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"Difference" and "Reflexivity":
Osanai Kaoru and the Shingeki
Movement
Gioia Ottaviani
Gioia Ottaviani is a researcher in the Department of Oriental Studies, University of Rome, "La
Sopienza." Her forthcoming book is entitled II Teatro Giapponese: Introduziono Storica (Japanese The-
atre: An Historical Introduction). Translated by Felicity Lutz.
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214 Ottaviani
elaborate the p
as a whole. In
emerges throu
ent in the ide
and from bot
time, the desi
this case the Western model of theatre.
Osanai's reflections are not systematic-both in his criticism and
in his theatrical work they are responses to the events, stimuli, and sug-
gestions offered by contemporary theatre. Nevertheless, his work and his
writings possess an internal coherence that leads one to consider his
research as more than an enthusiastic imitation of the West and to seek its
specific import within the framework of the intercultural processes tha
marked the theatre of Asia and the West at the beginning of the twentiet
century. His tireless activity and especially his writings reveal that he w
aware of the great number of "urgent" cultural issues the new Japanese
theatre had to deal with-and hence the difficulty of achieving the theo-
retical and practical clarity it needed. Moreover, he based his choices on a
direct knowledge of the problems facing both actors and playwrights an
on his awareness that no proposal could be considered a solution at that
particular time.
Criticism of the small audiences or meager results achieved by
Japanese drama during the early period of the "new theatre" often con-
ceals the complexity and the more significant aspects of these experi-
ments. Here I wish to draw attention to the fact that in the main initia-
tives promoted by Osanai-Jiyu Gekij6 (Free Theatre) and Tsukij
Sh6gekij6 (Tsukiji Little Theatre)-as well as in his reflections on the
theatre, it was precisely this choosing what was "different" that made
the theatre a forum for questions about Japanese culture in a time of
change.
The emergence of the Jiyu Gekij6 (1909), mainly on the initiative
of Osanai and the actor Ichikawa Sadanji II (1880-1940), as well as the
interest it aroused in intellectuals and artists,1 are evidence of the new
prospects taking shape among those who aspired toward the renewal of
Japanese theatre. The problems faced by the promoters and supporters of
the Free Theatre were foreign both to the schematic rationality that had
inspired the intellectuals and politicians of the Engeki Kairy6kai (Theatre
Reform Association, 1886) and to the project for reconciling traditiona
and modern forms to which the scholar Tsubouchi Sh6y6 (1859-1935)
was devoting himself at the time. They were also foreign to the desire to
link the theatre to historical and political events in contemporary Japan,
typical of most of the companies in the movement known as shinpa (new
school).2 To many of the intellectuals, writers, and actors who were drawn
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OSANAI KAORU AND shingeki 215
to the Jiyufi Gekij6 and aspired to grasp the features of modernism, "new"
theatre became increasingly synonymous with "other" theatre. It was no
longer a question of rationalizing or westernizing Japanese theatre but a
matter of emphasizing its difference from the past and experimenting
with the ways and means by which Japanese culture could establish a
different theatre.
I believe that the significance of the experiments proposed by Osa-
nai is linked to the fact that, in many people's consciousness, these
involved not only formal, stylistic, and intellectual parameters but, above
all, anthropological parameters: cultural models, behavior patterns, life-
styles, ethical models, and social attitudes.
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216 Ottaviani
Western plays
supporters of
activity of th
brother's deat
meeting of c
That same year Osanai, who continued to publish translations as well as
his own works, enrolled at the University of Tokyo, where he attended the
courses given by Lafcadio Hearn and Shimazaki loson. Hearn intro-
duced him to the study of English literature, on which he wrote his degree
thesis in 1906, while he himself acknowledged that Toson was the model
for his own writing. In 1906 he staged an adaptation of Toson's Hakai
(Breaking the Commandment), the novel that along with Tayama Katai's
Futon (The Quilt) marked the emergence of naturalism in the Japanese
literary world.
In his biography of Ichikawa Sadanji II, Osanai writes: "After
enrolling at the university I developed a passion for the theatre. I ended
up by going to the Masagoza [Masago Theatre] every day to see Ii Yoho's
plays, partly as a student, partly as an adviser, and partly as an author"
(Osanai 1964, V: 269). Miki Takeji had introduced him to Ii Y6h6 (1871-
1933), an actor who had participated in the shinpa theatrical movement
since its inception. He had made his debut in the Seibikan (House of Sub-
limity) company, which was supported and followed by the scholar Yoda
Gakkai (1833-1909). This was a company that had not identified itself
with the political activism typical of most of the shinpa companies and had
devoted itself more assiduously to theatre. He had later collaborated with
Kawakami Otojir6 (1864-191 1), one of the founders of the shinpa move-
ment, before Kawakami embarked on his journey to Europe and the
United States (1889-1901). He had been working at the Masago Theatre
since 1901. Like other shinpa actors Ii Y6h6 was open to European dra-
matic art and proposed his theatre as an alternative to classical kabuki, but
he was also interested in researching ways in which the tradition could be
rediscovered and revived. One of his first initiatives staged at the Masago
Theatre was a series of plays under the collective title "Research Plays on
Chikamatsu."
Ogai too felt the difficulty in departing from the kabuki tradition.
was Miki Takeji and Ii Yoho who asked him to write his first play; Ii Y6
had asked for an adaptation of Faust, but Ogai preferred to concentrate
a reworking of the story of Urashima Taro, a popular legend that h
appeared in different versions throughout the history of Japanese liter
ture. Referring to this work, Tamakushige futari Urashima (The Two
Urashimas of the Jewel Box), published in 1902 in the magazine Kabuki,
Ogai writes: "I wrote my play however so that Urashima would change
into an old man in front of the audience, thus using to good effect one of
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OSANAI KAORU AND shingeki 217
In the main, Western drama, when compared to our own, places more
emphasis on speech. The actors endeavor to let the audience hear the words
clearly and to adopt facial expressions which are suitable for those words.
For them this matter of expression is what is meant by acting. In some
kinds of plays rough action such as killing and fighting, or even the acts of
embracing and kissing, amounts to a mere crook of the finger. Apart
from that, it is just a matter of two or three characters coming onto the
stage, saying their lines and then walking off. The audience reacts by lis-
tening to the words and appreciating the meaning; this is what criticism
of the play is based on. The audience sees whether the delivery of the
lines and the expression that accompanies them fit the respective charac-
ters or not. This is the basis of theatre criticism. To stage Urashima was a
very courageous act because up to now there has been nothing like it to
speak of. Even though plays by Shakespeare and others have been
adapted and staged two or three times, I can hardly believe that the real
face of these plays was seen at all. Usually it is the plot which is attrac-
tively staged and followed through in these versions, but the plot is not in
fact all that important. In the performance of Urashima it is worth remem-
bering that when the actors tried hard to enunciate clearly to the audience they
were doing something quite unprecedented. Because the audience did
not know how to listen to the actors, some of these lines were cut as the
actors feared they might be criticized. I think that they succeeded in giv-
ing shape to Urashima's dream tale and in making it interesting. Fur-
thermore to give it shape and let the audience hear the words uncon-
sciously was a step forward in the development of drama, be it ever so
makeshift. [Bowring 1979, 160-161; italics added]
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218 Ottaviani
into a modern
Japanese theat
During the e
reached Japan
incisive role in
in Europe. Men of the theatre like Meyerhold, Artaud, Copeau, and
Brecht (see Pronko 1967; Fisher-Lichte and others 1990; Savarese 1992)
gleaned, from their occasional encounters with the theatre of Asian coun-
tries, stimuli and suggestions with which from time to time they con-
firmed their own idea of theatre. In the example just considered, the sim-
plified image of the Western actor seems to be grafted onto a theatrical
mechanism still linked to the traditional one with the aim of urging the
deconstruction of its codes. Ogai's words reveal the attrition that was
created by adopting a different acting model as well as the uneasiness of a
theatrical communication which, in the name of that model, was repu-
diating traditional references such as vocalism and its rhythms. The
actors' efforts to deliver their lines contradicted the attention and percep-
tion required by a context that could still in many respects be identified
with kabuki. Not only the actors but also the audience found themselves in
difficulties because they "didn't know how to listen."
Since the 1870s a process of deconstruction had been taking place
which had affected kabuki from within-I am referring to the reform
desired by the Engeki Kairy6kai and to the work of Ichikawa Danjuro IX
-without, however, achieving an in-depth transformation. On the con-
trary, the experiments carried out during the early years of this century
outside the kabuki theatre opened the road to that more radical position
which confronted the "new" with the traditional heritage without deny-
ing its importance-a position Osanai was to adopt.
Between 1904 and 1906 Osanai staged plays by both Western and
Japanese authors at the Masago Theatre and was a critic for the maga-
zines Teikoku Bungaku (Imperial Literature) and Kabuki. When he gradu-
ated from the University of Tokyo in 1906, the cultural climate was ani-
mated by what novelist Junichir6 Tanizaki termed "the tyranny of
naturalism." Janet Walker has described the importance this current
acquired in intellectual circles:
Because of the wide gap between the Western-educated elite and the
masses, Japanese intellectuals around the turn of the twentieth century
lacked a clear identity. . . . Naturalism, which emerged just after 1900,
was the philosophical and literary movement that sketched out a modern
way of looking at things that, when adhered to or believed in, became a
basis for their identity in the chaotic and uncertain period between 1900
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OSANAI KAORU AND shingeki 219
We discussed Ghosts, The Wild Duck, Little Eyolf and two or three othe
works. . . . The discussion grew heated when it came to The Wild Duck.
We argued whether it was a good thing to come out openly with what one
had to say, and whether it was good or bad to disrupt a quiet life of com-
promise. "I just don't know where Ibsen's sympathies lie in this work"
said Y. [Yanagita Kunio]. "It does seem at this point as if he was aware of
something very wrong." We also argued heatedly about new ideology.
Everyone gave their own personal views, and it was very informative as
we had all studied various magazines and critical works and often came
up with very useful material. 0. [Osanai] was particularly informed on
drama, and brought lots of photographs of western actors playing roles
from Ibsen's works. [Katai 1987, 228-229]
The discussion of the new European drama, its themes and forms,
was a decisive factor in the emergence of the Jiyfi Gekij6, though not the
only one: two other circumstances urged Osanai to promote this initia-
tive. The first was the interest aroused by Andre Antoine's proposal of the
Theatre Libre: a theatre supported by an association, free from the mech-
anisms of commercial theatre and hence free to conduct its own research
and adopt a new form of dramatic art. The second was Ichikawa Sadanji
II's return from his trip to Europe in 1908: he had left in 1906 encouraged
and assisted by critic and playwright Matsue Sh6y6, who was already in
Paris at the time. Sadanji was the first kabuki actor to go to Europe, and it
was his direct experience of Paris, London, and Berlin theatres that drove
him to expose his own traditional training to the risk of the contradictions
inherent in the experiments of the new theatre. Sadanji's enthusiasm for
this new trend is expressed in the dialogue between him and Osanai
published in the magazine Kabuki in 1910 (Osanai 1964, I: 257-264),
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220 Ottaviani
which also contains many reflections on what he had seen and experi-
enced in Europe. Osanai and Sadanji had been friends since childhood,
but until 1906 Sadanji, who had been director of the Meijiza (Meiji The-
atre) since 1904, had remained in the kabuki theatre, faithful to the inher-
itance and popularity left to him by his father Sadanji I (1842-1904).
Osanai's choice of kabuki actors for the Jiyui Gekij6 performances
(a choice that is generally contrasted with that of Tsubouchi Sh6y6, who
preferred to work with amateurs) seems to be the fruit of a conviction to
which he was to remain faithful in the years that followed: even in 1921
(Osanai 1964, II: 87-90) he insisted that precisely those who possessed a
long-established, complete artistic heritage like that offered by the kabuki
tradition could make a serious contribution to the new theatre, provided
they did not consider this an easy opportunity justified by its novelty and
did not demand to turn into amateurs overnight.
Gerhart Hauptmann's Before the Dawn had been chosen as the Jiyuf
Gekij6's first production, but after some problems with the censor,
Toson's choice of John Gabriel Borkman prevailed. Ogai finished the
translation in May 1909, and the play was staged the following November
at the Yfrakuza (Yuraku Theatre). This play's repercussions in the intel-
lectual and literary world arose because Ibsen had raised many expecta-
tions. Historian Kawatake Shigetoshi writes: "We were enthralled simply
by the fact that Ibsen was for the first time being transplanted into a Japa-
nese theatre, and felt fanatical about seeing it three-dimensionally on
stage" (Horie-Webber 1975, 284).
For Osanai, however, resorting to this kind of drama meant facing
a radical difference which also entailed an in-depth reconsideration of the
Japanese actor's craft. In referring to Lonely Lives, the Hauptmann play
that Tayama Katai and Toson himself particularly loved, he writes:
It is a play that is not a play, in the sense that there are no conditions for
acting. From this point of view even Ibsen's plays offer the actors the pos-
sibility of acting, or of using a little emphasis. On the contrary, to stage
Lonely Lives ideally one would always need to act in a low voice with mea-
sured movements. [J. T.] Grein says that all the movements should
appear as though they were seen through tears. But to achieve this one
would need really good actors; otherwise the spectator, if he were not
gifted with an exceptional capacity for artistic participation, would
become bored. We, on the contrary, since we know the techniques of our
art well, are inclined to use heavy brushstrokes, to a certain extent, at
some points. [Osanai 1964, I: 136]
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OSANAI KAORU AND shingeki 221
Even though naturalism in Japan soon acquired its own forms and
merged with romantic and individualistic parameters, I believe it was the
cultural paradigm that most conditioned the research of the new Japanese
theatre-the one that demanded more radical confrontations with the
Japanese actor's traditional culture. Although it had a very brief s
as may be seen from the plays by Japanese authors staged by the
Gekij6 (see Ottaviani 1990, 81), its effect on the new theatre extended
beyond experimenting with a new style or discovering a new dramatic
form. The questions it raised with regard to the Japanese actor's craft and
theatrical experience as a whole evidenced the results of the work of
deconstruction that had already been applied to the techniques of tradi-
tional acting for many years.
Among the reactions triggered by Sadanji's acting, Komiya Toyo-
taka's criticism of his interpretation of the protagonist of Lonely Lives
(1911) touched on a pivotal problem: the search for "naturalness" was
translated into a monotonous and uniform acting style, while the desire to
reveal the character's deepest emotions was translated into a continual
and excessive tension (Sugai 1964, 496). Sadanji had consented, though
with many misgivings, to expose himself to the contradictions which were
emerging between the long-established foundations of kabuki acting and
the more radical features of the proposal of naturalism that Osanai him-
self had captured in that very play. Naturalness imposed itself as the most
ambiguous and controversial goal of the theatre of that period, but at least
for Osanai it was not a generic aspiration.
In an article published in 1921 ("Sadanji no tame no joyui yosei ni
tsuite, Mani awase," On Training Actresses for Sadanji-Emergency
Solutions; Osanai 1964, II: 12-13), Osanai insists on the importance of
"naturalness" and "normality" in acting. For him the voice is the actor's
main instrument to give expression to the content of the text, even with-
out resorting to gestures. Vocal expression is the most important thing to
concentrate on, he says, but it must not lead to excessive tonal tension.
Osanai believed that an actor's training should not be limited to
learning one acting style. In the article just cited, referring to his contri-
bution to a brief experiment in training actresses promoted by Sadanji,
Osanai states that he considers the training of the consciousness and
authenticity of the "individual" actor to be more important than acting
technique. In the 1906 article he had already posed himself this kind of
problem, and on that occasion he had spoken of the actor's need to have
spiritual training and the capacity to involve the mind and spirit of the
audience. In the contemporary reality of the new theatre he felt the need
to achieve a new ethical view of the actor's craft. This meant abandoning
certain superficial attitudes that were widespread at the time, such as, for
instance, giving too much importance to external elements, concentrating
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222 Ottaviani
Does there perhaps exist in the world a theatre as complex as kabuki? For
the kabuki actor who has assimilated this form of "histrionic art" [sic]
nothing is impossible. He is master of all the artistic elements of which
the theatre is composed: dance, acted dance, jJruri, an art that emerged
from the puppet theatre, performing historical and dramatic subjects,
and performing everyday and realistic subjects. . . . [Osanai 1964, II:
87-88]
At the same time, the objectivity with which he regarded the pres-
ence of kabuki in contemporary life allowed him to describe the position
the new theatre was to occupy in the future in relation to the tradition. In
"Kyufigeki no mikata" (How to Consider Traditional Theatre; Osanai
1964, IV: 312-314) he deals with one of the most complex issues in Japa-
nese theatre: the difficulty his contemporaries, particularly the younger
generations, have in fully appreciating kabuki and recognizing its total sig-
nificance, as well as the difficulty of abandoning it as an outmoded form.
To expound the problem Osanai applies a parameter of analysis
we would describe today as the etic/emic opposition. He says that in order
to fully appreciate kabuki one must consider it from the inside by entering
into its language and its means, that is, all its richness and specificity. But
this would mean devoting a great deal of time and effort to acquiring the
knowledge that the contemporary audience does not possess. One could,
then, consider it from the outside, leaving aside the details, as a Western
spectator would do,5 but in this case it would be impossible to appreciate
it fully. Moreover, Osanai continues, one should adopt a detached atti-
tude which the Japanese audience ("we, Japanese men of the city,"
p. 313) would not be capable of doing. At the end of the essay, in refer-
ring to the major Japanese critics (Mori Ogai, Nagai Kafui, Tsubouchi
Sh6y6, Kinoshita Mokutar6, Komiya Toyotaka), Osanai notes how,
despite their differences of opinion, they all express a "sincere passion"
for kabuki.
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OSANAI KAORU AND shingeki 223
The future Japanese plays for which we are waiting and hoping must
contain problems beyond the scope of kabuki and shinpa. I For the sake of
these future plays we must develop our new dramatic art. / Let kabuki
tradition remain kabuki tradition. / Let shinpa tradition remain shinpa tra-
dition. / Let the inheritors of their tradition remain such. / The mission
of Tsukiji Sh6gekij6 lies completely apart from these traditions. / In this
sense we shall never neglect the study of kabuki or investigation of shinpa.
[Powell 1975, 76]
The new acting style inspired by naturalism, the need for a new ethics in
the theatre, the difficulty in setting the new theatre in correct confronta-
tion with the traditional theatrical heritage-these are merely some of the
aspects that indicate the problematic nature of Osanai's aspiration toward
"difference."
Yet there was another radical problem that had to be dealt with:
the new role attributed to the playwright. For the reformers of the first
Meiji period, improving the theatre and adapting it to modern Japan
meant first and foremost making the author of the text responsible for the
content of the performance. This meant creating a gap between text and
performance which had never been so pronounced in Japanese tradition.
The major consequence of this new role was the end of the "craft group"
that traditionally worked together to create the performance and als
included the sakusha-the writers, or, to be more exact, those whose task it
was to compile the actors' lines in a written text. At the same time there
was a need for a new dramaturgy and the stage was given the responsibil-
ity of interpreting the content of a text written far from the theatre itself
The new theatre tried to bridge this gap by adopting the poetics, styles,
texts, and kind of direction used in the Western world.
One of the most surprising features of the theatre at the beginning
of the century was the desire (even eagerness) to experiment with every-
thing that was different and new. Although this attitude gave rise to
great deal of perplexity over the quality of these initiatives, its significanc
emerges if we relate it to the "anthropological" level of theatrical experi-
ments during those years.
Some of Osanai's statements, published in the August 1924 issue
of the magazine Engeki Shincho (New Theatrical Currents) as part of the
debate that accompanied the opening of the Tsukiji Sh6gekij6, reveal the
aim and significance he attributed to the work of the theatre:
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224 Ottaviani
Tsukiji Sh6gekij6 exists for the future. / For future playwrights, for
future directors, for future actors-for future Japanese drama / . . . It is
not for us that it exists. / It exists for those who come after us. If it does
exist for us, it is not us as we are now but as we shall be in the future.
[Powell 1975, 75-76]
Osanai (in the workshop for the theatre of the future) intended the
individual performances to count as testimonies of this exercise. This
view certainly generated many misunderstandings among his contem-
poraries, as is evident from the reactions of the scholars, artists, and
intellectuals who followed his work. This ambiguity created diffi-
culties for the historian, as well, but it had its own precise importance
since it insisted on taking into account the desire and need, especially
expressed by Osanai, to use the time of the theatre "to know" and "to
know oneself."
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OSANAI KAORU AND shingeki 225
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226 Ottaviani
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OSANAI KAORU AND shingeki 227
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228 Ottaviani
NOTES
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OSANAI KAORU AND shingeki 229
yet again to be particularly well informed about what was being published in Eu-
rope. In referring to the reactions of European critics to Sada Yakko's acting (dur-
ing a tour organized by her husband Kawakami Otojir6), for example, he quotes,
among others, Alfred Kerr, Herman Bahr, Luigi Rasi, and Arthur Symons.
6. I am referring to Victor Turner's reading of the stages of the "rite of
passage" distinguished and analyzed by Van Gennep.
7. See the photographs published in Osanai (1964, I) and Tanaka (1964).
REFERENCES
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230 Ottaviani
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