Motorcycle Don Quixote
Motorcycle Don Quixote, Production Notes
Motorcycle Don Quixote was produced by Yuenchi-Saisei-Jigyoudan and performed at the 3rd Floor Hall, Building 1, Yokohama Redbrick Warehouse, from May 23-29, 2006. There were 8 performances in total.
C A S T
Tadao TAKEUCHI – Yutaka ODA
Machiko TAKEUCHI – Norie TAKAHASHI
Hitoshi SAKAZAKI – Gentaro SHIMOHUSA
Shiro KAMIYAMA – Masanori IWASAKI
Hideo MATSUURA – Shoichiro SUZUKI
Yuka TAKEUCHI – Yume TANAKA\
C R E W
Writer and Director – Akio MIYAZAWA
Stage and Costume Designer – Makiko HAYASHI
Producer – Tadashi UCHINO
Translator and Dramaturg – Mika EGLINTON
Stage Director – Toshiaki OGAKI
Assistant Director – Yu OSAWA
Lighting Designer – Shigeo SAITO
Lighting Operator – Akitomo SUZUKI
Sound Designer and Operator – Mitsuru HANDA
Cinematographer – Kentaro KISHI
Projection Operator – Manabu KATO
Costume Makers – Asami NISHIGUCHI and Kiyomi ISHIZUKA
Publicity Designer – Izumi SAITO
Publicity Photographer – Keizo KIOKU
Stage Photographer – Nobuhiko HIKICHI
Web Designer – Sho SOMA
Assistant Manager – Kanami SAKAI
Manager – Ariko NAGAI / Ukulele
From the Director, Miyazawa Akio
When I heard about this ‘Cardenio’ project, I have to admit that I was simply frightened to take part in it. However, I tried to shrug off my fear by thinking that I may be able to create a new and original ‘play’ by putting my free ideas into the framework of the project; this may become a rare chance for me to write a different play from a different approach, one that I usually don’t use in my company ‘Yuenchi-Saisei-Jigyodan’.
I interpreted Mr. Greenblatt’s concept ‘cultural mobility’ as ‘cultural misunderstanding’ that is inevitable when different cultures meet.
For example, it is easy to point out numerous misconceptions in Japan’s reception of ‘American culture’. It is well known that Japanese tend to imitate the style of American pop music such as rock and hip hop because they simply sound cool, without knowing about the cultures or politics that actually form the music (the lack of understanding of lyric is the other factor to create this phenomenon). The same thing can be applied to fashion. Rap music sung by immigrants in France is actually very political and pressing against the backdrop of a high ratio of unemployment; yet without understanding even half the situation, young Japanese play rap music from their cars at maximum volume. How ironic is this? However these kinds of ‘misconceptions’ are not limited to Japan and can be observed anywhere.
While I was conscious of ‘political’ and ‘cultural’ misconceptions in the process of interpreting different cultures, the play I intended to write was simpler: it deals with the transformation of stream of consciousness among Chekovian-like characters and the catharsis in the reunification of a separated family. It’s a very ordinary story. Although some elements are Cardenio-esque, or Don Quixote-esque and Easy Rider-esque, the center of the play is the love and hate of characters. I was fortunate to be given the opportunity to explore aspects of humanity, which I had not written about thus far. I would like to thank for all the members of cast and staff who have been supporting me up until the first night of the production.
Through this creation process, I strongly aspired to write better plays. I am grateful to so many people especially Mr. Steven Greenblatt, producer Tadashi Uchino and dramaturg Mika Eglinton who gave me this opportunity.
This play is about ‘misconception’. There are abundant misunderstandings with various meanings. I do not hope to solve these misunderstandings. I rather hope that these misunderstandings can create a new movement in the scope of world theatre, clashing with different elements and making noise. I was very fortunate to take part in this project and I have nothing more to say but thank you to the audiences who have come to the theatre.