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Home » Uryuyama Gakuen School Corporation, Kyoto University of the Arts Promotional visuals and comments for the Mats uo Suzuki x Tsuka Kouhei reading drama “Kamata March” to be performed at Shunjuza on October 19th (Sat) and October 20th (Sun) have been r

Uryuyama Gakuen School Corporation, Kyoto University of the Arts Promotional visuals and comments for the Mats uo Suzuki x Tsuka Kouhei reading drama “Kamata March” to be performed at Shunjuza on October 19th (Sat) and October 20th (Sun) have been r

[School Corporation Uryuyama Gakuen Kyoto University of Arts] Promotional visuals and comments for the Matsuo Suzuki x Tsuka Kouhei reading drama “Kamata March” to be performed at Shunjuza on October 19th (Sat) and October 20th (Sun) have been released! (Advance ticket sales start from July 9th)
*Educational Corporation Uryuyama Gakuen Kyoto University of the Arts* Press release: July 8, 2024
Promotional visuals and comments for the Matsuo Suzuki x Tsuka Kouhei reading drama “Kamata March” to be performed at Shunjuza on October 19th (Sat) and October 20th (Sun) have been released! (Advance ticket sales start from July 9th)
*Kyoto Art Theater
The reading drama “Kamata March” will be performed at Shunjuza (Kyoto University of Arts) from October 19th (Sat) to 20th (Sun). Advance ticket sales will begin at the theater online ticket store from 10am on July 9th (free membership registration required)* Advertising visual
Kyoto Art Theater from October 19th (Sat) to 20th (Sun)
We will perform the recitation drama “Kamata March” at Shunjuza (inside Kyoto University of Arts). This project is produced by Kyoto Arts Theater and collaborates with directors, writers, and actors who are at the forefront of performing arts. In 2024, Suzuki Matsuo, who is also a professor at our university, will be the director, and Shusaku Kamikawa, a graduate student, will make a triumphant return to Shunjuza. Together with Haru Kasamatsu, Yusuke Shoji, Higashino, and current students, we will take on the challenge of Kouhei Tsuka’s masterpiece. Now, the promotional visuals and comments from Suzuki Matsuo and the performers have been released.
Additionally, advance ticket sales will begin at the theater online ticket store from 10am on July 9th! ! (Free membership registration required)
Suzuki Matsuo (director)
When I was an art college student in Kyushu, I saw a student theater production of “The Atami Murders” and was shocked by the freedom of theater, which led me to start acting.
Since then, I haven’t had a chance to meet you, but Tsukasa was always there somewhere.
And this year I will be 62 years old. Even at the age at which Tsukasan passed away, he still continues to perform.
I want to settle something in my heart. As someone who has already developed a style, I felt that a reading drama would bring me closer to Tsukasan’s essence, so I proposed this performance.
I read the book again, and I think that theater is about “sound.” I have no intention of doing anything new. I want to focus on recreating the play that I have always imagined.
Shusaku Kamikawa
Graduated from the current Kyoto University of Arts in 2015. In my university classes, I learned that many people are involved in the creation of movies and theater, and learned the importance of respecting and appreciating the people involved in the production. Suzuki Matsuo is someone I have admired since my university days. I would find Mr. Matsuo’s books at a bookstore in Ichijoji and buy them, and whenever there was a performance in Tokyo, I would take the night bus and go to the theater. Mr. Matsuo’s acting makes you laugh, but it also makes you wonder if it was really a good thing to laugh. Even so, I can’t help but laugh at what’s happening right in front of my eyes, and sometimes after watching a play I find myself unable to explain why I laughed.
This time it’s “Kamata March”. I’m really looking forward to seeing how it will be performed as a reading drama!
I think you can imagine a lot of things in reading dramas from the voice that reads the lines. I’m especially conscious of the tempo of the dialogue, and I hope to be able to carefully express the increasing tension and the deepening relationships between the characters. We will do our best to make sure everyone has fun. Please come to the theater. Thank you.
Haru Kasamatsu
When I was a child, I watched movies vaguely.
As a young child, I was surprised by Gin-chan’s arrogance, didn’t understand the meaning of Yasu’s obedience, and felt sorry for Konatsu-san because she was being pushed around, and I wondered why everyone liked this person. That’s what I thought. I was young. As an adult, I read the novel and watched the movie again. I was instantly captivated by Gin-chan’s solitary appearance, which contained both pride and fear. Now in 2024, if there was such a messed up star, there would be an immediate uproar. However, her troublesome star quality is alluring and dazzling, and the weakness and kindness she sometimes shows is hateful. As I read it, I remember that for some reason I continued to feel pain as Yasu gradually changed when she was around Gin-chan and Konatsu, and Konatsu gradually stared at Yasu, as if she were my own. When I touch Gin-chan in the work, I feel like I have Yasu and Konatsu inside of me, and I feel sad. I’ve been thinking a lot lately about why. While being captivated by Gin-chan’s unconventional charm.
I never thought I would be able to be involved in Kouhei Tsuka’s work, especially “Kamata March.” I didn’t know that it was directed by Suzuki Matsuo. Furthermore, there will be performances in Kyoto, where the work is set. I feel so excited and nervous. The energetic tempo and dynamism of Tsukaa plays, the tingling and contradictory emotions and verbal exchanges are very appealing, and I think that I will be able to experience and express them in this group led by Mr. Matsuo. , my heart is pounding right now.
I’m looking forward to seeing how Mr. Matsuo will create a theatrical style called recitation that speaks to the audience’s minds. Between Gin-chan and Yasu, two men who have an unusual and special relationship, I want to cherish Konatsu’s feelings this autumn as she walks through the world of “pregnancy”, a world from which there is no turning back. I think.
Yusuke Shoji
Never in my life as an actor did I think that I would be able to be involved in Kouhei Tsuka’s “Kamata March.” Moreover, it is a reading drama directed by Mr. Matsuo! Well, I can’t imagine it.
I think the people who come to see the show probably think that way too. I also believe that “Kamata March” will be the best recitation drama that is definitely out of the ordinary.
The hurdles are set quite high, but I think it would be more interesting if the stairs and hurdles were high enough to fall down. I believe that a reading drama is made possible by the audience’s imagination, and that the performers and audience come together as one, and that it is a stage created by everyone in the space. However, this is my first time doing a reading drama, so I honestly don’t know what to do. Anyway, I hope I can bring out the overwhelming energy and the undulating feeling of the theater that I experienced when I first saw Mr. Matsuo perform at the Honda Theater about 26 years ago!
I recently learned that “the stage comes first, not the movie,” and this time I read the play for the first time… It’s the stage version of Yasu, Mr. Emoto!
I was captivated by a play written over 40 years ago.
The way Gin-chan, Yasu, and Konatsu exaggerate and earnestly reveal their love in the midst of an outrageous and energetic exchange of lines is both absurd and human… Should I laugh? Or should I cry? I don’t know why, I felt so excited that my ears were on fire, and I hadn’t even said a single line yet! I was surprised with. (And I cried at Yasu’s line at the end of the second act.)
Kouhei Tsuka’s lines are always interesting. I don’t know how to put all these dense lines into a recitation, a style that goes head-on with a play, but it’s difficult, but I want to say these lines! This is what Mr. Matsuo once said about a condition for a good play: “A play with many lines that the actors want to say.” It’s a night when I’m alone and excited.
By the time I started acting, Tsuka-san had already passed away, and he was vaguely known as a “legendary theater artist.” But this time, I was able to perform the masterpiece “Kamata March” under Mr. Matsuo, who is an ongoing legend! There is no greater honor than being able to be involved in a moment where the pinnacle of theater intersects. For me, 2022 is “Drive-in”
This is Matsuo’s first directorial performance since “California.” And it’s my first time reading a play. There are definitely ways to use your body and voice that you don’t know yet. In addition, in this sitting group, we are in a position right between the seniors who have seen Mr. Matsuo and Otona Keikaku’s works, and the youthful students who have been trained by Mr. Matsuo’s lectures for a year. I want to absorb everything from all directions, refine it, and give it my all in the actual two stages.
What kind of scenery can you see from the Shunjuza stage? I will perform with all my heart and soul, so that I can fill the theater space with the intense energy of “Kamata March.”
Moeka Suematsu
My name is Moka Suematsu and I am a member of the Department of Performing Arts at Kyoto University of the Arts.
In February of this year, I appeared in “Life, Giga Chosu Zzz” directed by Mr. Matsuo, and under Mr. Matsuo I learned the joy of theater and what it takes to be an actor. And this time, I will be performing under Mr. Matsuo again. Very happy. What’s more, there will be a recitation of Kouhei Tsuka’s “Kamata March.” What a luxury to see Kouhei Tsuka’s work, which I had never seen before, directed by Suzuki Matsuo. As someone who aspires to become an actor in the future, I have never had such a valuable experience. It’s my first time performing in a reading drama or acting together with
professionals, so I’m full of anxiety and nervousness, but I’m even more excited. I can’t wait for rehearsals to see what kind of production it will be and what kind of reading it will be.
I will do my best to approach the work with sincerity so that you will think, “I’m glad I came to see it.” Nice to meet you.
Terumi Matsuura
Kyoto University of Arts
My name is Terumi Matsuura and I am a member of the Department of Performing Arts. Continuing from last year, I had the opportunity to be a part of Suzuki Matsuo’s stage performance again, and I’m already shaking as I remember how nervous I was at that time. “Standing on the same stage as professional actors” and “taking on the challenge of reciting Kouhei Tsuka’s Kamata March,” so I’m on the edge of my nerves, and I’m just one step away from that.
Last year, in a comment about the Matsuo Suzuki Project presentation performance “Life, Gigacho Suzzz” that I participated in, Mr. Matsuo wrote, “I’m trying to create a play with pure amateurs.” Even after finishing “Life, Gigacho Suzzz”, I was still “a pure amateur”. However, I feel like I can’t feel that way this time, because I’ll be performing on Matsuo’s stage with other professionals. I feel like I have to take a step forward from being a “pure amateur” before the performance, or after the performance. My body was shaking with a barely comfortable tension. I think I’m trembling because I feel like this is going to be a big, “kejime” performance for me as well. Hyoma Yamakawa (guitar)
Kyoto University of Arts
My name is Hyouma Yamakawa from the Department of Information Design. Last year, I tried acting for the first time at the age of 18. This is Mr. Matsuo’s stage. Even though I don’t know what’s right and what’s left, I just have to believe in Mr. Matsuo’s lessons and direction and move on! Looking back on the year in which I struggled desperately, it was an invaluable experience that made me realize that I lacked the attitude needed to pursue a career in the world of expression. I’ve been playing with AI lately. I draw a storyboard, generate images that go along with it, and animate them to create a video work, and am amazed by the accuracy. However, there are some expressions that even AI cannot express. For example, a guitar playing scene. The AI ​​is awkward because it “plays” without knowing how the strings that are plucked reverberate in space and the body, which in turn affects fingering and facial expressions. In this sense, on the other hand, the stage is a place where actors can share their passions and move the story forward, and where people can demonstrate the fundamental reasons for living as human beings.
I will be participating as a “guitarist”. Humans have yet to lose. I just want to convey that through sound. Thank you for your support. *Performance summary*
Reading drama “Kamata March”
Performance dates: Saturday, October 19, 2024 / Sunday, October 20, 2024 Performances start at 14:00 and doors open at 13:30 on both days Written by: Kohei Tsuka
Direction: Suzuki Matsuo
Cast: Shusaku Kamikawa, Haru Kasamatsu, Yusuke Shoji, Higashino, Moka Suematsu, Terumi Matsuura, Hyoma Yamakawa (guitar) Venue: Kyoto Arts Theater Shunjuza (Kyoto University of Arts) 2-116 Uryuyama, Kitashirakawa, Sakyo-ku, Kyoto 606-8271
Ticket price (all seats reserved, tax included):
General 5,500 yen Kyoto Art Theater Friends Association 5,000 yen Students & Youth 3,000 yen
*Youth refers to those under 25 years old. Students and youth must present identification upon entry.
*Please refrain from allowing preschool children to enter.
*Childcare service available (charges apply, advance reservation required). See below for details.
Ticket sale date: General sale August 23rd (Friday) 10:00~
Ticket handling:
・Kyoto Arts Theater Ticket Center Tel. 075-791-8240 (Weekdays 10:00-17:00) ・Theater online ticket store *Membership
registration required (free)
* *Pre-sales start at the theater online ticket store from 10:00 on July 9th (Tuesday)! *
*Student and youth seats are available only at the Kyoto Arts Theater Ticket Center and theater online ticket store.
*Customers using wheelchairs and those with walking disabilities should visit the Kyoto Arts Theater Ticket Center.
Please contact (Tel. 075-791-8240) for applications and inquiries. *Movement to the second floor seats of this theater is only possible by stairs. Other ticket handling: Ticket Pia/E+/Lawson Ticket

Childcare service/advance reservation required: Childcare service will be available on October 20th (Sunday) at 14:00.
Target: Over 6 months old and under 7 years old
Fee: 1,500 yen per child
Application period: Until 17:00 on Friday, October 11th
Application/Inquiries: Kyoto University of the Arts Performing Arts Research Center Tel. 075-791-9207

Assistant Director: Atsushi Tsuchihashi
Stage manager/lighting/sound: PAC West Co., Ltd.
Advertising art: Shinsaku Yano
Production supervisor: Yoshitaka Ando
Production: Yuki Morita, Kazutsu Yoshida

* Contact us * : * Uryuyama Gakuen Educational Corporation * * Kyoto University of the Arts Performing Arts Research Center *
2-116 Uryuyama, Kitashirakawa, Sakyo-ku, Kyoto 606-8271 TEL: 075-791-9207 FAX: 075-791-9438 URL: ** Production person: Yoshida Public Relations: Morita
*About Kyoto Arts Theater (Shunjuza/studio21)*
In 2001, Kyoto University of Art and Design (currently
This is the first full-fledged university-run theater established within the Kyoto University of the Arts (Kyoto University of Arts), the first of its kind in a higher education institution in Japan. It consists of two completely different types of spaces: Shunjuza, a large theater created primarily for the performance of Kabuki, and studio 21, a small theater created primarily for the performance of contemporary theater and dance. It offers a wide range of contemporary performing arts, from traditional theater and entertainment to cutting-edge multimedia performances.
We are proud of our facilities that can cover a wide range of arts. Through performing arts, we are disseminating the traditions and creativity of Kyoto to the whole country and the world.

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