Review

In Yano’s version of Mishima’s drama, he added an additional female character to the original three. He also changed the original drama as if it is the hallucination of this imaginary character. She sits in the center of the stage and is assimilated into the drama that unfolds behind her between a painter and a woman, which only seems to amplify the madness of these women. By layering and subtly delaying lines Yano shows the delicacy of his directing style through the limited and yet tense body of the actors onstage.
(Kyoko Azumi. Critic from Chunichi Newspaper)

Director's Note

I know of no other playwright in Japan who can write dramas with as much purity of thought and extreme artificiality of style as Yukio Mishima. The words in his dramas are so aesthetic and decorative, and far removed from the everyday Japanese sense. However, at the same time his language is perfect and artificial with no waste.

By using the texts' extreme artificiality, I think that I want to transform the theater into a "field of thought". And, I would like to investigate the possibility of dialogue once again by our own means.

If possible, I'd like to create a real drama between humans who clash with each other and put their entire selves on the betting table, rather than a drama that mimics human day-to-day interactions. I'd like to catch a glimpse of "the essence" of human existence.
Yano Yasuhito