'I quite agree. I'm sure you mean the passage after "How slow the day ends by the Chinese bridge at Seta." '
'Yes, that's the place. How-ow slo-ow the da-ay...' Mangiku sang the passage in question, beating time with his delicate fingers.
'I'll tell him. I'm sure that the gentleman from Sakuragi Street will understand.'
'Are you sure you don't mind? I feel so embarrassed about making a nuisance of myself all the time.'
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Mangiku was accustomed to terminate a conversation by standing, once his business had been dealt with. 'I'm afraid I must bathe now,' he said. Masuyama drew back from the narrow entrance to the dressing-room and let Mangiku pass.
Mangiku, with a slight bow of the head, went out into the corridor, accompanied by a disciple. He turned back obliquely towards Masuyama and, smiling, bowed again. The rouge at the corners of his eyes had an indefinable charm. Masuyama sensed that Mangiku was well aware of his affection.
4 The troupe to which Masuyama belonged was to remain at the same theatre through November, December, and January, and the programme for January had already become the subject of gossip. A new work by a playwright of the modern theatre was to be staged. The man, whose sense of his own importance accorded poorly with his youth, had imposed innumerable conditions, and Masuyama was kept frantically busy with complicated negotiations intended to bring together not only the dramatist and the actors but the management of the theatre as well. Masuyama was recruited for this job because the others considered him to be an intellectual.
One of the conditions laid down by the playwright was that the direction of the play be confided to a talented young man whom he trusted. The management accepted this condition.
Mangiku also agreed, but without enthusiasm. He conveyed his doubts in this manner: 'I don't really know, of course, but if this young man doesn't understand kabuki very well, and makes unreasonable demands on us, it will be so hard explaining.'
Mangiku was hoping for an older, more mature - by which he meant a more compliant - director.
The new play was a dramatization in modern language of the twelfth-century novel If Only I could Change Them! The managing director of the company, deciding not to leave the production of this new work to the regular staff, announced it would be in Masuyama's hands. Masuyama grew tense at the 154
thought of the work ahead of him but, convinced that the play was first-rate, he felt that it would be worth the trouble.
As soon as the scripts were ready and the parts assigned, a preliminary meeting was held one mid-December morning in the reception room adjoining the office of the theatre owner.
The meeting was attended by the executive in charge of production, the playwright, the director, the stage designer, the actors, and Masuyama. The room was warmly heated and sunlight poured through the windows. Masuyama always felt hap-piest at preliminary meetings. It was like spreading out a map and discussing a projected outing: Where do we board the bus and where do we start walking? Is there drinking water where we're going? Where are we going to eat lunch? Where is the best view? Shall we take the train back? Or would it be better to allow enough time to return by boat?
Kawasaki, the director, was late. Masuyama had never seen a play directed by Kawasaki, but he knew of him by reputation.
Kawasaki had been selected, despite his youth, to direct Ibsen and modern American plays for a repertory company, and in the course of a year had done so well, with the latter especially, that he was awarded a newspaper drama prize.
The others (except for Kawasaki) had all assembled. The designer, who could never bear waiting a minute before throwing himself into his work, was already jotting down in a large notebook especially brought for the purpose suggestions made by the others, frequently tapping the end of his pencil on the blank pages, as if bursting with ideas. Eventually the executive began to gossip about the absent director. 'He may be as talented as they say, but he's still young, after all. The actors will haye to help out.'
At this moment there was a knock at the door and a secretary showed in Kawasaki. He entered the room with a dazed look, as if the light were too strong for him and, without uttering a word, stiffly bowed towards the others. He was rather tall, almost six feet, with deeply etched, masculine - but highly sensitive - features. It was a cold winter day, but Kawasaki wore a rumpled, thin raincoat. Underneath, as he presently disclosed, 155
he had on a brick-coloured corduroy jacket. His long, straight hair hung down so far - to the tip of his nose - that he was frequently obliged to push it back. Masuyama was rather disappointed by his first impression. He had supposed that a man who had been singled out for his abilities would have attempted to distinguish himself somehow from the stereotypes of society, but this man dressed and acted exactly in the way one would expect of the typical young man of the modern theatre.
Kawasaki took the place offered him at the head of the table.
He did not make the usual polite protests against the honour.
He kept his eyes on the playwright, his close friend, and when introduced to each of the actors he uttered a word of greeting, only to turn back at once to the playwright. Masuyama could remember similar experiences. It is not easy for a man trained in the modern theatre, where most of the actors are young, to establish himself on easy terms with the kabuki actors, who are likely to prove to be imposing old gentlemen when encountered off stage.
The actors assembled for this preliminary meeting managed in fact to convey somehow their contempt for Kawasaki, all with a show of the greatest politeness and without an unfriendly word. Masuyama happened to glance at Mangiku's face. He modestly kept to himself, refraining from any demonstration of self-importance; he displayed no trace of the others' contempt.
Masuyama felt greater admiration and affection than ever for Mangiku.
Now that everyone was present, the author described the play in outline. Mangiku, probably for the first time in his career -
leaving aside parts he took as a child - was to play a male role.
The plot told of a certain Grand Minister with two children, a boy and a girl. By nature they are quite unsuited to their sexes and are therefore reared accordingly: the boy (actually the girl) eventually becomes General of the Left, and the girl (actually the boy) becomes the chief lady-in-waiting in the Senyoden, the palace of the Imperial concubines. Later, when the truth is revealed, they revert to lives more appropriate to the sex of their birth; the brother marries the fourth daughter of the Minister of the Right, and sister a Middle Counsellor, and all ends happily.
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Mangiku's part was that of the girl who is in reality a man.
Although this was a male role, Mangiku would appear as a man only in the few moments of the final scene. Up to that point, he was to act throughout as a true onnagata in the part of a chief lady-in-waiting at the Senyoden. The author and director were agreed in urging Mangiku not to make any special attempt even in the last scene to suggest that he was in fact a man.
An amusing aspect of the play was that it inevitably had the effect of satirizing the kabuki convention of the onnagata. The lady-in-waiting was actually a man; so, in precisely the same manner, was Mangiku in the role. That was not all. In order for Mangiku, at once an onnagata and a man, to perform this part, he would have to unfold on two levels his actions of real life, a far cry from the simple case of the actor who assumes female costume during the course of a play so as to work some deception. The complexities of the part intrigued Mangiku.
Kawasaki's first words to Mangiku were, T would be glad if you played the part throughout as a woman. It doesn't make the least difference if you act like a woman even in the last scene.*
His voice had a pleasant, clear ring.
"Really? If you don't mind my acting the part that way, it'll make it ever so much easier for me.'
'It won't be easy in any case. Definitely not,' said Kawasaki decisively. When he spoke in this forceful manner his cheeks glowed red as if a la
mp had been lit inside. The sharpness of his tone cast something of a pall over the gathering. Masuyama's eyes wandered to Mangiku. He was giggling good-naturedly, the back of his hand pressed to his mouth. The others relaxed to see Mangiku had not been offended.
'Well, then,' said the author, 'I shall read the book.' He lowered his protruding eyes, which looked double behind his thick spectacles, and began to read the script on the table.
5 Two or three days later the rehearsal by parts began, whenever the different actors had free time. Full-scale rehearsals would only be possible during the few days in between the end of this 157
month and the beginning of next month's programme. Unless everything that needed tightening were attended to by then, there would be no time to pull the performance together.
Once the rehearsal of the parts began it became apparent to everyone that Kawasaki was like a foreigner strayed among them. He had not the smallest grasp of kabuki, and Masuyama found himself obliged to stand beside him and explain word by word the technical language of the kabuki theatre, making Kawasaki extremely dependent on him. The instant the first rehearsal was over Masuyama invited Kawasaki for a drink.
Masuyama knew that for someone in his position it was generally speaking a mistake to ally himself with the director, but he felt he could easily understand what Kawasaki must be experiencing. The young man's views were precisely defined, his mental attitudes were wholesome, and he threw himself into his work with boyish enthusiasm. Masuyama could see why Kawasaki's character should have so appealed to the playwright; he felt as if Kawasaki's genuine youthfulness were a some how purifying element, a quality unknown in the world of kabuki. Masuyama justified his friendship with Kawasaki in terms of attempting to turn this quality to the advantage of kabuki.
Full-scale rehearsals began at last on the day after the final performances of the December programme. It was two days after Christmas. The year-end excitement in the streets could be sensed even through the windows in the theatre and the dressing-rooms. A battered old desk had been placed by a window in the large rehearsal room. Kawasaki and one of Masuyama's seniors on the staff - the stage manager - sat with their backs to the window. Masuyama was behind Kawasaki.
The authors sat on the tatami along the wall. Each would go up centre when his turn came to recite his lines. The stage manager supplied forgotten lines.
Sparks flew repeatedly between Kawasaki and the actors.
'At this point,'Kawasaki would say,'I'd like you to stand as you say, "I wish I could go to Kawachi and have done with it."
Then you're to walk up to the pillar at stage right.'
'That's one place I simply can't stand up.'
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'Please try doing it my way.' Kawasaki forced a smile, but his face visibly paled with wounded pride.
'You can ask me to stand up from now until next Christmas, but I still can't do it. I'm supposed at this place to be mulling over something. How can I walk across stage when I'm thinking?'
Kawasaki did not answer, but he betrayed his extreme irritation at being addressed in such terms.
But things were quite different when it came to Mangiku's turn. If Kawasaki said, 'Sit!' Mangiku would sit, and if he said
'Stand!' Mangiku stood. He obeyed unresistingly every direction given by Kawasaki. It seemed to Masuyama that Mangiku's fondness for the part did not fully explain why he was so much more obliging than was his custom at rehearsals.
Masuyama was forced to leave this rehearsal on business just as Mangiku, having run through his scene in the first act, was returning to his seat by the wall. When Masuyama got back, he was met by the following sight: Kawasaki, all but sprawled over the desk, was intently following the rehearsal, not bothering even to push back the long hair falling over his eyes. He was-leaning on his crossed arms, the shoulders beneath the corduroy jacket shaking with suppressed rage. To Masuyama's right was a white wall interrupted by a window, through which he could see a balloon swaying in the northerly wind, its streamer proclaiming an end-of-the-year sale. Hard, wintry clouds looked as if they had been blocked in with chalk against the pale blue of the sky. He noticed a shrine to Inari and a tiny vermilion torii on the roof of an old building near by. Farther to his right, by the wall, Mangiku sat erect in Japanese style on the tatami. The script lay open on his lap, and the lines of his greenish-grey kimono were perfectly straight. From where Masuyama stood at the door he could not see Mangiku's full face; but the eyes, seen in profile, were utterly tranquil, the gentle gaze fixed un-waveringly on Kawasaki.
Masuyama felt a momentary shudder of fear. He had set one foot inside the rehearsal room, but it was now almost impossible to go in.
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3
Later in the day Masuyama was summoned to Mangiku's dressing-room. He felt an unaccustomed emotional block when he bent his head, as so often before, to pass through the door curtains. Mangiku greeted him, all smiles, from his perch on the purple cushion and offered Masuyama some cakes he had been given by a visitor.
'How do you think the rehearsal went today?'
'Pardon me?' Masuyama was startled by the question. It was not like Mangiku to ask his opinion on such matters.
'How did it seem?'
'If everything continues to go as well as it did today, I think the playll be a hit.'
'Do you really think so? I feel terribly sorry for Mr Kawasaki. It's so hard for him. The others have been treating him in such a high-handed way that it's made me quite nervous.
I'm sure you could tell from the rehearsal that I've made up my mind to play the part exactly as Mr Kawasaki says. That's the way I'd like to play it myself anyway, and I thought it might make things a little easier for Mr Kawasaki, even if nobody else helps. I can't very well tell the others, but I'm sure they'll notice if I do exactly what I'm told. They know how difficult I usually am. That's the least I can do to protect Mr Kawasaki. It'd be a shame, when he's trying so hard, if nobody helped.'
Masuyama felt no particular surge of emotions as he listened to Mangiku. Quite likely, he thought, Mangiku himself was unaware that he was in love: he was so accustomed to portray-ing love on a more heroic scale. Masuyama, for his part, considered that these sentiments - however they were to be termed
- which had formed in Mangiku's heart were most inap-propriate. He expected of Mangiku a far more transparent, artificial, aesthetic display of emotions.
Mangiku, most unusually for him, sat rather informally, im-parting a kind of languor to his delicate figure. The mirror reflected the cluster of crimson asters arranged in the cloisonne vase and the recently shaved nape of Mangiku's neck.
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Kawasaki's exasperation had become pathetic by the day before stage rehearsals began. As soon as the last private rehearsal ended, he invited Masuyama for a drink, looking as if he had reached the end of his tether. Masuyama was busy at the moment, but two hours later he found Kawasaki in the bar where they had arranged to meet, still waiting for him. The bar was crowded, though it was the night before New Year's Eve, when bars are usually deserted. Kawasaki's face looked pale as he sat drinking alone. He was the kind who only gets paler the more he has had to drink. Masuyama, catching sight of Kawasaki's ashen face as soon as he entered the bar, felt that the young man had saddled him with an unfairly heavy spiritual burden. They lived in different worlds; there was no reason why courtesy should demand that Kawasaki's uncertainties and anguish should fall so squarely on his shoulders.
Kawasaki, as he rather expected, immediately engaged him with a good-natured taunt, accusing him of being a double agent. Masuyama took the charge with a smile. He was only five or six years older than Kawasaki, but he possessed the self-confidence of a man who had dwelt among people who 'knew the score'. At the same time, he felt a kind of envy of this man who had never known hardship, or at any rate, enough hardship. It was not exactly a lack of moral integrity which had made Masuyama indifferent to most of the backstage gossip directed against him, now that he was securely pla
ced in the kabuki hierarchy; his indifference demonstrated that he had nothing to do with the kind of sincerity which might destroy him.
Kawasaki spoke. 'I'm fed up with the whole thing. Once the curtain goes up on opening night, I'll be only too glad to disappear from the picture. Stage rehearsals beginning tomorrow!
That's more than I can take, when I'm feeling so disgusted. This is the worst assignment I've ever had. I've reached my limit.
Never again will I barge into a world that's not my own.'
'But isn't that what you more or less expected from the outset? Kabuki's not the same as the modern theatre, after alL'
Masuyama's voice was cold.
Kawasaki's next words came as a surprise. 'Mangiku's the 161
hardest to take. I really dislike him^ I'll never stage another play with him.' Kawasaki stared at the curling wisps of smoke under the low ceiling, as if into the face of an invisible enemy.
'I wouldn't have guessed it. It seems to me he's doing his best to be cooperative.'
'What makes you think so? What's so good about him? It doesn't bother me too much when the other actors don't listen to me during rehearsals or try to intimidate me, or even when they sabotage the whole works, but Mangiku's more than I can figure out. All he does is stare at me with that sneer on his face.
At bottom he's absolutely uncompromising, and he treats me like an ignorant little squirt. That's why he does everything exactly as I say. He's the only one of them who obeys my directions, and that burns me up all the more. I can tell just what he's thinking: "If that's the way you want it, that's the way I'll do it, but don't expect me to take any responsibility for what happens in the performance." That's what he keeps flashing at me, without saying a word, and it's the worst sabotage I know.; He's the nastiest of the lot.'