The Latest at Goethe

Eight months ago, the earth shook in Japan. Nothing has been the same since. In the crisis region surrounding the harbour city of Sendai most of the streets are at least traversable again. Children’s psyches are less easy to mend, which is the reason a German theatrical duo went there to do what they could to help. By Franziska Kekulé

The earthquake of 11 March hit Sendai, a city with millions of inhabitants about 370 kilometres north of Tokyo, with particular forcefulness: the buildings surrounding the harbour were almost all ruined, the roof of the main railway station collapsed and the people sought refuge from the tsunami in the schools and community centres in more elevated locations.

The clean-up work began quickly, but took a lot of time. Many of the city’s inhabitants held out in temporary housing long into the summer months. “It’s estimated that reconstruction will take two years. Until then, the people from the destroyed areas will have to remain in the provisional housing – close-packed, with walls like paper,” explains Kikue Wilhelm, director of the cultural centre at the Sendai Japanese-German Society.

With her support, in early November the Goethe-Institut organized a one-week tour by the Theaterta children’s theatre of six primary schools and youth centres in the crisis region. Roman Moebus’s ensemble devised the programme Atama-ii – Gewitzte Kerle for the anniversary of “150 Years of German-Japanese Friendship” to give children in Germany and Japan a playful insight into the respective other culture.

In Germany, they are presenting the Japanese fairytale Naita Akaoni (literally the weeping red demon) and in Japan The Brave Little Tailor – bilingually but sometimes with more Japanese or more German depending on the audience. The idea was that of actor Anika Herbst, who spent an exchange year in Tokyo during her school days. “My Japanese skills were not yet very developed at that time, but the tale touched me so deeply that I simply had to translate it,” she says. “Later then, we noticed that in spite of the different cultures from which they originate the themes of Naita Aka Oni and The Brave Little Tailor are very similar: both characters use their wit to free themselves from their outsider roles.”

“There is more to it”

In order to demonstrate these parallels between Germany and Japan to Japanese children, too, the Goethe-Institut invited the two performers to a guest performance in Tokyo this March. They therefore then experienced the earthquake on 11 March personally and after their return to Germany were confronted with the fundamental change in the significance of their programme: all at once in Germany it was not just about offering an insight into another culture, but about countering reservations.

“When we played Naita Aka Oni in early April at the Day of Japan, we knew we were doing the right thing,” explains Moebus. “After Fukushima, for these kids Japan only meant nuclear reactors. We showed them there is more to it.” The parents were all surprised that at the end of the show, the children were all suddenly interested in the tea ceremony. “I think it’s more a matter of how it is conveyed. Plays can do a great deal for understanding between cultures.”

With the performances of The Brave Little Tailor seven months later in Japan, the two hoped to give courage to the children in the crisis region, and in particular given their new outsider role, to look “bravely” into the future. As it is, this is still sorely needed at some of their stops, for instance Takasago Primary School. In the gym many signs with the names of towns on the walls remind one that this hall was used as a refuge.

The big and little tricks of the trade

Theaterta carries a kind of magic wall in their bags, behind which the poor flycatcher becomes a true hero and takes up with the pair of giant brothers using a ruse. When it then comes to the contest in stone throwing and the two seem to make an endless throw, the children can hardly contain their excitement in spite of their teachers’ reprimands. This is why Anika Herbst especially likes performing at schools. “In groups, kids are more at ease. They behave when their parents are at their sides. The energy in the audience is entirely different.”

Roman Moebus is certain, “A child only needs to see me once playing the princess in a tutu – they never forget it.” Then, at the end of the show, the children are curious: was that really a stone that was thrown? Where did the birdsong in the enchanted forest come from and how did the tailor transform a piece of fabric into a skirt so quickly? The performers show them their props and explain all the big and little tricks of the trade to the children. Later, during their lunch break in the schoolyard, the kids do not hesitate to join them.

The next day, before the final performance of the one-week tour, a drive through Sendai’s mountains is on the schedule. Here, the streets show signs of use and unevenness compared to those in the city. “The earth by the sea is softer and sways more than the earth here in the mountains,” a local explains, “which is why the area was hit so hard.“ In Tokyo, until last autumn these mountains were a popular destination for weekend excursions. But, it will take some time before the excursionists return to this area, situated 80 kilometres from the reactor ruins. Anika Herbst and Roman Moebius, however, a sure that they will return. They want to perform in the region around Iwate and Kesenuma, where at present the clean-up work is still underway.