渟院深深

一年一度的《ENDLESS SHOCK》又要来啦！


在网上发现的有关光一的文章~《Look At Star Ovation 2009》，内容大纲都围绕着这个《SHOCK》，以下是我找到的英文翻译：

Domoto Koichi
Endless SHOCK
“SHOCK” has ingrained sure footsteps in the Japanese history of Theater.
Having had it’s first show in October of ’00,
the 600th show is coming up in the 10th year ’09.
Koichi, who’s continued to challenge this legendary stage spoke to us about his true feelings toward “SHOCK.”
Also, a playback special that shows the history of “Endless SHOCK” at a glance.

I’m really glad I met a company I can trust

The 10th year for the “SHOCK” shows are starting with this round. When they first started in ’00, I was the youngest theater group leader at Teikoku Theater at the time, but I didn’t feel any pressure nor was I overeager. On the contrary, among the co-actors were dependable sempai like Higashiyama (Noriyuki) -san, so I felt at ease. More than that, I remember that it was really tough preparing for the first day. I can talk of this only now, but there were a lot of things that weren’t ready yet, and I’m amazed that the curtains actually rose (laughs). At the time Higashiyama-san said to me “However much you scrabble about, the curtains are going to rise anyway, so let’s do what we can do.” When the first day finished, we all sighed in relief saying “We somehow got all the way through.”

One of the biggest reasons we got through till the end was because of the staff. When I saw the staff work at the time, I realized the fact that they were a team of professionals. The reason “SHOCK” could continue this far is of course thanks to the audience and the co-actors, but I think it’s something that definitely wouldn’t have been possible without the staff. At first the large props staff yelled at me saying “Quit messing around!” But as we did more and more shows, the staff started to help me out. For example, if there was a dangerous spot in the pathway backstage, they would fix it so that it was safe by the next day. It may sound like something slight, but when the staff think of us like that, the actors really can feel it. And because the staff go that far for us, we players think we want to respond to their expectations, and on the other hand, the staff might be motivated to work harder when they see our performance. I think that this leads to a good result, and that’s the reason we can keep doing shows every year. I think there’re a lot of great theater companies in Japan too. But most companies dissemble after just one play. The company I’m in right now is wonderful of course, and the difference is that we’ve continued for many years.

I’m really glad that I met a company that I can trust.

The co-actors are important in determining the color of the stage.

Speaking of the company, the co-actors are as important as the staff are to me. Depending on who I’m acting with, the color of the stage changes. Especially Koichi’s rival role is one that can go in all kinds of directions, it’s interesting how depending on the actor the way they see the role is different. Ryo (Nishikido Ryo) expressed the pain and sadness of not being able to catch up to Koichi’s level. In comparison, Toma (Ikuta Toma) and Yara (Yara Tomoyuki) expressed the frustration they felt about losing against Koichi despite having equal skill. The only thing I do is to understand “This kid sees the role like this,” and help in fine adjustments by saying things like “You need to hold back on the emotions a bit there.” I don’t think there’s no one correct answer, so I think they should just act in the way they want to. And Yonehana (Yonehana Tsuyoshi) and Machida (Machida Shingo), this is true for the actual company itself too, but they’re really important for the company within the story too. It’s not the best term, but they’re kind of like the backseat players, they’re precious people who support the rest of us from the shadows. Without them in the story, there’s a big hole in the company. For example, in last time’s story, it’d be Koichi, Yara, Rika… doesn’t it feel like something’s missing? Yonehana and Machida are essential. Especially Yonehana, he supports Koichi, and in a scene at the end of the first act, he says a line that makes a deep impression on Koichi’s heart, “Isn’t it tiring to keep running like that?” This line includes his kindness towards Koichi, “Calm down a bit.” And the reason Yonehana can say this kind of thing to Koichi, is that he’s supported him for the entire time till then. In “Endless SHOCK,” I think one of the charms are the hidden meanings and subtle acting by my co-actors.

When I think about “SHOCK” now afresh, I can say that it’s something so important to me that I can say “It was what made my personality what it is.” In the story itself, Koichi is just an incredible character who can do anything; if I lose against this Koichi, then I can’t act as him. So I’ve worked hard so that I don’t lose against Koichi. But then I’m the one who came up with the story, so it’s like I’m using the whip on myself. The reason that I can act this giant role of Koichi, is because the audience in front of my eyes. It’s kind of like how you run a bit faster when they’re girls watching… well not really (laughs), when there’s an audience there, I tense up and can do unbelievably well. Like the fighting scenes, I can’t do those like the real thing during rehearsals. If I did the rehearsals like I did the real thing, that’d be the end of me (laughs). Come to think of it the reason I can perform on that stage almost everyday, for about two months, is becayse the audience is there. The power of an audience really is amazing. I think it’d be nice if “SHOCK” could keep going on borrowing the power from the audience from now on too.

’08 My personal joys and sorrows………………
Joy
That I received the Kikuta Kazuo Award. I’ve said this multiple times already, but it was a big in that I learned that what I’d done till now wasn’t a mistake. I’d like to keep working on stageplays so that I can live up to the award.
Sorrow
I live each day in happiness so there’s nothing sad (laughs). In the summer we had a tour as KinKi Kids too, so it was a good year for me. It’s not something sad, but it was unfortunate that F. Massa didn’t become the world champion.




P/S：很希望自己有天可以亲身到日本去欣赏这个那么棒的舞台剧。感谢Kinki Kids Fan Community分享的翻译。