The "Bracken Moor" interview in Stage Square #37
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| Bracken Moor, The Ghost of the Wasteland "Our loss has returned home in the form of our son" |
I’m very happy to challenge this work at my 30 years old’s milestone
This summer, Okada Masaki will star in Theatre Creation’s “Bracken Moor, the Ghost of the Wasteland”. The director is Kamimura Satoshi who made Okada his first pick. As this production is the Japan debut of this story, what kind of chemistry will this fresh collaboration between Okada and Kamimura produce? At the visual shooting site, Takahashi Eriko asked Okada about his current state of mind.
Text by Takahashi Eriko
Photo by Sakurai Takayuki
Translated by Icha
Last year’s summer, I watched a stage show titled “Otona no kenka ga owaru made” (“Adult Fights Till the End”, directed by Kamimura-san (Satoshi, 上村聡史). I found that show very interesting. The way of directing was very fresh and I also ended up learning about various things such as how the actors moved. Because at that time I already received this story (Ed: the “Bracken Moor” story), while watching the show I asked myself, “How would I perform that, if it were me?”. Thus, I’m looking forward to working together with Kamimura-san.
When I play a role on stage, I believe that person-to-person vibe and behaviours as well as the harmony amongst performers are of the utmost importance. If they slip away, the perception will at once completely change… I still don’t have many experience with stage works so far, but I strongly felt the importance of this harmony during my few stage works. Especially this time, because this story will happen in a locked-room setting, I want to cherish the harmony between fellow performers more than ever. It is worth pondering how Kamimura-san will portray the story in such a confined space.
More than ever, I’d like to cherish the harmony with my fellow actors
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| Photo by Sakurai Takayuki |
This locked-room setting is the home of a couple played by Kimura Tae and Minami Tōru. Ten years ago, this couple’s only son Edgar died in an accident. The story begins when my character Terence, who is also Edgar’s close friend, and Terence’s parents comes to visit this family. And then, from that night, Terence is possessed by Edgar’s spirit. I think the way I express the trance is one of the show’s highlights.
Although this story has the mystery element where the spirit or ghost takes over the story, the family part is also very realistic. That’s why I think there are parts that the audience will be able to sympathise with. I myself like a family story very much. Because I think the existence of friends and family are indispensable in life, I can depict the family part of this story from various angles. That’s why it’s lovely whenever I’m given the chance to do such a work again and again.
Also, one more thing I am looking forward to is co-starring with veteran actors. In addition to Kimura-san and Masuoka-san, Minemura Rie-san and Aijima Kazuyuki-san will appear as Terence’s parents. They are very experienced and talented people, but they are also very lovely. Thus, I plan to practice with these experts and try my best.
(Note: “胸を借りる / mune o kariru” is an expression that means that the speaker is allowed to practice with a partner of a higher skill, particularly used in sumo. Or it means that the junior is challenging the senior.)
As for Terence, it seems at a glance that his role is very important only when words are involved. Although I have this image where I want to particularly talk in such a fashion, I may need to give up that image during the rehearsals. By doing so, anything might change when I read the script again. In particular with this work, I feel that this is a play where I will discover many things when I go through the actual practice repeatedly. Thus, I think in that sense, it is worthwhile to do this work.
I think I have fortuitously met wonderful directors
I somehow think I’m not the type of actor who infuses my own characters into my roles. Thus, when playing edgy roles, in giving those roles their own forms and characters, I wonder if I can play them while also enjoying my own performance. For instance, Director Matsuo Suzuki explored my untapped potentials in “Go Go Boys, Go Go Heaven” (2016) and “Ningen Gowasan” (2018). During my stage debut (“Total Eclipse”, 2014), Director Ninagawa Yukio also did the same thing. Thus, I think I have fortuitously met wonderful directors.
(note: thanks to Benio-san and Wisteria-san for the discussions about “jibun no iro o dasu”, 自分の色を出す).
It was especially great to be able to work together with Ninagawa-san for my first stage work. I don’t think I could have continued my stage works had I not met him in the first place. Thus, from the bottom of my heart, I am grateful for the directions that I received from Ninagawa-san. Also, in order not to waste such a great encounter, from here on, I’d like to face each and every work one by one with great care. I’d like to be an actor who is prepared for weird things and always makes a big impact.
(Note: I translated “hen ni” in the “ヘンに構えず” to “weird” . I translated “don” in the “常にドンといられる” as “makes a big impact”; “don” being the Japanese sound effect of a bang)
Whenever I’m standing on the stage, I truly feel that the stage is a living being. Although you’d think your practice is completed during rehearsals, there are also parts that change from one day to another during the production. But that’s actually enjoyable, for when we discover many things during the rehearsals, stage works keep evolving. I feel it fits my own character indeed.
This time though, my most important task is actually about the throat… I actually wore out my throat during last year’s stage work… My voice was usually not that loud, but the audience at that time said “Wow, your voice was really loud; I can hear it well!”. I was actually surprised (chuckle). However, I don’t want to wear out my throat this time.
The most important household appliance
As such during stage works, humidifier is usually the most important item for me. As it turned out, I have to take care of my throat. Hence, when I go to bed, I always make sure to turn on my humidifier; I absolutely love it.
For my 30s, I’d like to make the best use of things I’ve learned during my 20s
I will celebrate my 30th birthday while performing this work. Honestly, to be able appear in this work at the age of 30 is such a delight. After all, a work done at such a critical juncture will always be in my heart. Actually, I also remember the performances I’ve done in my 20s. In that sense, those are truly unforgettable works. I recognise those works as works that I climbed up into my adulthood.
I don't think that something will change suddenly just because I turn 30. It’s true that the roles I played have changed gradually compared to the roles in my 20s. I have taken various works during the second half of my 20s to step up and face my 30s. Thus, I’d like to use those experiences in my 30s. I’m so happy to be able to do that first stage show (Ed: “Total Eclipse”). Hereafter, I’d like to always continue performing on stage. For that, first I’d like to give all that I have for “Bracken Moor”.
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| Photo by Takayuki Sakurai, Text by Eriko Takahashi (Stage Square #37) |
30歳という節目にこの作品に挑めることがとてもうれしいです。
今夏、シアタークリエで上演される舞台『ブラッケン・ムーア 〜荒地の亡霊』に岡田将生が主演する。
演出は岡田とは初タッグとなる上村聡史。
岡田と上村という新鮮な顔合わせが、日本初演となるこの作品でどんな化学反応を見せるのか…。ビジュアル撮影現場で、岡田に現在の心境を聞いた。
Photo by Takayuki Sakurai
Text by Eriko Takahashi
舞台で演じる時は、人対人の空気感や立ち居振る舞い演者同士の呼吸がとても大事なのかなと思っています。そこがズレると一気に世界観が変わってしまうと言うか…。僕はまだ、そこまで舞台経験が豊富なわけではないですけど、その数回のなかでも強く感じたことで。特に今回は、密室で展開されていく物語なので、さらに演者同士の呼吸を大切にしていきたいと思っていますし、上村さんがそういう限られた空間のなかでどういう見せ方をするのかもとても興味深いです。
いつも以上に演者同士の呼吸を大切にしたい
その密室劇の舞台となるのが木村多江さんとっ益南徹さんが演じるご夫婦の自宅。このご夫婦は１０年前に事故でひとり息子のエドガーを亡くしていて、その家にエドガーの親友だった僕が演じるテレンスと両親が訪ねて来るところから物語が始まります。そして、その夜からテレンスにエドガーの霊が取り憑いてしまうのですが、それをどう表現するのが？とういのが見せ場のひとつになると思います。
この物語は霊が取り憑いてしまうと言うミステリアスな部分もあるんですけど、家族の在り方すごくリアルに感じました。それだけに、観ている方々が共感できる部分もあると思います。僕自身家族の話が大好きなんです。友人と家族は人が生きていく上で欠かせない存在だと思うので、だからこそ、色んな方向から描けるんだと思いますし、そういう作品をやらせていただくたびに改めて素敵だなと思います。
そして、もうひとつ楽しみのが、ベテランの方々との共演。木村さん、益岡さんに加え、テレンスの両親役で峯村リエさんと相島一之さんが出演されます。経験も実力もある方々ですから、甘えさせていただきつつ、胸を借りるつもりでやらせていただきたいと思っています。
テレンスは役柄が役柄だけにセリフ回しがとても大切になってくるのかなと感じています。自分のなかではこんな感じで喋りたいなというイメージがあるんですけど、稽古まではそのイメージを一度ねかせようと思っていて。そうすることで、もう一度台本を読んだ時に何かが変わるかもしれないじゃないですか。特に今回の作品は、実際に 稽古を重ねるなかで、発見することがたくさんあるお芝居という気がするので、そういう意味でもやり甲斐のある作品になるんじゃないかなと思います。
僕は素晴らしい演出家に巡り会えているとおもう
僕はどちらかと言うと、自分の色を出すのが苦手なタイプなんです。だから、エッジの効いた役だったり、演出という形で色を付けてもらったりすると、僕自身も楽しみながら演じられると言うか。例えば『ゴーゴーボーイズ ゴーゴーヘブン』（‘１６）と『ニンゲン御破算』（’１８）でごー緒した松尾スズキさんも、色々な僕を引き出してくれましたし、初舞台（『皆既食〜Total Eclipse』/‘１４）の蜷川幸雄さんもそうでした。素晴らしい演出家の方々に巡り会えていると思います。
特に最初の作品で蜷川さんとご一緒できたのは大きかったです。あの出会いがなかったら、舞台の仕事は続けていなかったと思えるほど、蜷川さんの演出を受けられて良かったなと心から思っています。そういう素晴らしい出会いがあったことを無駄にしないためにも、これからもひとつひとつ大切に向き合っていきたいですし、だからと言ってヘンに構えず、常にドンといられるような俳優になりたいと思います。
ステージに立つと、本当に舞台って生き物なんだなと感じます。稽古で完成したと思っていても、本番で日毎に変わっていく部分もあったりして。でもそれも楽しいですし、色々なことを稽古で発見しながら進んでいくという舞台の仕事は、僕の性格に合っている気がします。
今回、課題のひとつとしては、喉ですかね…。去年の公演中、喉を潰してしまったので…。僕は普段、そんなに声が大きいほうではないんですけど、作品を観に来てくださって方々から「声が通るんだね」って仰っていただくことがあって。自分でも驚きましたけど（笑）。なので、今年は喉が潰れないようにしたいと思います。
お気に入りの家電
舞台の時もそうなんですけど、普段から加湿器は必須アイテムです。やっぱり喉は大切にしないといけないので。寝る時は必ずそれをつけていました、ずっと 愛用しています。
２０代で得たものを生かせるそんな30代にしていきたい
僕は、この作品の公演中に３０歳の誕生日を迎えます。３０歳というタイミングでこの作品に出演できるのも、正直とてもうれしい。やっぱり節目の時の作品って、ずっと心に残るんですよ。実際、２０歳の時に出演した作品も覚えていますからね。そういう意味でも絶対に忘れられない作品になると思いますし、大人の階段を昇れるような作品だも捉えています。
３０歳になるからと言って、何かが急に変わるということはないと思いますが、２０歳のころと比べて演じる役柄が少しずつ変化してきていることは確か。３０代に向けてステップアップするために２０代後半は色んな作品をやらせていただけたので、それを生かせる３０代にしていきたいです。その１本目に舞台ができるのはとてもうれしいですし、今後も舞台にはずっと立ち続けたいと思っています。まずは「ブラッケン・ムーア」に全力で取り組みたいです。
