The Japan Foundation
Performing Arts Network Japan
Contents
San-san
San-san
San-san
Tegamiza 13th production San-san
(Nov. 3 - 13, 2016 at Za-Koenji 1)
Photos: Aki Tanaka
Data
Premiere: 2016
Length:
Acts/Scenes:
Cast: 12 (8 men, 4 women)
Artist Interview
Play of the Month Play of the Month
Dec. 22, 2016
San-san (Brilliance) by Ikue Osada 
San-san (Brilliance) by Ikue Osada 
San-san (Brilliance) is the latest play by Ikue Osada (born 1977), a playwright known for her plays about historical events or actual people in history based on thorough research. Taking as the main character the actual daughter of the painter Katsushika Hokusai, whose name was O-ei and was also a painter in her own right (artist name Katsushika Oui) known for works such as “Beauty of Spring Night” and “Yoshiwara Courtesans Showing Themselves to the Strollers through the Grille,” this play tells a story of youth. The setting is the late Edo Period on the eve of the arrival of the “Black Ships” of American Commodore Perry that would force Japan to open itself to foreign trade and an ensuing influx of Western culture. Amid a backdrop of the vibrant lives of the common people of Edo (today’s Tokyo), the story depicts O-ei competing with the other apprentices learning the art of painting under the master Hokusai until she, despite being a woman, is finally allowed by her father to take an artist’s name of her own.
•••
Katsushika Hokusai’s daughter, O-ei (Katsushika Oui), has been teaching herself to paint by what she sees around her since she was a child. One of Hokusai’s apprentices, the painter Minamizawa Tomei, has finally won her hand in marriage, but even on their first night as man and wife O-ei keeps painting late into the night by candlelight.

Suddenly the fire bell is heard, signaling that a fire has broken out in the neighborhood. O-ei takes her brush and rushes out to see the fire. There she finds the painter Ikeda Zenjiro (artist name: Keisai Eisen) who is a live-in apprentice at Hokusai’s home. The two begin to talk about what colors they would use to paint the fire they watch.

It is early summer in the year 1823. At his studio in the Honjo district of Edo, Hokusai had O-ei taking care of not only his own daily needs but also assisting his apprentices in their work. Forgetting that he has married her off already, Hokusai calls out for O-ei. When she isn’t there, Hokusai doesn’t even know where the things he needs are. Hokusai’s wife had told him time and again that happiness for a woman lies in marriage and that since O-ei is a woman he should convince her to give up the idea of being a painter.

Onto the scene comes the print publisher Nishimuraya Yohachi (Eijudo) with a proposal that he wants to publish a “pillow book” (book of erotic art prints) based on paintings by Hokusai, Zenjiro and more of the best painters of the day. O-ei happens to be present and says that she wants some of her own paintings to be included in the book too, but Hokusai scolds her and sends her off, saying that her paintings are second-rate illustrations because the figures don’t come to life.

On a bridge, O-ei meets one of Hokusai’s senior apprentices, Totoya Hokkei and begins to confide to him her doubts about herself as a painter. Hokkei advises her to be ambitious, learn what she can from those around her and find what she really wants to paint.

When O-ei returns to the house that she has married into, she finds her husband Tomei and it appears as if he has just been with a streetwalker. He has lost confidence in his talent as a painter and says to her in a gruff voice that the glimpses of the master Hokusai that her presence conjures up irritate him to no end. Seeing in her husband a shared weakness, O-ei is about to show compassion when he suddenly announces that he intends to divorce her.

Wandering the streets in the middle of the night, O-ei meets nighttime noodle vendors pulling their [wheeled] outdoor noodle stand while calling out for customers. The man says that because of his impotence he can’t satisfy his wife in the prime of her womanhood. The wife says that doesn’t bother her. The man tells his wife to let a passing man have her, and as he watches her being had in the roadside bamboo grove, O-ei changes the man’s face for that of her husband in her mind and paints an erotic painting of such a sad couple finding consummation.

Arriving at the Hokusai studio in the morning, O-ei shows the erotic painting to Hokusai and Zenjiro. Hokusai spontaneously picks up a brush and begins to paint, and Zenjiro, now recognizing O-ei as his rival, decides to leave his apprenticeship in Hokusai’s studio.

One day, a request arrives from the German doctor and naturalist Philipp Franz von Siebold, who is staying in the Dutch trading colony of Dejima in Nagasaki, for Hokusai and his studio to paint 100 pictures of “Life in Edo” in the Western painting style. Hokusai decides to let O-ei do some of the paintings as a full member [apprentice] of the studio, and he tells her to “paint the women” of Edo.

O-ei goes to the red light district of Yoshiwara to paint a portrait of the beautiful high-ranking oiran courtesan Kirisato. Kirisato has never permitted anyone to paint her portrait before. But, since she would soon be leaving Yoshiwara because the owner of the brothel she was indentured to had decided to end her commitment as a geisha and send her to be married, Kirisato decided that she would allow O-ei, being as she was a woman, paint her portrait. When Kirisato meets O-ei she says that she wants to show her the true figure of a geisha. This “true figure” was the figure of a senior geisha named Yugiri, who had been Kirisato’s secret love and reason for living and was now on her deathbed dying of venereal disease, and the figure of the mourning Kirisato who was now being released from the bondage of her geisha contract and forced to leave the dying Yugiri behind. O-ei is disheartened by the knowledge that she is unable to paint such a figure as she has just seen with her still unworthy painterly skills, but in a gesture of gratitude for having been witness to her “true figure,” Kirisato gives O-ei her ornamental hairpin.

A message arrives at Hokusai’s studio that Zenjiro, who has taken bad ways since leaving his apprenticeship at the studio, has been arrested for a criminal offense involving gambling. O-ei is sent to bail him out, and after she scolds him to not sell himself so cheaply and return to his true path as a painter, she gives him a kiss. But, Zenjiro goes off with a courtesan he has been patronizing named Otaki. It is only now that O-ei realizes her love for Zenjiro.

The paintings that Siebold has ordered are finished. When the painter Kawahara Keiga who has been working for Siebold at Dejima comes to collect them, his eyes stop on one particular painting and he says, “There is still some awkwardness in it, but whoever painted it has absorbed the Western painting style and taken it in a new direction that becomes a strength. It was one of O-ei’s paintings.

Empowered by Kawahara’s words, O-ei applies herself to her painting with new resolve. Motivated by the lives of the women she meets and secretly harboring her love for Zenjiro, she continues to paint portraits of beautiful women.

At the twilight hour, when the day’s painting work is coming to an end, Zenjiro comes by the studio to bid farewell, saying that he intends to open up a brothel with Otaki and other prostitutes. As Zenjiro is about to leave, O-ei gets up the courage to confess her love for him, saying, “I want you.” Even though Zenjiro’s first reply is, “But you belong to Hokusai,” he decides to accept her love and the two take their brushes and leave the studio together.

The season has changed, and it is now July. Seeing O-ei’s paintings of beauties, Hokusai decides to give her an artist’s name, Oui, as recognition of her independence as a painter and artist in her own right. O-ei looks up at the first towering thunderhead of summer. She takes out paper and a brush to begin a new kind of painting.

Profile:
Born in Tokyo, 1977. Osada is a playwright and member of the Japan Playwrights Association. Graduated from the School of Humanities and Social Sciences of Waseda University with a major in Literary Arts. From 1996, she began writing stage scripts and song lyrics for musicals as well as dong stage direction. From 2007, Osada began taking seminars in play writing given by the Japan Playwrights Association with the aim of pursuing a full-fledged career as a playwright. In 2008, she became a student of Hisashi Inoue, associated with the same seminar series. In 2009, she started the theater group Tegamiza as its playwright. Her works, which take historical events or actual people from history as their subjects for biographical dramas based on voluminous research and imaginative writing, have won high acclaim. In 2015, Osada’s play Chi wo Wataru Fune – 1945 / Attic Museum to Kijutsusha-tachi (A Boat Crossing the Land – 1945 / The Attic Museum and the Documenters) won the 70th Agency for Cultural Affairs Arts Festival Award in the New Artist category. In 2016 her play Mikan to Yuutsu – Ibaragi Noriko Ibun won the 19th Tsuruya Nanboku Drama Award. Osada’s other representative works include Ranpo no Koibumi taking author Edogawa Ranpo [as the main character]’s Love Letter) (finalist for the 22nd Theatro Drama Award) taking author Edogawa Ranpo as its subject; Sora no Harmonica – Watashi ga Misuzu datta koro no koto (The sky’s harmonica – When I was Misuzu) about the poet Misuzu Kaneko; and Ao no Hate – Gingatetsudo Zensokyoku (Distant Blue – Prelude to Gingatetsudo) that takes the author Kenji Miyazawa as its subject, among others. Recently Osada has been commissioned to write for numerous outside productions as well.
 
TOP