It has been over 30 years since I started writing haiku. Initially, the subjects were wide-ranging, but plants have been the main focus for the past three years. The biggest reason for this is his style of presenting haiku poems with photographs.
When I was working on Japanese SNS, I belonged to one of the communities called ``Photo Gogyoka'' and created poems with tanka divided into 5 lines and a relaxed character limit. I learned that. When I applied this idea to haiku, I adopted this format because it allows me to express details that are difficult to imagine with just 17 characters.
However, I don't dislike animals, but they move so much that my photography skills can't capture them. No wonder there are so few haiku about birds. It is also difficult to express the contact between people's hearts and the depth of people's psychology. However, I can photograph plants and project my heart into them. I have much knowledge about plants.
Combining photography and haiku is a double-edged sword, favoring one direction while abandoning the other. ``People can only do what they are capable of doing.'' This is probably true. Today I will walk with my camera and hunt for plants.
Day 7. 12月17日(土)
年の初めだけど昨年12月ジャカルタ滞在の振り返り日記 その5.
いよいよワークインプログレス公演当日。
入り時間に余裕があったり、それまでの会場と違って宿泊先のゲストハウスから近かったりしたし、何より会場のロケーションがまるでリゾート地のようでとてもリラックスした一日の始まり。スタジオの使える時間が限られていたのでちょっとバタバタした局面もあったけど、限定招待のゲストを前に、今の僕たち(shelfとLTCのメンバー全員)の立っている地平を見渡せるような、小さいけれど強い作品になったのではないかと思います。
2020年の秋以来、リモートでずっと定期的にディスカッションやクリエイション(映像作品作りとかテキストワークとか)は重ねて来ていたけれど、そしてそれは確かに僕らの共有財産になっていたけど、対面で、同じ場所で一緒に過ごした7日間は格別に得難い、刺激的で、そして創発的なものでした。毎日一緒にご飯を食べて、というのも大事なんだな。同じ釜の飯を食うとはよくいったものだ、とも改めて。
先日の振り返りでも少し書いたけれど、Bambangの演出、LTCの創作のメソドロジーは、どちらかというと足し算とか掛け算に近いんだな、という印象。テーマに沿った題材をかき集めて、コラージュするような。そのときに、本当にいろいろたくさん集めて来る。もちろん、合わないと思ったらすぐにそれを捨てる。( ←これ、すごい大事な技術。)あと、足し算掛け算といったけど、テーマがガツンと先にあって、そこからこう、うにょうにょと、派生的に、自ら育つように作品が作られていく。最初にコンセプトを提示するのはBambangなんだけど、そこから俳優やスタッフが創作を行うことで、微妙に(絶妙に)フィードバックがかかって、コンセプトがより強固なモノとなっていく。
対して矢野の演出は、とにかく基本的にテキストベース。Bambangにもずいぶん昔に喝破されていたけど、どんな短いテキストでもいい、詩でも小説でも、つまり戯曲じゃなくても構わない。ただそこにテキストがあって、そのテキストを俳優が(人が)言葉にする、声にする必然を辿っていく。そしてそこに、発語者と他者とのあいだのコミュニケーションやディスコミュニケーションを介在させて、空間を構築していく。
発語ベースとはいえ、たぶん若いときにパントマイムを学んでいた経験からか、そもそも初めは俳優をやっていたからか、非言語のコミュニケーションを僕は、非常に繊細に、丁寧に扱う。視線、重心。意識の向いているフォーカス、身体の傾き、等々。
俳優の(人の)身体を徹底的に観察して、そこから緻密に、空間と時間を構成する材料として使っていく。
そして足し算というより引き算。舞台上にある要素を徹底的に削ぎ落して、余白を作る。余白を作って、そこに観客の想像力が喚起される仕掛けを作る。仕掛けの材料は、小道具だったり音響や照明だったりもするけれど、基本的には先に述べた俳優の身体。視線や、延ばした指先や、すれ違ったときの呼吸や空気の襞の振動など。
だから矢野の演出は、テキストがはまるとすごく活きる。対してBambangの演出は、大雑把といっていいくらいガシガシと外からイメージやテキストを足していく。その時にまた、政治的文脈や批評的な視座を持った要素をガツンとぶつけてくるから、矢野としてはちょっとドキッとするときもある。けど、その選択のセンスは抜群にいい。ぶっちゃけ、今回の共同制作で矢野がBambangから盗みたいところはこの辺りにあったりする。
もちろん、自分の方法を他者との協働で、長く文脈を共有していない相手に対しても通用するよう磨き上げ、鍛え上げていく必要もあるのだけど、もっとドラスティックに自分の方法を、良い意味で“分かりやすく”強いものにしたいと思っている。
それは例えば、「今回の作品(「Rintrik」)を通じて観客に届けたかったいちばんのメッセージは?」とコンパスの記者に問われたときに、僕にはそもそも作品を通じて“観客に伝えたいメッセージ”などないのだけど、それでも、それに相応する何か強いもの、それはやはりメッセージというしかないのかも知れないけれど、そういう強い表現を舞台上で為すことが出来ていれば、それなりの応答が出来るんじゃなかろうか、ということでもあり。
そうそう。ワークインプログレス公演の日はBamBangの長女の誕生日でもありました。公演が終わってみんなでサプライズでハッピーバースデーの歌を歌って、ケーキをカットして貰ってみんなで食べて。
夜は近くのメキシコ料理屋で打ち上げ。ああ、もう既にジャカルタの日々が懐かしい。
Day 7. December 17th (Sat)
It's the beginning of the new year, but a retrospective diary of my stay in Jakarta last December, Part 5.
Finally, the day of the work-in-progress performance. There was plenty of time to enter the venue, the venue was close to the guesthouse where we were staying, and the location of the venue was just like a resort area, making for a very relaxing start to the day.
There was a bit of a hectic time, but it turned out to be a small but strong piece, which could show a glimpse of the horizon we (shelf and LTC members) were standing on, in front of the limited number of invited guests.
Since the fall of 2020, we've been discussing and creating remotely on a regular basis, and it's certainly been our shared property. But we've spent time together face-to-face in the same place these 7 days. And that seven days were exceptionally exciting and emergent.
As I wrote in the previous diary, Bambang's direction and LTC's creative methodology are more like additions and multiplications. Scrape up the material according to the theme and make a collage. At that time, they really collect various materials. Of course, if Bambang doesn't like it, throw it away very soon. (← This is an especially important technique!)
Also, although I mentioned addition and multiplication, there is a theme that comes first. And from there, the work is created as if it grows on its own. Bambang is the first to present the concept, but from there, the actors and staff spontaneously create, giving subtle and exquisite feedback, and the concept becomes more solid.
On the other hand, Yano's production is text-based anyway. Any short text will do. It doesn't matter if it's a poem, a novel, a speech, or a play. There is a text there, and the actors (mankind) put that text into words. And chasing the inevitability of turning it into a voice. And there, communication and dis-communication between the speaker and others are interposed to construct a space.
Of course, it is based on verbal communication, perhaps because I had experience learning pantomime when I was young, or maybe because I was an actor at the beginning of my theatre work, I handle non-verbal communication very delicately and carefully. Gaze, the body's centre of gravity. The focus of consciousness, the tilt of the body, etc.
Thoroughly observe the actor's (human's) body and use it as a material to construct space and time from there.
And subtraction rather than addition. The elements on the stage are thoroughly scraped off to create a blank space. Create a blank space and create a device that arouses the imagination of the audience.
The materials for the gimmicks are props, sound, and lighting, but the bodies of the actors I mentioned earlier. The gaze, the outstretched fingertips, the breath, and the vibration of the air folds when we pass each other.
That's why Yano's staging comes alive when the text fits. On the other hand, Bambang adds images and text from the outside roughly and roughly. At that time, there are times when I get surprised because he gives it the political context and elements with a critical perspective.
But Bambang's sense of choice is outstanding. (To be honest, this is the part that I want to steal from Bambang in this joint production.)
In collaboration with others, it is necessary to refine and refine my method so that it can be used even with people who have not shared a context for a long time. I want to make it “easy to understand” and strong.
For example, when I was asked by KOMPAS journalist that "What is the most important message you wanted to convey to the audience through this work ("Rintrik")? I, to be honest, don't have a "message I want to convey to the audience'' through my work. However, if I can make such a strong expression on stage, I wonder if I can respond in a certain way.
Yes. The day of the work-in-progress performance was also BamBang's daughter's birthday. After the performance, we all sang a happy birthday song as a surprise, cut the cake, and ate it together.
In the evening, we launched at a nearby Mexican restaurant. Ah, I miss my days in Jakarta already!
DREAMS COME TRUE全面協力×脚本・総監修:岡田惠和の最強タッグで贈るオリジナルドラマ「5つの歌詩(うた)」。「空を読む」「マスカラまつげ」「TRUE, BABY TRUE.」「何度でも」と、このドラマのために書き下ろされた新曲「スピリラ」の5曲をはじめ、ドリカムの奥深い歌詩の世界を今度はスペシャルなライヴで表現した2022年12月18日の横浜アリーナ公演を完全収録して「スターチャンネルEX」で独占配信中!
In Japanese poetry, the five and seven syllables have unique meanings. I can't explain it clearly, but arranging the letters in this way makes me feel ``calm.'' The same is true for haiku and tanka.
When I was in elementary school, I once tried to write a haiku, but all I could come up with was one mediocre haiku, and I thought, ``Maybe I don't have the talent for haiku?'' However, fortunately, I trained in writing short sentences at university and was able to write haiku.
Mantis
I pray to the sky
Eagle's tears
Since then, I have been writing haiku for about 30 years, but I have never had any trouble writing haiku.
On June 18, 2023, I was in a traffic accident. Fortunately, I wasn't seriously injured, but right before the accident, I took a photo of a yellow flower I saw and used in a haiku poem. (I enter with a haiku and photo as a set) A few tens of seconds later, I had an accident. If I hadn't taken the photo, I wouldn't have had the accident. The 10-odd seconds it takes to take a photo made the difference.
Yellow flowers
this color is a caution signal
Be careful
Since then, my haiku has become lighter than before. That doesn't mean it's bad. Perhaps the enlightenment that even writing poetry was risking one's life led me to write lighter haiku.
“Oriente e Occidente: l'era della tecnica e il suo possibile oltrepassamento”
• Lapo Lani - 5 lezioni in Giappone
• • • • • • • • • •
- 13 dicembre 2023
Tokyo
Promotore: “MSY Inc.”
- 16 dicembre 2023
Sendai, Miyaghi
Promotori: “SDGs Tohoku” e “Miyagi SDGs Farm”
- 20 dicembre 2023
Kyoto
Promotore: “University of the Arts”
- 25 dicembre 2023
Nagasaki
Promotore: “AME Plan LLC”
- 14 gennaio 2024
Mitoyo, Kagawa
Promotore: “Setouchi Kurashi no Daigaku”
• • • • • • • • • •
L’inevitabile e prossimo tramonto della civiltà dell’Occidente, e quindi della cultura Moderna e Postmoderna, porterà alla nascita di una nuova civiltà, quella che i filosofi chiamano l’era della scienza e della tecnica.
Se tutti i popoli credessero nel canto della poesia come atto in grado di liberarli dalla superbia, dalla volontà di potenza, dal nichilismo e dal fascino del nulla, allora l’era della scienza e della tecnica non riuscirebbe a diventare massimamente potente.
È interessante capire come l’annunciato avanzamento della nuova era venga diversamente percepito dalle civiltà dell’Occidente e dell’Oriente, e come l’Italia e il Giappone si stiano avvicinando a quest’epoca.
È altrettanto interessante immaginare attraverso quale pensiero filosofico le due civiltà possano ipotizzarne l’oltrepassamento.
Ma è ancora più interessante comprendere come Occidente e Oriente, per riuscire a oltrepassare, debbano mutare la propria concezione di “creatività”, “progettazione” e “produzione”.
Lapo Lani
_______________
Copertina: “L’era della tecnica e il suo possibile oltrepassamento”.
Disegno di Lapo Lani, realizzato con inchiostri giapponesi su carta bianca, e successivamente elaborato con processi digitali.
Dimensioni: cm 16x21.
Anno: novembre 2023.