Yuri Yamada

Et pourtant j’aimerais bien te comprendre...

Archive 2022
Theatre
Maison de la culture du Japon à Paris
novembernov 4 – 9

© Et pourtant j’aimerais bien te comprendre..., Yuri Yamada © Kengo Kawatsura ©

© Et pourtant j’aimerais bien te comprendre..., Yuri Yamada © Kengo Kawatsura ©

© Et pourtant j’aimerais bien te comprendre..., Yuri Yamada © Kengo Kawatsura ©

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1h10

Text and stage, Yuri Yamada
With  Minami Ohba, Masayuki Yamamoto, Mayu Sakuma, Konomi Otake, Misaki Yatabe
Music, Yuumi Kanemitsu
Scenography,Tomomi Nakamura
Lights, Kazuya Yoshida
Sound, Yuji Tsutsumida
Costumes, Kyoko Fujitani, Daiki Yamaguchi
Staging assistant, Yasushi Kurotaki
General management, Chikage Yuyama
Producer, Asami Hori

Produced by ZEITAKU BINBOU
Co-directed by the House of Japanese Culture in Paris; Festival d’Automne à Paris 

With support from the Foundation for the Study of Japanese Language and Civilization, housed by Fondation de France, Fondation franco-japonaise Sasakawa and Arts
Council Tokyo (Tokyo Metropolitan Foundation for History and Culture)

Yuri Yamada, the director, actress, script writer and militant feminist brings us a humorous, intelligent opus on an issue that creates a true gender divide, that of pregnancy. On the border between classical register and a theatre of anticipation, the Tokyo artist gives free reign to outlandish scenes and hypotheses. 

In their western-style living room, a young couple talks things over, from time to time. The jokey, distant timbre sets the tone for the incessant bantering, and which glosses over the unsaid. In brief, the young woman cannot bring herself to tell her partner that she is pregnant. Shifting between ultra-realistic dialogues and near-fantastical lyricism, the piece brings to the stage the many questions that the protagonist is plagued by. It does so in a progressive way, in the form of a mosaic diffracted between the different female characters. Quirky, occasionally vaudeville, and bitter in of tragi-comic way, the acting clashes with the gentle décor. In addition, the stage design sets up collisions between the visible and the invisible, realism and symbolism – before the piece finally spirals out of control.  Yuri Yamada’s production is a lesson in the art of paradox, and she achieves her aim - of mapping out a kaleidoscope of the reality of couples in today’s Japan, in a society which is more patriarchal than it would seem - in a masterful way.       

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