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Theatre As Public Sphere

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Theatre As Public Sphere THEATRE AS PUBLIC SPHERE THE HISTORY OF THEATRE EXCHANGE BETWEEN JAPAN AND SOUTHEAST ASIA TAKIGUCHI KEN (MA, Sophia) A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF JAPANESE STUDIES NATIONAL UNIVERSITY OF SINGAPORE 2011 Preface and Acknowledgements I started this project because of my frustration experienced during my time at the Japan Foundation, a Japanese governmental institute for international cultural exchange. I was in charge of several international theatre collaboration projects when I was appointed as the assistant director of its Kuala Lumpur office between 1999 and 2005. What frustrated me then was that I could not find any reference to earlier developments. Lacking the information on earlier projects, it was extremely difficult to contextualize the project I was working on. Soon after I began researching, I realized that 1980s was the key period in the history of theatre exchange between Japan and Southeast Asia. Although not well recorded, a Japanese theatre company the Black Tent Theatre (BTT) started to interact with its Southeast Asian counterparts, most notably the Philippine Educational Theatre Association (PETA). I started from their exchange and then went back to the 1960s and 70s to learn about the origin of the BTT’s activities on the one hand, and also looked into the later developments into the 1990s. This history was filled with interesting and eye-opening events. And many interesting people were involved in the process of researching for this thesis. Writing this thesis has been an experience that allowed me to connect to the people involved. This project has become truly meaningful for me thanks to their kindness— giving their time for discussions, providing important information and thoughts, and encouraging me to go on. I wish to express my sincere gratitude to my supervisor, Associate Professor Lim Beng Choo. Her encouragement was a great support for me especially during the difficult times. I would also like to thank the other committee members, Associate Professor Simon Avenell and Associate Professor Goh Beng Lan for their support and guidance. A number of institutes and organisations have helped me throughout the research process. The Global COE Program at Waseda University’s Tsubouchi Memorial Theatre Museum provided me with an opportunity to pursue my fieldwork in Tokyo. The Setagaya Public Theatre gave me an opportunity to give some lectures which i were a great opportunity to receive feedbacks from the audience. I wish to thank Ms. Eshi Minako especially for organising the lectures and providing me with a lot of information on the theatre. The Centre for Education and Research in Cooperative Human Relations at the Saitama University also helped me to collect materials during my fieldwork. The Asian Theatre Centre for Creation and Research provided me with an opportunity to conduct a seminar on the activities of the Philippine Educational Theatre Association (PETA) with the support of the Saison Foundation. The Asian Shakespeare Intercultural Archive provided me with unique opportunity to access the scripts of some important productions. I wish to thank its director, Associate Professor Yong Li Lan for her continuous support and help. During the research, I conducted six interview sessions. I wish to express my heartfelt thanks to all of the interviewees. They spent hours with me and shared their thoughts and experiences very frankly. Mr. Satô Makoto and Mr. Matsui Kentarô provided me with a lot of information on the Black Tent Theatre and the Setagaya Public Theatre. Ms. Jo Kukathas (the Instant Café Theatre Company) and Ms. Marion D’Cruz (the Five Arts Centre) gave me deep insights on Malaysian theatre. Ms. Beng Santos-Cabangon shared her experience at PETA with me. My ex-colleagues at the Japan Foundation, Mr. Doi Katsuma, Ms. Yamashita Yôko and Mr. Shimada Seiya provided me with plenty of information and frank thoughts on the international theatre collaborations. My conversations with theatre practitioners have always inspired me. Some of my arguments became concrete through the discussions that I had with them. It was truly fortunate for me to have such chances. I wish to express my gratitude to Mr. Hirata Oriza (Seinendan theatre company, Japan), Mr. Sakate Yôji (Rinkôgun theatre company, Japan), Mr. Koike Hiroshi (Pappa Tarahumara, Japan), Mr. Kuwaya Tetsuo (Za Kôenji Public Theatre, Japan), Mr. Watanabe Chikara, Ms. Hata Yuki (The Japan Foundation), Dato’ Faridah Merican (Kuala Lumpur Performing Arts Centre, Malaysia), Mr. Mac Chan, Mr. Huzir Sulaiman (Checkpoint Theatre, Singapore), Mr. Alvin Tan (The Necessary Stage, Singapore), Mr. Haresh Sharma (The Necessary Stage, Singapore), Mr. Gene Sha Rudyn (Keelat Theatre Ensemble, Singapore), Mr. Tay Tong (TheatreWorks, Singapore), Ms. Goh Ching Lee (National Arts Council, Singapore), Mr. Pradit Prasartthong (Makhampom theatre company, Thailand) and Ms. Narumol Thammapruksa. ii I wish to express my special gratitude to Professor David Gordon Goodman who passed away a few weeks before I submitted this thesis. I had an opportunity to attend his public lecture on the Angura theatre movement at Waseda University in 2008. The comments he gave and the questions he asked me at that time resulted in some of the discussions in this thesis. I am sorry to have forever lost the chance to ask Professor Goodman whether or not my answers to his questions are satisfactory. At the very last stage of my writing, Mr. Alvin Lim and Ms. Faith Ng helped me greatly by checking my English and editing my draft. I truly appreciate their help and efforts. Last but not least, I would like to thank my wife, Hiroko. Without her support and encouragement, I could not have finished this thesis. iii Table of Contents Preface and Acknowledgements i Summary ix List of Figures x Chapter 1. Introduction Section 1. Background and Purposes of Research 1. The Background 1 2. Purpose of the Research 4 Section 2. Structure and Arguments of each Chapter 6 Section 3. Methodology 8 Section 4. Notes on ‘Asia’ 11 Section 5. Framework of Analysis 1. Models of Public Spheres 1-1. Kôkyôsei Discourses in the 1990s 15 1-2. Counter-Public Sphere: Jurgen Habermas 18 1-3. Public Sphere for Coexistence: Richard Sennett 24 1-4. Liberalist Model: ‘Public’ as ‘Official’ 31 2. Models of Applied Theatre 31 Section 6. Conclusion 37 Chapter 2. The Angura Theatre Movement: Discovery of Asia Section 1. Modernity in Japanese Theatre: Engeki Kairyô Undô and Shingeki 39 1. Engeki Kairyô Undô as the Project of Bourgeois Modernity 40 2. Shingeki as the Project of Aesthetic / Cultural Modernity 2-1. The Artistic-oriented / Orthodox Faction 43 2-2. The Leftist Faction 47 3. Limitations and Issues of Engeki Kairyô Undô and Shingeki 56 Section 2. The Rise of the New Left Movement and the Anti-Shingeki Theatre 1. Emergence of the New Left 58 2. The Anti-Shingeki Theatre 2-1. The ‘Voice’ of the New Left 62 2-2. Seeking ‘Japaneseness’ 65 3. Achievements and Limitations 70 iv Section 3. Development in the Late 1960s: “Paradigm Shift” of the New Left Movement and the Angura Theatre Movement 73 1. Separation between the Civic and the Student Movement 75 2. The Civic Movement: Beheiren and Asia 78 2-1. Demonstration as a Public sphere 80 2-2. “Paradigm Shift” in Beheiren: Oda Makoto’s Heiwa No Rinri To Ronri 81 3. The Student Movement 85 3-1. Characteristics of the Student Movement in the late 1960s 86 3-2. “Paradigm Shift” in the Student Movement: Kaseitô Kokuhatsu 90 4. The Angura Theatre Movement 4-1. The Intermediary between the Civic Movement and the Student Movement 93 4-2. Turning Theatre a Public Sphere 96 4-3. Exploring Japanese Indigenity 104 4-4. A Commonality with the Student Movement: Angura as an Expression of ‘Uneasiness’ 107 4-5. Angura’s “Paradigm Shift” 113 Section 4. Conclusion 126 Chapter 3. The First Encounter with Southeast Asia, the late 1970s – 1980s Section 1. Introduction: Two Faces of Tsuka Kôhei and the ‘1980s Theatre’ 130 1. A Critical Successor of the Angura Theatre Movement 131 2. A Leader in Commercialisation 134 Section 2. The Black Tent Theatre and the Publicness of Theatre 139 1. Ugly JASEAN 141 2. The Draft Mission Statement: The Introduction of Two Keywords 148 2-1. Theatre as a ‘Public Sphere’ 149 2-2. ‘Asian Theatre’: Theatre for the ‘Struggling Masses’ 152 3. Problems with Early Projects of the BTT 155 Section 3. The Encounter with PETA: Learning the Methodology of Applied Theatre with / by the Communities 1. The First Encounter 158 2. PETA’s Move towards Building Networks in Southeast Asia 160 v 3. The Methodology of PETA 3-1. Principles 162 3-2. Practice: Workshops 164 4. The BTT and Theatre Workshops 4-1. Criticism of the BTT’s Activities from PETA 166 4-2. Responses from the BTT 169 Section 4. Connecting Workshops to the Civic Movements 174 1. Civic Movements and Southeast Asia 1-1. The Residents’ Movement and the Anti-Pollution Movement: Opposing the Domination of the ‘Publicness’ by Public Authorities 175 1-2. The Export of Pollution to Southeast Asia 178 1-3. PARC: Solidarity among the Asian Struggling Masses 180 2. Tsuno Kaitarô as the ‘Connector’ 188 3. The People’s Culture Movement in the 1980s 3-1. The Asian Theatre Forum 83 192 3-2. Shin Nihon Bungaku’s People’s Culture Movement 195 3-3. People’s Plan 21 198 4. The Common Problems of the BTT and the Civic Movement 202 Section 5. Conclusion 207 Chapter 4. Public Theatres and Kyôsei, the 1990s – early 2000s Section 1. Introduction: The Project of the New Public Sphere 212 Section 2. Introduction of the Kyôsei (共生) Concept to the Japanese Civic Movements 1. From the ‘Struggling Masses’ to the ‘Living of Masses’ 1-1.
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