|







| |
|
Kaiki Shoku (Eclipse)
June 2 – 12, 2005
Theatre Off Jackson
Seattle, Washington
|
|
 |
Kaiki Shoku (Eclipse)
is a multi-media performance work based on the story of
Suga Kanno (1881-1911), the first female political prisoner
executed by Japan in its modern history. Kanno, a journalist, feminist and
anarchist, was a passionate advocate for the rights of women and the poor in
a very circumscribed society. She became a key figure in the Great Treason
Incident of 1910 in which the Japanese government rounded up political
dissidents and put them on mass trail for plotting to assassinate the Meiji
Emperor. The only woman among the dozens accused, Kanno remained
unrepentant and defiant to the end, becoming a controversial, misrepresented
and marginalized figure. The piece is based primarily on the only surviving
fragment of Kanno's prison journal which covers the last week of her life.
In it she discussed not only her trial and beliefs, but also her regrets,
hopes and dreams. Along with information gleaned from other sources, both
pro and con, the piece depicts the journey of an ordinary woman who followed
an extraordinary path. |
|
Combining dance, theatre, film, and
live music, Kaiki Shoku contrasts dreamy mythology with harsh reality
as the turbulent milieu of the Meiji era (1868-1912) is interwoven with the legend of Amaterasu, the sun goddess believed to have created Japan (and claimed by
Emperors as a direct ancestor). Drawing on a variety of influences,
including Japanese performance styles ranging from ancient rituals of the
miko (female shamans) to the modern expressionism of butoh, the
piece mirrors how Japan phased from an ancient matriarchal society to a
turn-of-the-century monarchy/bureaucracy where women were kept from power by
law. Kaiki Shoku (Eclipse) is the second in a quartet of performance
works by AJE focusing on Asian women marginalized by history and society.
|

|
|
Suga Kanno
(1881-1911) was a journalist and radical activist who
became the first female political prisoner to be executed in Japan's modern
history – for plotting to assassinate the Emperor. By all accounts she had
a difficult life as poverty, illness, violence, isolation, and the general
lack of opportunities for women shadowed her. However, rather than give up,
she resisted and struggled to survive. Her story reveals a searching mind
and restless spirit. She became infamous in her time for being the only
woman, and chief instigator, among the defendants in what became known as
the Great Treason Incident trial. Until recent years her story and image
have been defined by her relationships with better known men. Although she
has been dismissed as an aberration, she was very much a woman of her time –
the Meiji era – a time of great social, political, and cultural change as
Japan began to take its place in the wider world.
In Japanese mythology, the most
important deity is the sun goddess Ameterasu, the most beautiful and
radiant being who fills the darkest air with light and brilliance. Some of
the best known tales involve Ameterasu and her rivalry with her brothers
Tsukiyomi, the coolly radiant moon god, and Susano-o, the
impetuous storm god. In one story, Tsukiyomi killed a goddess sent by
Ameterasu to feed the people. From then on, Ameterasu refused to look at
her brother, and so the sun and moon became separated by night and day. In
the most famous tale, Ameterasu was involved in an altercation with Susano-o,
who in a jealous fury destroyed much of Ameterasu's domain. In anger
Ameterasu shut herself away in a cave, cutting off sunlight to the world.
In an effort to lure her out, the other gods sent Uzume, the goddess
of mirth, who tried coaxing her out with jokes and wild dancing. Curious,
Ameterasu emerged, and the world became bright and warm again, and life
returned to it
|
|
Production |
|
|
William Satake Blauvelt |
Writer, Director, Producer |
|
Yoko Murao |
Choreographer |
|
Mark Baratta |
Lighting Design |
|
Esther Sugai |
Musical Director |
|
Susie Kozawa |
Sound Design |
|
Kikuko Dewa |
Costume Design |
|
Naho Shioya |
Dramaturg |
|
John D. Pai |
Set Design |
|
Rachel Rene |
Stage Manager |
|
Frank Phillips |
Tech Operator |
|
Anna Curtiss |
Assistant Stage Manager |
|
Christian Swenson |
Fight Choreographer |
|
Tracey Melville |
Photography |
|
Richard I. Nagy |
Graphic Design |
|
Performers |
|
|
Naho Shioya |
Suga Kanno |
|
d k pan |
Ameterasu |
|
Michael J. Perrone |
Prosecutor Taketomi |
|
Mary Cutrera |
Tsukiyomi |
|
Mizue Trinidad |
Shamaness, Hideko Kanno, Feminist Speaker, Uzume |
|
Sam Tsubota |
Kanson Arahata, Shusui Kotoku, the Miner, Socialist
Speaker |
|
Marie Broderick |
Susano-o, Stepmother, Christian Reformer, Demonstrator |
|
Musicians |
|
|
Michael Shannon |
Erhu, dilruba, bass, shenai, rhiata, harmonium |
|
Esther Sugai |
Flutes, clarinet, melodica, accordion, lu sheng,
percussion |
|
Susie Kozawa |
Kelp horn, overtone singing, sound toys, objects and
inventions |
|
Marcia Takamura |
Koto, shamisen, biwa, percussion |
|
Stan Shikuma |
Taiko, percussion, conch, sho, lead vocals |
|
Dean Moore |
Drums, gongs, cymbals, percussion |
|
One World Taiko (Gary Tsujimoto and Nancy Ozaki) |
Taiko, clarinet, lu sheng, percussion |
|