INSIGHTS

2019.09.20

R&D DISCUSSION Vol. 16

The present and future of theater space
Research on Plaza Spaces Vol.3 [Part 1]

Masaji Ito + Kenji Maruyama Theater Workshop Co., Ltd.

R&D DISCUSSION TOP

Top image: Kadare Cultural Exchange Center, Yurihonjo City, Akita Prefecture (opened in 2011/designed by Arai Chiaki Urban Architectural Design).
Theatre Workshop has been involved since the design consulting stage and currently provides support for operation and management. [Photo: Reprinted from Theatre Workshop's website]

The "How to Use Plaza Spaces" series explores hints on how to create and use plaza-like spaces in the future. The third guest is Masaji Ito (top right photo), president of Theater Workshop, which has been producing theaters and halls all over Japan since its establishment in 1983, and Takeshi Maruyama (bottom right photo). With a track record of over 200 theaters, the company will add a track record in Saga Prefecture with the "New Kashima Civic Hall (Tentative name)" (designed by Masaaki Furuya + Sachiko Yagi / Nasca), which won a proposal last year, and will now cover all 47 prefectures.

Q: The market for live entertainment such as concerts, live shows, and stage performances seems to be booming right now, with new theaters and halls opening one after another.

A: A few years ago, it was said that the "2016 Theater and Hall Problem," which would cause a shortage of venues, would become more serious as existing large facilities in the Tokyo metropolitan area entered a period of renovation and rebuilding in preparation for the 2020 Tokyo Olympics. On the other hand, content is becoming more diverse, and the need to enjoy live performances is on the rise. There was a shortage of venues to meet the increasing demand, but now facilities that have been renovated have been reborn as new spaces and reopened, and new facilities that have never been seen before are being planned one after another. Theater Workshop celebrates its 36th year in business this year, and it is no exaggeration to say that it is the busiest time ever.

In 2012, the "Law on Revitalization of Theaters, Concert Halls, etc. (Theater Law)" was enacted, which states, "Furthermore, in modern society, theaters, concert halls, etc. are expected to function as 'new squares' by gaining people's sympathy and participation, and to support the development of local communities through the creation and revitalization of local communities. Furthermore, as internationalization progresses, theaters, concert halls, etc. are expected to become 'windows to the world' that facilitate international cultural exchange and contribute to the development of the international community." [Slide 1]. In the future, theaters and halls are expected to function not only as places to perform performing arts, but also as "new squares." Looking at it from the other side of the coin, we are entering an era in which any place can become a theater, such as a square being used as a theater.

All of our staff love performing arts and are very happy to be involved with theaters, so we are very excited about the expectations for such an era. Before I go into detail about the new spaces that have been created in theaters and halls in recent years, I would like to look back on the modern history of theater spaces in Japan (since 1960) [Slide 2].

During Japan's postwar reconstruction period, public halls and civic halls were built all over the country. However, the main purpose of these facilities was to gather people for conventions and meetings, and they were characterized by "large seating and a small stage," so they could not be called spaces for performing arts. In the 1960s, when Tokyo held the last Olympic Games, large cultural facilities that are still popular today, such as Tokyo Bunka Kaikan (1961), Nissay Theatre (1963), and National Theatre (1966), opened one after another in Tokyo. Furthermore, the Agency for Cultural Affairs was established in 1968, and in the 1970s, there was a construction boom for cultural halls and cultural centers in local areas as well.

However, because these facilities were "public facilities," they were designed as multipurpose halls for not only art and culture, but also for lectures and film screenings. As a result, they were not satisfactory for any type of performance, and as such were said to be "multipurpose for no purpose" and "multipurpose for other purposes." In the 1980s, the demands of audiences, directors, and performers for specialization in music and theater increased, and dedicated halls began to be built by private companies. For example, the Honda Theater (1982) was dedicated to plays, and the Suntory Hall (1986) was dedicated to classical music. In addition, there was the Cats Theater (1983), a temporary theater built by the Shiki Theater Company just to perform the musical "CATS." If the first generation was the "era of the owners," the second generation was the "era of the artists," as the functions of the halls were changed from multipurpose halls to main purpose halls. The stage space and special stage equipment also became more extensive, and as time passed, the stage's functions gradually improved [Slide 3].

In the 1990s, public facilities became even larger, with large stages capable of hosting full-scale operas, world-famous ballets, and contemporary dance performances, such as the Tokyo Metropolitan Theatre (1990), Saitama Arts Theater (1994), New National Theatre (1997), and Shiga Prefectural Arts Theater Biwako Hall (1998). At the Saitama Arts Theater, the stage is much larger than the audience seats in the main hall. In addition, many huge "performing arts centers" were built, each with multiple dedicated halls such as an opera house, concert hall, drama theater, and small experimental theater, and also with creative departments, that is, functions necessary for creating works (rehearsal rooms, rehearsal spaces, production spaces, information centers).

However, there was a gap between these full-spec, highly professional stages and the needs of the people at the time, and the seats were often empty. The functions were not fully utilized, the maintenance costs were rising, and the full-scale facilities were wasted. In response to this situation, the third generation, the "age of the audience, the age of creating audiences," is coming. Until now, the idea was that the people on stage were the main characters, but the "public theater" was born from the idea that the people sitting in the seats are the main characters. In addition to putting on high-quality performances, public theaters that involve citizen participation began to be created by making efforts to attract citizens to the theater, creating daily excitement, and linking it to town development and human development. The establishment of the Regional Creation Foundation in 1994, which supports community development through the promotion of arts and culture, also supported this. A representative facility is the Setagaya Public Theater (1997). The current artistic director is Kyogen performer Nomura Mansai. Dedicated production and technical staff are employed, and lectures and workshops for the general public are also frequently held.

We also held citizen workshops from the early planning stages of the Kurobe City International Culture Center Corale (1995), in which we participated and Chiaki Arai won the Architectural Institute of Japan Award (Work Award). Initially, we planned to build three large halls, but we changed the plan after discussing with the citizens. We have provided spaces for meetings, exhibitions, and gatherings, and the facility is used by many citizens even on weekdays.

[Slide 1] Act on Revitalization of Theaters, Concert Halls, etc. (enacted in 2012)
[Slide 2] Modern Japanese Theatre History (1960s~)
[Slide 3] SD Special Issue No. 24 "Space for Theater" (Published: 1994/Kajima Institute Publishing/Edited by: Ito Masashi et al.).
In his essay "The Current State of Theatrical Space," he argued for the need for a new type of theater space that can respond to the trend toward performing arts in peripheral fields, such as fashion shows.

[Slides 1-3: Courtesy of Theatre Workshop]

Continued in Part 2

PROFILE

representative

Theatre Workshop Inc.

Masaji Ito

Masaji Ito

Born in Chiba Prefecture in 1952. Graduated from the Department of Architecture, Faculty of Science and Engineering, Waseda University. Studied theaters and halls at the graduate school. While enrolled, worked as a part-time researcher for the Agency for Cultural Affairs' (Tentative name) Second National Theater (now New National Theater) Establishment Preparation Office. Founded Theater Workshop in 1983 when planning the Kagawa Prefectural Hall. Member of the Architectural Institute of Japan and the Japan Institute of Architects. Director of the Theatre and Spatial Technology Association. Vice Chairman of the Japan Center for International Organization of Theater Arts, Chairman of the Architecture and Technology Committee. Received the Architectural Institute of Japan Award (Achievement) in 2008 for "Establishing theater consulting as a profession and a series of achievements."

Executive Officer

Theatre Workshop Inc.

Kenji Maruyama

Kenji Maruyama

Born in Tokyo in 1980. He met the company president, Ito, while studying at Waseda University's School of Literature. After graduating, he got a job at a video production company. He was in the PR department and was also involved in event projects. After that, he participated in a manufacturer's urban development project as a cultural entertainment specialist, and then joined Theatre Workshop.

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Update : 2018.09.21

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