'Kyys Djebeliye'
International Premier in Saitama, Japan
March, 2005
Yakutia has introduced its national Olonkho theatre to the Japanese audience on one of the most famous stages of Japan . I succeded to be one of the spectators. Now I feel quite certain about three facts. The first one: the culture of Yakutia is incredibly rich, we can be proud of it, and ought to introduce it to other cultures. Second, Andrey Savvich Borisov is inimitable. He can demonstrate his directing talent on any stage of the world. And, finally, I got convinced of Japanese spectator being modest.
So, international premier of the Olonkho theatre took place Saitama prefecture, not far from Tokyo . It was the first time the Yakut epos was demonstrated abroad. According to the responses of the spectators, the premiere was successful.
Let us list the organizers. The Government the Sakha Republic (Yakutia) - the initiator, the Ministry of Culture of Japan rendered support, assistance - the Euroasian Club (personally Mr. Re Ono), the Japanese Association of Khomus (Mr. Leo Tadagava) and the Japanese committee on the organization of Yakutia's participation in EXPO - 2005 . The premiere was a part of the program of Yakutia's Ministry of Culture delegation in the international exhibition EXPO - 2005 .
First, there was a word.
Some Japanese friends asked: "What is Olonkho ? " Frankly, it was difficult to explain in words. What I told them was: " Wait for the performance! It is better to see once, than to hear hundred times! " And then I added: "Believe me, our national theatre is as original as your Kabuki theatre ".
The Japanese producers did not use dodges like this. They have tried to provide the local public with the necessary information beforehand - by means of mass media. The performance of Yakut epos was promoted by rather respectable sources, for instance, the newspaper Asakhi Shimbun and NHK Broadcasting Company. Cognitive notes and teleplots served as some kind of advertising. In addition, high quality illustrated booklets for the spectators, colourful posters and stickers were issued.
However, I couldn't help interviewing the Japanese woman who, most likely, has passed all the stages of "psychological" preparation for viewing olonkho: "What are you expecting to see? " She answered: "Probably something similar to the international festival Great Silk Way , in which peoples of Eastern and Central Asia are involved”. Whatever one may do, but in their opinion our theatre was similar to folklore. Perhaps, but in our case there is some highlight.
Before and after
It is not necessary to retell a plot of Olonkho Kyys Debilie to people in Yakutia. This play is well-khown in our republic. Its republic primier, as far as I know, took place three years ago. It created a furore as a daring interpretation of the epos, and then at All-Russia festival Gold Mask it received a special prize from journalists as an effective, original show.
I think Andrey Savvich Borisov's creation was really appreciated in Sajtama prefecture. Compare: in Yakutsk , the audience paid attention to the way the epos was theatrically embodied; in European part of Russia - on how northern people tried to express itself. And the Japanese, perhaps, received the true idea of Olonkho. They discovered Olonkho theatre as a part of the International culture.
- It was a bit scary for us to show Olonkho in Japan , - the honored artist of the republic Kiril Semenov told afterwards. – We had doubts whether the Japanese will understand us, whether they will appreciate our art. The Japanese are aesthetic and versed people. They have a stable access to both national and international masterpieces. Besides, they have a rich theatrical history. We came out on the stage with such thoughts. That is why the actors played in some other way. And they tried to do their best... During the performance it was impossible to define whether the audience liked the show or no. They didn't show any reaction. Probably it is true that they are constrained spectators who are not used to applause much. But after the final stage there wasn't doubt anymore: the play had a success”.
Indeed, right after last phrases and chords, quiet Japanese spectators (there was more than six hundred of them) demonstrated their positive feelings. And when as a bonus, honored artists of the republic Klavdiya and Herman Khatylaevs showed their magnificent khomus playing, and Gulun ensemble - inflammatory dances of peoples of the North, I have understood, what the true Japanese delight was like. No, there was no explosion of emotions and burst of deafening applause. They applauded long and sincerely. Not loudly, but with honour. Someone even clapped his hands standing, and someone tried to scan: "Bravo! "
After the performance the acquainted with culture of Yakutia did not hurry to their homes. Having gathered in a hall, they shared impressions. There were journalists, ethnographers, art workers, and teachers among them... Listening to them, I drew the following conclusion: actors of Sakha Theatre should not worry that much. Olonkho is a unique cultural phenomenon. It consists of purely one-of-its-kind elements. Unusual to hearing guttural singing which is used instead of speech. Vivid, inimitable ethnic music: sometimes mystical and frightening, sometimes romantic and beautiful. Colourful national suits which owing to the abundance of furs and shine of ornaments look rich and striking. Finally, figurativeness of language. By the way, linguist Jamasita Munehisa who made the translation of the play from Yakut to the Japanese language, noted: " What I like in the language of Olonkho is its figurativeness, which, at the same time, made my translation a difficult task". The Yakut actors, whose Asian appearance reminded of Japanese had a complete different manner of acting. Scenic attributes, such as tethering rails, chorons, booths, cords with ribbons, appeared to be very interesting for the Japanese... Exotic is attracting!
As for the plot, it was extremely clear. There are the antagonists (knaves from the Bottom World) and protagonists (inhabitants of the Middle World), heroes (bootur and the woman-warrior) and judges (gods from the Upper World). The person and his desire of changing, love and being loved. In a word, the universal constants and director's finds of Andrey Borisov were the pledge of the play's success.
- The plot somehow reminded me of popular film "Princess Mononoke" which is based on Japanese myths, - Miuki Nagai shares her impressions. - At will of a case, our heroine finds herself in a wood where a spiteful wolf educates her. Soon the princess becomes the reason of war between wood inhabitants and people. The God was the only one who could stop bloodshed. Though in the beginning he did not want to help people. Why? They are selfish and arrogant.
Behind the scenes
If only spectators knew how uneasy it was to set Olonkho Kyys Debilie at the Theatre of Arts in Sajtama prefecture.
Oh, the theatre itself is ideal. It is equipped with the most up-to-date technics. It is supplied with computer light control system: it controls – just imagine - 538 spotlights. Depth of the stage is 18 meters. There are more than dozen lifts. With such opportunities, any director's idea can come to life.
- Andrey Savvich paid big attention to light from the very beginning - tells the honourable actress of republic, Isabella Nikolaeva. - With its help, he aims to create the atmosphere of outer space. And he managed to. Japanese are true experts of light and shadow beauty... I also liked their attitude to a theatrical stage. They treat it as a sacred place, and nobody steps it just for fun. The theatre staff was extremely attentive to the actors. Once I began to change in darkness behind scenes. Theatre workers immediately helped by bringing a lamp and a mirror.
What I would like to add is that our actors didn't feel any discomfort. Each actor had place in the make-up room. They were fed in time. They could always find hot tea and coffee on a table. There was a special room for smokers. A lot of translators. There was a monitor in each room on which it was possible to observe what was going on on the stage, in the hall, and in the street .
Difficulties
There were some difficulties. The first one - duration of the performance was reduced from three hours to one and a half. The second - because of economy of means only leading parts perfomers came to Japan , including national actress of the Sakha Republic (Yakutia), Stepanida Borisova. Minor and incidental parts were performed by students of the Arctic State Institute of Culture and Arts, guys from Gulun , the Khatylaevs, some officials from Ministry of Culture (all above-stated were called to act in Days of Yakutia in EXPO - 2005 ). The director had to hold original masters-classes. The third problem: the preparation of new cast lasted only two days.
Written by Bolot Bochkarev
Resource: GazetaYakutia.Ru
Translated by a YSU student, Translation Department. |
