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vol.

012

MARCH
2016

vol.012 / Special

Unseeing eyes

Sari Hayashiguchi|Shiho Fukuhara|Kenji Kai|Hisashi Kitano|Kunihiko Morinaga|Norimizu Ameya|Nao Tsuda

Bees and cabbage white butterflies can see ultraviolet rays; pit vipers can see infrared rays.
If we had an eye transplant from another organism, we would probably live in an entirely different world.Apparently by sensing things we cannot see, we can sometimes visualize them.
The outer space, life, distance, consciousness, words, time: six people turned their eyes towards these.
We’re talking about seeing the unseen world.

Sari HayashiguchiShiho FukuharaKenji Kai/Hisashi KitanoKunihiko MorinagaNorimizu AmeyaNao Tsuda


Words

People perceive the world through words

Norimizu Ameya

This is a passage from the play Blue Tarp which Ameya staged in collaboration with some Fukushima high-school students. Memories of the Great East Japan Earthquake and the daily life that followed emerge from repeated conversations and monologues of ten high school students. The play won the 58th Kishida Kunio Drama Award.

A play is not something you experience in text form; it reaches the audience only when somebody speaks. What you might call the onstage “extraction” through a person’s voice of words “compressed” at the script stage. So when I write your lines, I consider whether they are words you might want to say aloud, to extract.

When I think about verbal originality, sometimes I feel there’s no such thing as unique words. If you point at a cup and pronounce it “cuk”, you won’t be understood. Language has rules, and we understand it precisely because they are shared. Language must be essentially ordinary.

I’m not very good at talking, and I always thought words were my weak point. But maybe that’s not the case. When I look at a dog and recognize it as a dog, I’m already using, classifying and sorting the word “dog”. There is always more variety, but unless you classify it in words as a “thin”, “old” or “brown” dog etc., you won’t recognize it as such. Even something vague and abstract from the world around you can only be substantiated, expressed, with words. So in every setting whether in work or daily life, I think I’m deeply reliant on words.

When you think about it, putting something into words might be rendering everything very trivial. For example, we can call a dog a dog because they’re everywhere. But that dog is just one dog. And we all know the meaning of the word “love” — and undoubtedly don’t know it either. It may be that we can communicate it in words when we understand the meaning, and also go on saying the word when we don’t understand the meaning.

Words are very two-sided, incomplete and mysterious things. What you might call the “commonness” and “uniqueness” a work of art can have is just like that, i.e. contradiction itself.

  • Norimizu Ameya

    Stage director and playwright born in 1961. After joining Juro Kara’s “Jokyo Gekijo”, he formed “Tokyo Grand Guignol” in 1983. Since then he has been active in different areas such as contemporary art, the pet shop business and performing.

Editing & Written by Rina Hirabayashi / Playce
Translation: Office Miyazaki, Inc.