Bando Tamasaburo (Living National Treasure, Kabuki Actor) 'Talk and Suodori' - Official Interview Report Arrives!

Beginning in the summer of 2021, 'Bando Tamasaburo: Talk and Suodori' is now entering its fifth year. Having toured venues all over the country, the number of performances has exceeded 40. Despite its simple structure—featuring talks mixed with video presentations, a Q&A corner with the audience, and 'Suodori' (dancing without stage costumes)—it has gained great popularity for allowing audiences to fully enjoy Tamasaburo's true face and his exquisite art. It has been decided that this highly popular performance will be held in various locations in July and November. Ahead of these performances, we asked Tamasaburo to share his thoughts on the show.

The Importance of People Meeting Face-to-Face

This performance began in July 2021, when the impact of the COVID-19 pandemic still lingered. Looking at the full audience back then, Tamasaburo said he 'felt anew the importance of people actually meeting face-to-face in a theater.' Now in its fifth year, its popularity continues to soar, to the point where emergency additional performances were held at some venues during the tour from February to March of this year.

'I never thought it would last this long. I am truly delighted that so many people attend every time. However, as we approach 40 performances, we have repeat visitors, so I always agonize over what to talk about. I want to keep the topics from overlapping as much as possible. I sometimes decide based on the atmosphere of the venue, but it is tough because I am not a professional storyteller (rakugoka) (laughs).'

His topics range widely from his daily life and beautiful travel footage to social themes. As he humorously talks about his daily routine, like the temperature of his bath, the ingredients in his miso soup, and his meticulous attention to food, it feels as if you are sitting at the same table with Tamasaburo while remaining in the audience seats.

'In today's era, we seem connected by the internet and mobile phones, but I think meeting people directly is ultimately the most important thing. I myself speak with the feeling of facing each and every one of you.'

While precious stories about his art are revealed in the Q&A corner, there is also a surprising amount of life advice sought.

'There are those who are truant from school, or a 60-year-old worrying about whether they should quit their job due to their age. Because these are heavy topics, I answer with care, but I make sure to speak my mind clearly. Just because you turned 60 doesn't mean you should quit. I want them to live looking forward to the people they will meet from now on. It is a difficult era to say things to others, but if I am consulted, I believe I must answer sincerely.'

His earnest words resonate with many in the audience. The warm atmosphere, with a hint of a handmade feel, is another charm of this performance.

'There are many stage productions utilizing the latest technology nowadays, but my belief is that humans should perform without using such things as much as possible. So that the soul of the creators can be conveyed. I keep this in mind even when creating new Kabuki plays.'

When he held a costume exhibition last year, he revealed that some items originally made using a sewing machine were entirely remade by hand embroidery. Showing a playful side, he said, 'I wouldn't want people to be disappointed and say, "Oh, it's just machine-sewn,"' but then stated firmly, 'Because I don't want to do anything I would be ashamed of.'

Jiuta-mai like the Sound of Raindrops

'Zangetsu' (The Waning Moon), performed as a Suodori, involves no stage costumes or makeup. However, in connection to the moon, he prepared a white kimono and a hakama with a dew-on-grass (tsuyushiba) pattern.

'Originally, Kabuki actors are supposed to perform with makeup, costumes, and wigs, so I was anxious at first. I wondered if the audience might be expecting something glamorous. Without anything to dress up in, my unadorned self is visible, which presents a different kind of difficulty. But surprisingly, the audience enjoyed it, so I felt this form was fine.'

When appearing in Kabuki, he says he starts preparing makeup an hour and a half beforehand, gradually getting into character. But what about Suodori?

'I stand on stage three to five minutes before the curtain rises, and I suppose my mind becomes one with the role during that time. But honestly, having stood on stage since I was young, I don't even know when I slip into a role anymore (laughs).'

When asked if dancing in his natural state is restrictive or liberating, he answered instantly: 'It is liberating. It means ideas become free. I believe the audience's thoughts can also fly to free places. For that, the music is crucial. "Zangetsu" is a highly dignified, refreshing masterpiece, and the poetry is wonderful, too.'

The piece was composed by Minezaki Koto. It was created to mourn the early death of his disciple's daughter. Watching Tamasaburo dance to that beautiful melody, a moonlight seems to emerge, illuminating the transience of life. One naturally wants to know the secret of that expression, but—

'I express it with a heart akin to deeply reading a Waka poem, but because it is sensory, I cannot put it into words. However, I cherish the impression I get when looking at the moon at night. The objectivity as a storyteller "mourning a deceased person" is also important.'

Through the storyteller, the audience is invited into an infinite universe.

'Humans cannot live ignoring the universe.'