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1/5 アンケート(questionnaires)、そして想定(assumption)について


*2011's Best 3 etc. のアンケート(questionnaires)について



Kyoko Tokunaga (theater journalist) wrote her statement about questionnaires of 2011's best theater play.

She said she will not participate in all questionnaires, because it's hard to make any standards by the 3.11 earthquake disaster. And she expresses dissatisfaction for that any planners of the questionnaires are not going to prepare any places of arguments. She said, as a result, the questionnaires may make some theater play works as only expendable supplies.

I almost go along with her opinion. But according to my present perspective, I thought that it was important to participate these questionnaires. Once, she seemed to think like that, too.



 In the theater genre with a few places of evaluations,


 I thought that I could bring happiness to the artists by their name being given at these opportunities,

 という気持ちもあって、求められるまま参加してきた。(引用 徳永京子のブログより)

 So I participated if demanded. (quotation from Kyoko Tokunaga's blog)


I think, for artists, this effect still alive.

But a more important thing is the problem which she submitted now.

That is...... Are these questionnaires for whom?



Someone concerning performing arts?

Her submission gave an opportunity to reconsider about this problem.

A thought stop by inertia may rot good fruits.

(要約:彼女の投げかけたと思われる問いは重要である。アンケートは一体誰のために為されているのか? それを再考する機会を与えてくれた。)



By the way,

about earthquake disaster, my basic thought is the following things.

Of course there is the big break between before and after 3/11.

However, there are some changes continued since before earthquake disaster.

Surely, the earthquake disaster let those changes accelerate.

But the important seedling of changes existed since before.

And these changes are potential of the theater play.



For example, I have already wrote in the magazine "eleking vol.4"

gave 6 points as 2011's specific points about theater.

  1. from "watching a work" to "experience a phenomenon"
  2. thrilling miraculous outbreak
  3. mixture of internet culture, and collage
  4. rise of some women artists
  5. break away from tokyo-centrism, and nomads appear
  6. diversification of criticism & produce

Therefore, I answered the questionnaires on the basis of those points.

So from now on, I will answer a questionnaire if there is a request.

Through such trials, I want to consider some possibilities of performing arts.

(要約:例えばeleking vol.4に書いた6つのポイントは現時点での過渡的なものですが、ある程度今の自分の考え方の骨格を為しているとも思うので、それを基にして、今後もアンケートなどの依頼があればできうる範囲で答えていこうと思ってます。そのような試みを通じて、舞台芸術の可能性を探りたい。)






And as follows, this is a story connected with the above points,

recently all the time I think, what should I do to send words outside of "theater?"

Of course, forming a praising circle is nonsense, disgusting bad habit.

Writers, artists, actors, producers and audience should have such a consciousness.

However, I don't want someone connect anything to outside.

It will be only eaten out good fruits.

To break off domestic seclusion, must be strong as for negotiating with the outside.

At first, should look at the outside world.

Should know many things around various genres.





*Super Computer's assumption save this shaking world?

This news (↓) reports that the earthquake research institute of Tokyo university will use the super computer KYO for foresight of big earthquakes. They aim to get rid of "assumption outside".

But I think "assumption" produces "assumption outside". 



*King Kong & Yodocho's refrain


    (↑ poster of the movie, 1933) 

I watched the movie "King Kong" (1933) at DVD. Nagaharu Yodogawa (the commentator) has a unique way of talking. He repeats the same words many times (this is the REFRAIN!). In this way, he attracts an audience in the world of this movie.

1933, the unknown world would still exist clearly at this time. Some audiences should have believed in the existence of these mysterious creatures.

"Assumption" may be always betrayed.