Kuchibiru Association Workshop
“Experience children's theater!”‍

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dates‍

2023/12/27 (Wed) 13:00-16:00

venues‍

Yamabuki Factory
Hakuryu Building 3rd Floor, 341-4 Yamabuki-cho, Shinjuku-ku, Tokyo 162-0801

Facilitators‍

Yamamoto Taka (representative of Kuchibiru Kaikai/ screenplay/director)

Assistants‍

Kitazawa Saeko, Tachibana Karin, Nagata Ryoka

What is the summaryHere

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If you only look at the title, it's easy to misunderstand that it's a workshop for children, but this project is a workshop for doing “children's drama.” The content is appearing at people who are appearing in “Children's Drama.”

When they were ready to welcome the venue, and they had built enough to be called a “set” (paper stand, panels for back streets, etc.). The Three Actresses Who Are Assisting Are People Who Have Already Worked on Children's Plays with Yamamoto Many Times. Not only did they support Yamamoto's progress this time, but they also shared specific experiences and advice to the suggestions, and discussed a short scene at the end. I HAVE THE IMPRESSION THAT THEY HAVE BEEN A SOLID “TEAM” RIGHT FROM THE START.

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Now, when it was time to start, Mr. Yamamoto first thought himself, and then the last thing happened. Of course, there are many people who are appearing in “children's dramas,” but I had the impressions that there are more people who are already involved in “children's drama” or are they childcare than I had learned, and rather than learning from scratch, there are many people who are involved for the purpose of further suffering their insight after knowing the Incursions for children.

Since 2019, Kuchibiru Kai has been developing content called “Paper Oshiboai” (the background of the scene is used as a picture, scene changes are changed by changing the picture one after Another like a picture-story show, and actors perform in front of it), and they have a track record of appearing so far. Even if you say “child” in one word, the premise of changes caused due to age and environment, and the Kuchibiru Association “suffering” each time, “accumulative” data, and as a result of adding “refinements” and “refinements” to the work, it is said that it has the current form.

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After sharing the Purpose of the Project, all suggestions read a book with a script for “Paper Okishibai.” It's a story where the Tanuki siblings appear as the main characters, and since one more person is needed to play various roles, the script is for a total of 3 people. Read this in order to make matters understand the overall structure of the play. While reading the book, Yamamoto-san explains about key points when writing a play, and also explains that there are various gimmicks to attract children's interest. It's a workshop where discussions tend to get off the rails and expand, but the assistant team keeps up the overall time, and I feel that teamwork is good here as well.

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Next, The Struggles Are Concerned with 2 People, Read Scene 7 Together, and Even Practice Standing Attacks. Scene 7 is a scene where there are only 2 raccoon dog siblings, and they get into a childish argument. How each team will perform this will be ordered in the performance style, and Mr. Yamamoto will give solid feedback. Since the scene was created in a short time, it is natural that there are differences, but I had the impression that Yamamoto's feedback was mostly in the area of “directing,” and he was Looking for a more multi-layered performance rather than being superficial “eating at children.” For example, “It's a scene in the middle of the city, so there must be a lot of people around the siblings. It was a process of adding detailed explanations similar to directing a normal play, such as “Let's do it while considering a little bit about it,” or “My younger brother isn't just being a selfie,” and it's okay to have slightly inappropriate parts to bring out conditions brought to him by shouting.”

Actually, Yamamoto-san also said about this in the first half, and he said that it's different to use the expression “for children” just because the other person is a child. Even children respond properly to what “really” “happened” there. That's why it was important for actors to show their “truth” on stage. In terms of suffering on the play by suffering “real” emotions, the same is true for playing at adults. In other words, in this workshop, they went further into the role and played me how to perform a performance that made me feel “true.”

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Of course, there is also a technical part that is only because the target audience is a child. The Assistant Team embodied this during the Final Mini performance. For example, if a child is around 0 to 2 years old, they may cry just by making a loud voice, so set an upper limit for loud voices and explain it before the performance. When I felt like the play from the previous story, it seemed like something possessed, and children were scared, so there was a lot of very much suffering that could only be suggestions from experience, such as things that it would be good to slide

What was suggested to me was the first act in the scene where a wild dog came along the way. Since the little dog's younger brother is being chased, a dog doll that is actually pretty scary comes out. I thought at it and thought, “Aren't Kids Really Scared?” In response to the question, it actually seems that “that's fine.” It's also an experience to scare them, so the first thing to do is just make it a scary scene. However, when the older brother comes there to help, they say that by making the children feel secure, the older brother's strength and coolness are conveyed. Instead of weakening the expression of scary scenes, you can get deeper into the world of the story by supposing the expression of safe scenes. Yamamoto-san feels me that a theatrical experience is to let people experience a rollercoaster of emotions, from “fear” to “peace of mind.” Furious, since it came to be believed that the children gathered to participate for about 25 minutes, there were many parts of the story that were structurally “kiddies” other More than acting, such as slightly different and flashy scene changes around there.

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There were many suggestions, and I think it was a very good workshop for the discussions. By sharing this discussion with many theater companies, more children can experience theater, so it was 3 hours where I felt that I could create even more horizontal connections and expand This activity.

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Report: Fukunaga Mitsuhiro