hard at being clearly conscious that it is one work being created by everyone, together, and aim for opening night as one.
Aoki: Firstly, a “recruiting LIFE!” (laughs).
Kiriya: Oooh, impressive (laughs). A singing, dancing member of a recruiting party.
Aoki: Yes (laughs). I’m recruiting, but I want to have a kind of flavor—and not simply toughness—a flavor different from that of the other characters, and I’d like to work hard to create the kind of show that has the audience leaving with a warm feeling after watching it.
Mihō: The thirty-five gypsies are always together, singing and dancing, and I’d like to work hard to enjoy myself whole-heartedly with everyone.
Kiryū:Compared to the previous show “The Scarlet Pimpernel”, which was a two-act musical, we have fewer days of play rehearsals, and I wonder if it will be all right, but I’d like to whole-heartedly create an enjoyable work with everyone.
Hanase: Generally speaking, I’d like to face opening night and pursue the appearance of a ruling queen; the deportment and style of talking, and furthermore the internal aspects.
Koshino: I’d also like to be able to portray a certain flavor (laughs). Also, Tani-sensei has asked me to once more teach the manners and etiquette of the stage to the seito, so I hope for everyone to understand them well, and for everyone in Moon Troupe together to aim higher as theater actors.
Natori: Now as rehearsals move forward to the final triumphal return scene, I think it will become very splendid and brightly gorgeous. I want it to be a work that makes the audience say “That was fun”, “That was interesting” after they finish watching. As for my role, I look forward to the shameless and greedy bits. Turning toward opening night, I want to work with all my might to create this work, while enjoying myself with all of the members of Moon Troupe.
Aono: I’ve had few roles up to this point with bands of friends, so I’m really happy. While continuing to feel that group atmosphere, I want to create a role with the kind of presence that, upon seeing the freedom of the gypsies, creates an impression on Sterk.
Kiriya: I have my impatient side, and I think “I’d like to see such a fun work completed quickly” (laughs), and I want to get past the most difficult bits quickly. With the original work based on an operetta, the music becomes the main, but within it there are the people of the imperial court, and the gypsies, and various spirits flow through it, so I want to hurry and see them all working together and work on the play. Now while we’re doing standing rehearsals, and Tani-sensei firms the movements of those around me, I don’t have many instructions yet, and this is my first time playing the lead in one of Tani-sensei’s works, so from now on I want to study how to place myself as the lead. A little while ago there was talk of the flavor of a role, but when I think of what flavor Sterk has, in the midst of all these deep people, on the contrary doesn’t he have a slight indecisiveness?
All: (laugh).
Kiriya: I’d like to portray both a side which has a flexibility to adapt to all kinds of flavors, and a side which pulls others towards him, and as for flavor, I don’t want to be bland and yet still not be a good fit. That’s what I’m aiming for.
Tani: The best ideal is for an actor to move about freely on stage, but it also has its difficulties. However, unless you lift up the difficult things to perfection, they’ll be put together small, which I dislike. This time everyone has all kinds of colors, and among them Kiriyan comes out strong, and definitely draws the eye the best. But I’d like to see everyone try and create their character even deeper than Kiriyan’s. Because it will surely be interesting if everyone is competing in this way, so I’d like you to be free and lively on stage. If we do that, the audience will also get enjoyment from it. And one last thing, this time there are many songs, and if you can make them each into something impressive, like the first scene of a revue, then they will definitely be enjoyable, and so in each scene everyone who appears has to give it all their power. The fun of performing, singing, and dancing—I want to make this musical like a boxed lunch that has it all.
All: Yes! Thank you.
Maybe I'm reading between the lines too much here, but I find the references to Moon Troupe seito needing to be "once more [...] taught stage manners and etiquette" to be interesting.
I like Tani-sensei's focus on breaking through Kiriyan's wall. I've definitely felt it a lot since she became nibante, so I hope the plan works. In the same way, if we can get some spontaneity out of Tani-sensei's direction, along with some stricter stage manners, that will be very nice for Tsuki too, I think. I feel like they've been going about things too much by rote, lately, and re-staging famous plays like Elisabeth and Pimpernel wasn't helping.
And I love, as always, reference to our otonappoi combi♥ I hope they will always continue to be used in this very promising way.
Round-Table
"Der Zigeunerbaron"
Moon Troupe Grand Theater Performance, Running until Oct. 4th
Members: (Director) Tani Masazumi, (Article) Okada Takayuki, (Senka) Natori Rei, (Moon) Koshino Ryū, Kiriya Hiromu, Hanase Mizuka, Kiryū Sonoka, Mihō Aya, Aoki Izumi, Seijō Kaito, Ryū Masaki, Asumi Rio, Aono Yuki, Ayahoshi Rion
"Der Zigeunerbaron"
Moon Troupe Grand Theater Performance, Running until Oct. 4th
Members: (Director) Tani Masazumi, (Article) Okada Takayuki, (Senka) Natori Rei, (Moon) Koshino Ryū, Kiriya Hiromu, Hanase Mizuka, Kiryū Sonoka, Mihō Aya, Aoki Izumi, Seijō Kaito, Ryū Masaki, Asumi Rio, Aono Yuki, Ayahoshi Rion
Okada: The show playing in the Takarazuka Grand Theater until October 4th is Moon Troupe’s “Der Zigeunerbaron”, with script and direction by Tani Masazumi-sensei. This work was originally an operetta scored in the early 19th century by Johann Strauss II, now remade by Tani-sensei into a more modern Takarazuka musical. Natori Rei-san is making a special appearance from Senka. Everyone, thank you for coming.
All: Thank you for having us.
Tani: This time I said that I wanted to do a fun piece. With all respect, I believe that Kiriyan (Kiriya) has perhaps become uninteresting. Because her disposition has become a little too serious, I wanted to break that down, bring out her “Osaka native—!!”, so to speak (laughs).
Kiriya: Is that how it is (laughs)?
Tani: Yes. That was what I thought at first. Then, when I was looking at the costumes from “Gypsy Baron” in a book, I thought it seemed interesting, and when I listened to a CD of the original at home by chance, I knew some of the music, and thought, “This would work.” Finally, how freely Kiriyan could riot around the stage was important, and the point I was anticipating the most. So the highlight of this work is Kiriyan.
Kiriya: Eeeeh—!
All: (laugh).
Tani: It’s all for Kiriyan.
Kiriya: Oh no— It’s all on my shoulders (laughs).
Tani: (laughs) I haven’t directed Moon Troupe in the Grand Theater since “Jazzy Fairies”, so more than the anticipation, I’m really looking forward to seeing how it has changed. The current Moon Troupe is still….
Kiriya: We still have a little ways to go. We don’t exhibit a distinct quality yet. The best is yet to come (laughs).
Tani: For an operetta, the truth is that a comedic piece is best, but I can’t force it. Because they’re frightened, everyone has forgotten how to laugh. I’d like to expand on that point of interest for everyone.
Distinctly Colored Characters
Tani: Well then, let’s hear about the roles, beginning with Kiriyan’s role of Sterk. Sterk is the only son of a powerful family hunted from Hungary, and his father was once called the “Gypsy Baron”.
Kiriya: His parents died soon after their flight from their homeland, and Sterk has wandered over many lands since he was a young boy, giving him a truly wild feel. Being that kind of person, he is able to mobilize the people around him, and I want to portray that power. Speaking of musicals themed on operettas, there was “Love Sonata” in 2001, which was themed on “Der Rosenkavalier” , but for that performance all of the music was created specifically for the musical, while this is my first experience using the original orchestrations—a new challenge which I look forward to. I hope that the energy that the entire cast will use to breathe life into their various roles on the stage will be transmitted to the audience.
Tani: Kiriyan is really too taken in with being serious now, and I think she’d benefit from being more irresponsible.
Kiriya: Yes. I’m comparatively serious in the very beginning (laughs). For now I’d like to make it perfectly, then go back later and break down the things which I can break down.
Tani: Rather than build something first and then break it down, if you become more disposed to build things without form at the start, I think it might be even more interesting.
Kiriya: I can see that, yes.
Tani: Well, for now, this time we’ll break down Kiriyan (laughs).
Kiriya: Hahaha (laughs). Please do.
Tani: Well then, next is Saffi.
Aono: Yes. Saffi is a girl raised by the gypsy Czipra, played by Mihō-san. Until now the image I had of gypsies was that they were strong, cool, and sexy, but Saffi is very subtle. I feel that it is a role with an image which wouldn’t step forward and speak out. I’m comparatively efficient, and don’t have these qualities of Saffi, so the director is always telling me, “subtly, subtly”, and so that is what I really want to focus on building.
Tani: Saffi is subtle, but on the surface you can be rude or anything you’d like. If you intend to build something as ‘subtle’, you’ll get no where.
Aono: Yes.
Tani: The word “gypsy” is used distinctly, and it has one fixed, established image, but I’d like to take it away in a different direction, and explore all the various shades. Even those kinds of people have subtleties and worries, and if we don’t portray those parts of them, the gypsies will seem very one-dimensional. So I don’t care about outward appearances and actions, but I want to portray what they hold in their hearts. Which means, if their subtleness is perfectly enclosed, it will be impossible to make it out. Continuing on to Pali, played by Ryū Masaki, and Ottokár, played by Asumi Rio.
Ryū: The gypsy Pali has been deeply wounded in his heart, and he has an insurmountable wall of himself versus his country and himself versus other people. I think this is a role which grows up during the course of the story, and so he also grows emotionally as well from start to end. Also, there are scenes where he tests Sterk’s gypsy soul, so I want to clearly burn and seethe with gypsy passion. Pali has a gypsy girl named Violka whom has taken a fancy to him, and through every word she says and her consideration, he grows up. In the end, I think he probably accepts Violka’s love… he does.
Tani: If you’d like it that way, that’s fine.
Ryū: There’s a scene between the two of them, and I’d like to portray carefully his connections to Violka.
Kiriya: Did Pali love Saffi?
Ryū: I don’t quite know that yet myself (laughs).
All: (laugh).
Ryū: I think perhaps Violka thinks so.
Kiriya: I see, I see.
Ryū: I’d like to work on constructing those pieces from now on.
Asumi: I play Ottokár, a servant in the household of Zsupán (played by Natori-san). I dig holes every, EVERY day in search of treasure (laughs), and I’m in love with Zsupán’s daughter Arsena. As he is someone who does everything flat-out, he isn’t able to deceive anyone, even when he thinks of trying to, and so he can be a bit of a dimwit at times. Tani-sensei has told me that he is a simple and clear, straightforward man without a single shadow, so I would like to play him very straightforward.
Tani: In the original work, Pali is a character who suddenly appears and sings “It’s morning! Wake up!”, and that’s all. Because of that, I wanted to add a much deeper, new and completely different role to the show. The original is an operetta, and the various roles represent extremes, so then if I created the exact opposite of Ottokár, how far could I take it? Sterk, Saffi, Pali; all three have a similar personal history of being parentless, but it’s interesting to see how they branch off into different directions. Thinking in this way, I created the role of Pali. The songs aren’t the ones from the original work, but from searches I did of gypsy songs; Johann Strass also used gypsy-style music, and I thought I would make Ryū’s song the most gypsy-ish of them all. And Ottokár plays the fool to the point he becomes one. But he is certainly the type who, even if he lies, it’s written on his face. Because that kind of person is always a good person. When small children lie, you can also tell right away, and I thought if one of those children grew up without changing it would be interesting, so that’s Ottokár. Well then, next are the people of Zsupán’s household.
Natori: I was originally from Moon Troupe, but my last performance with Moon Troupe was “El Dorado”, so I suppose I know only the kumichou now. It feels like I’m meeting almost everyone else for the first time, so I went to rehearsals half anticipating, half anxious, but I think it’s quite an interesting troupe (laughs). I’m playing Zsupán, called the “King of the Swine”, a greedy and shameless older man. But, finally, there’s a part of him you won’t detest, and he’s a bit like the leader of the comedy, so in any case I’d like to play him as shameless and greedy.
Seijō: I have been given the role of István, head of the Zsupán servants. István is all talk, and actually he gives all of the heavy, sweaty jobs to Ottokár and the other servants (laughs), and through that he seems to set himself up as a kind of master, and I think built up his reputation from his position as head of the servants. When Ottokár is looking for some kind of treasure, he is excitedly pulled in by the “I’ve found it!” fever, but in the end it’s revealed to be just show. I’d like to portray that part of István that gets easily carried away, while at the same time showing that he is not entirely dislikable and has his good points as well. Now I’d like to expand the role a bit day by day.
Ayahoshi: I have been given the role of Zsupán’s daughter, Arsena. She’s the middle of three daughters, but certainly the one who resembles her father the most (laughs), and she’s inherited her father’s blood.
Natori: That’s true.
Ayahoshi: Her father’s thinking is really motivated by money, but Arsena uses her head to protect her love with Ottokár.
Asumi: Recently, she called me Oscar (laughs).
All: (Laugh).
Ayahoshi: I’m sorry! No matter what I do, “Oscar” is stuck in my head.
Asumi: It’s fine, it’s fine.
Kiriya: There’s a resemblance.
Ayahoshi: I’m really sorry. With Ottokár, there are countless scenes during the show where I hit on a good idea, and I really want to convey the moment when I get hit by and grab hold of those ideas. Also, her feelings of antipathy towards the gypsies; Arsena isn’t of a noble family, but she was raised as a wealthy young lady, with high pride. In the beginning she isn’t really thinking, but by the end she experiences a change of heart that I really want to bring out.
Tani: All of the people here have faults, but when they break through those faults, I think they are impressive people. When we first meet someone, rather than guard ourselves and smoothing them over, don’t you think there are times when it’s easier to let people in close if you display any weaknesses you have? That’s why for the moment I’d like these members to expose their faults. They’re full of mistakes, but they’re good people. They’re greedy for money, but that’s a feeling that everyone has, and I’d like to bring things to a point where they are admired for taking things so far. I think that can be interesting, and so I made it. We spoke just now about making a mistake with Ottokár’s name, but Ottokár is a name made by joining the names of two emperors, Otto and Kár, and István is the name of the foremost saint in Hungary, an honored holy man.
All: Huuuh.
Tani: The two of them are stupendous just in their names (laughs). That sort of thing is a kind of game in Hungary or for the people there. It’s a kind of play making names for pathetic people, like how in Japan we make names like XXmaro (XX麻呂). If this can make everyone enjoy themselves more freely, I think it’ll be interesting. Next is Conte Carnero, Maria Theresia, Count Homonay.
Koshino: I have been given the role of Conte Carnero. Conte Carnero has been following in his father’s footsteps for twenty years, continuing the job of bringing exiled Hungarians back to their home country. I want to clearly portray the obstinacy, the disciplined strictness, the overly serious—those straightforward aspects of him. This is the Carnero who sets out in search of the last remaining man, Sterk, whom he ends up spending some time with, and Sterk’s freedom acts as a provocation to him—that’s the kind of aroma I’d like to give his personality.
Hanase: I have been given the role of the historical Maria Theresia. When I read various materials on Maria Theresia, she had steadiness and friendly warmth, she often listened to the opinions of her subjects, and she was loved dearly by her subjects. However, I suppose because she ruled for many years as queen, her core was correspondingly strong. So I’d like to draw out both her majesty and flexible heart. The queen also meets Sterk, and is moved to action by him, it seems (laughs). There is also that.
Aoki: Count Homonay, whom I play, goes about recruiting people, as a result of which everyone ends up going off to war. It’s that sort of role. A soldier has a powerful image, but the character whom Tani-sensei has drawn is rather loved by everyone everywhere and impossible to hate, and with a very strong individuality, so I’d also like to portray his slightly exaggerated patriotism and straightforwardness. I was able to speak with the choreographer of the soldier dance scene, Shou Sumire-sensei, and I was giving off such a hot feeling that she wondered, “Is he an airhead?”. I was being serious, but it seems that I came off as amusing.
Kiriya: Matsuoka Shuzo?
Aoki: That’s the feeling, that’s the image I have inside me right now.
Tani: I doubt very much that Maria Theresia and Sterk met in real life. Moreover, today Maria Theresia is dancing and singing (laughs).
Hanase: Yes.
Tani: These people of various social status and positions, when they receive an order from the queen they follow it out, Conte Carnero is told to look for Sterk, and searches for him until he finds him, Count Homonay recruits thoroughly. The queen is an absolute being. And it’s interesting to see Sterk being pulled about amongst these people. I think the point of this show is how everyone pulls on Sterk more and more, so I’d like you to perform more freely.
Koshino/Hanase/Aoki: Yes.
Tani: Lastly, the gypsies, Kiryū and Mihō.
Kiryū:I have been given the gypsy role of Tobol. When I was researching various things for the gypsy role, as Tani-sensei was saying earlier, there wasn’t much that was written well on the topic. So I began by drawing him as someone in opposition with the Zsupán household. Since he was a child, he moved about from place to place, and if treated like a thief, I think it’s only natural that a distrust of people should sprout, but when he listened to tales of Sterk’s father (a man who opened his land to the Gypsies), and when he met Sterk, a new trust in people began to sprout. I think it will make for very interesting scenes to have thirty-five gypsies of like mind performing together.
Mihō: I play Czipra, a gypsy fortuneteller and Saffi’s foster-mother. She remembers the time of Sterk’s father, and so can see something bigger than anyone else—that’s how I’d like her to be. She’s tied to her compatriots by her heart, which I’d like to take care to portray. She has always worried over Saffi. I will be leaving the Revue with this performance, but to this point Tani-sensei has worked me hard in many things (laughs), thanks to which I’ve developed a real love for performing, and so I’m honored to be working with Tani-sensei in the end. But I’d like to work hard to make this a good performance, without being too aware of it being my last.
Tani: When we first did standing rehearsals, the gypsies were very defiant (laughs). As if they’d be fine uprising on their own and had no need for Sterk (laughs). There are many types of gypsies, those called the Roma, and the gypsies. I wanted to portray that there were many kinds of people. Not the usual situation where they are a people who only are discriminated against and revolt, causing violence. And so this work is a little different from the ones that have come before, and I think that’s why everyone is bewildered.
A Stage Where the Actors Move About Freely
Tani: In the prologue, Kiriya and Aono dance together, alone. I have always thought that I’d like to try a prologue with only two. This time, I thought it would be interesting to let these two who can dance, dance, and so I put it into their hands.
Kiriya: On the first day of rehearsals, you said that it would just be the two of us in the prologue, and I thought, “He’s taking it that far?” (laughs), and I felt the pressure. It’s a very essential role, to catch the audience’s attention in that very first moment after the curtain rises, and to have it be not just Kiriya Hiromu and Aono Yuki dancing, but to connect it to a story that’s yet to come, that’s what I want to put into those six minutes. I want to pull the audience into their world with a bang; what do you think?
Aono: I think so too! There is definitely pressure. To not have a feeling of excitement when the music starts, but to begin with a very mature feeling; I want to nurture that atmosphere.
Kiriya: Inside this work there are many characters, each pushing forward, living. You can really feel the energy of these characters in this work, so to begin I want to show us as an energetic pair. The start is slow, but I want to show the crackling flames of human power and souls.
Tani: The prologue is the cover of the work. There is the more common form of having everyone come out and be introduced, but I think here the form of just two people dancing is a good fit. In today’s rehearsals, before this interview, we debuted it before everyone for the first time.
Kiriya: Ah, geez, to put it that way… (laughs). It’s not there yet at all, not at all (laughs). But there’s such a better expression when dancing. If Aono can bring that expression to the performance as well, I think it’ll be great.
Aono: Yes.
Tani: Well then, lastly, let’s hear what everyone is enthusiastic about. Starting from the underclassmen.
Ayahoshi: The work is based on an operetta, so I’m able to sing some tones I’ve never sung before, and I’m learning a lot. I want to whole-heartedly warm to my role, and as Tani-sensei said at the beginning of rehearsals, fully settle into character, so that on opening night I can clearly show what kind of a person Arsena is.
Asumi: It’s the first time in a while that I’ve been directed by Tani-sensei, so my feelings are split: half joyful and half scared. But I want to engrave Tani-sensei’s words clearly in my heart. Also, as this is my first time performing with Natori-san, I want to hold my interactions with those around me precious, and carefully show the pattern of Ottokár’s heart and humanity.
Ryū: I also want to bear in mind how to clearly show the color of my role, so that those watching can feel that out of all of the characters, the role of Pali is a bit painful, has a spice to the burden he shoulders. I want to create the role with care.
Seijō: There are many crowd scenes in this show, so I feel that until each of the underclassmen has reached a point where they can fill out their role vigorously, those scenes won’t be practical. And so my goal is to teach the underclassmen, even if only a little. I want to work hard at being clearly conscious that it is one work being created by everyone, together, and aim for opening night as one.
Aoki: Firstly, a “recruiting LIFE!” (laughs).
Kiriya: Oooh, impressive (laughs). A singing, dancing member of a recruiting party.
Aoki: Yes (laughs). I’m recruiting, but I want to have a kind of flavor—and not simply toughness—a flavor different from that of the other characters, and I’d like to work hard to create the kind of show that has the audience leaving with a warm feeling after watching it.
Mihō: The thirty-five gypsies are always together, singing and dancing, and I’d like to work hard to enjoy myself whole-heartedly with everyone.
Kiryū:Compared to the previous show “The Scarlet Pimpernel”, which was a two-act musical, we have fewer days of play rehearsals, and I wonder if it will be all right, but I’d like to whole-heartedly create an enjoyable work with everyone.
Hanase: Generally speaking, I’d like to face opening night and pursue the appearance of a ruling queen; the deportment and style of talking, and furthermore the internal aspects.
Koshino: I’d also like to be able to portray a certain flavor (laughs). Also, Tani-sensei has asked me to once more teach the manners and etiquette of the stage to the seito, so I hope for everyone to understand them well, and for everyone in Moon Troupe together to aim higher as theater actors.
Natori: Now as rehearsals move forward to the final triumphal return scene, I think it will become very splendid and brightly gorgeous. I want it to be a work that makes the audience say “That was fun”, “That was interesting” after they finish watching. As for my role, I look forward to the shameless and greedy bits. Turning toward opening night, I want to work with all my might to create this work, while enjoying myself with all of the members of Moon Troupe.
Aono: I’ve had few roles up to this point with bands of friends, so I’m really happy. While continuing to feel that group atmosphere, I want to create a role with the kind of presence that, upon seeing the freedom of the gypsies, creates an impression on Sterk.
Kiriya: I have my impatient side, and I think “I’d like to see such a fun work completed quickly” (laughs), and I want to get past the most difficult bits quickly. With the original work based on an operetta, the music becomes the main, but within it there are the people of the imperial court, and the gypsies, and various spirits flow through it, so I want to hurry and see them all working together and work on the play. Now while we’re doing standing rehearsals, and Tani-sensei firms the movements of those around me, I don’t have many instructions yet, and this is my first time playing the lead in one of Tani-sensei’s works, so from now on I want to study how to place myself as the lead. A little while ago there was talk of the flavor of a role, but when I think of what flavor Sterk has, in the midst of all these deep people, on the contrary doesn’t he have a slight indecisiveness?
All: (laugh).
Kiriya: I’d like to portray both a side which has a flexibility to adapt to all kinds of flavors, and a side which pulls others towards him, and as for flavor, I don’t want to be bland and yet still not be a good fit. That’s what I’m aiming for.
Tani: The best ideal is for an actor to move about freely on stage, but it also has its difficulties. However, unless you lift up the difficult things to perfection, they’ll be put together small, which I dislike. This time everyone has all kinds of colors, and among them Kiriyan comes out strong, and definitely draws the eye the best. But I’d like to see everyone try and create their character even deeper than Kiriyan’s. Because it will surely be interesting if everyone is competing in this way, so I’d like you to be free and lively on stage. If we do that, the audience will also get enjoyment from it. And one last thing, this time there are many songs, and if you can make them each into something impressive, like the first scene of a revue, then they will definitely be enjoyable, and so in each scene everyone who appears has to give it all their power. The fun of performing, singing, and dancing—I want to make this musical like a boxed lunch that has it all.
All: Yes! Thank you.
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Date: 2010-09-26 10:32 am (UTC)Thank you for this 'round table'
"So the highlight of this work is Kiriyan." ♥
Moon troupe is really changing, isn't it? I can't wait to see that!
Tsuki Gumi, gambare!! ;p
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Date: 2010-09-28 03:40 am (UTC)I hope Kiriyan and Marimo shine in this show♥
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Date: 2010-09-26 05:13 pm (UTC)I like Ottokár and Oscar part. ♥
And it's nice to know that Tani-sensei made this script specially for Kiriyan.
Then, every time I know that every single Sienne does her best to research her role, a warm sensation flows in my heart. :)
Thank you for translating. Good work!
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Date: 2010-09-28 03:39 am (UTC)no subject
Date: 2010-09-26 06:48 pm (UTC)Thanks for the translation.
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Date: 2010-09-28 03:38 am (UTC)I haven't really heard a peep out of anyone who has seen the show, so I'm curious about it. Even more interesting, in the NOW ON STAGE talk bit that they have posted on the Sky Stage website, they're talking about the difficulties of singing in 3/4 time, since much of the music is Waltz tempo.... That combined with this talk makes me think that they kept much of the original Strauss music pretty much intact. I can't wait!
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Date: 2010-09-26 07:31 pm (UTC)Also, Tani-sensei has asked me to once more teach the manners and etiquette of the stage to the seito ...
Hmm. This is a change since Taki-san's day...
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Date: 2010-09-27 03:30 am (UTC)Some of Tani's comments are a bit...I can't think of the proper words...underhanded? Forward?
Tani: If you’d like it that way, that’s fine.
Just because Masaki's interpretation of her character is different from his :/
Very interesting! Especially the whole etiquette thing. I guess too much chatter backstage, haha...
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Date: 2010-09-28 03:35 am (UTC)no subject
Date: 2010-09-27 05:00 am (UTC)What was the original word for 'uninteresting' here? Omoshirokunai? Maybe I have heart-shaped blinders on my eyes, but I was really impressed with Kiriyan's Percy. During her time as Asako's nibante she was always doing the quirky roles, so I was pleased that she could pull off a white hat role and make it interesting.
We spoke just now about making a mistake with Ottokár’s name, but Ottokár is a name made by joining the names of two emperors, Otto and Kár, and István is the name of the foremost saint in Hungary, an honored holy man.
It cracks me up that there actually is some sort of logic in what they come up with ^^;;;
Anyway, thank you for the translation. It was a really interesting read, and I'm looking forward to when this one is released on DVD.
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Date: 2010-09-28 03:32 am (UTC)On stage AND off, she lost her lightheartedness, as most of those star-tracked seem to by the time they hit ken-7. I hope Tani-sensei could find some chinks in her "majime"ness. ;)
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Date: 2010-09-28 06:54 am (UTC)no subject
Date: 2010-09-28 02:25 pm (UTC)Added you, but let me know if you'd like on the live filter too.
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Date: 2010-09-28 06:01 pm (UTC)no subject
Date: 2010-09-29 03:04 am (UTC)no subject
Date: 2010-09-29 03:27 am (UTC)