Voice of Branka Takahashi
Branka Takahashi is a Serbian writer, photographer, and actor who has written scripts and appeared onstage. Currently staying in Frankfurt, Germany, she has contributed an essay about her feelings for Mado, which she still cannot forget.
“Mado's World, the World's Mado” — Branka Takahashi
Thirty years already? Only thirty years? In the case of “Mademoiselle Cinema,” both are true. Looking at Mado, so youthful and always trying to stretch itself (to grow?), it seems strange that it is really a fully fledged “adult.” What's more, it has lasted as long as the married life of this yoooung, young 53-year-old me (laughs), which feels as though it began just the other day, so out bursts my astonishment: thirty years already⁉ On the other hand, it also feels like a presence that has always been in the background of our lives, since long ago, so I can also think: only thirty years⁉
When Jadranka (ヤドランカ), the singer and painter from Bosnia, first took me to Session House, Takashi (孝) uttered a memorable line: “Yadoranka, Buranka… nantoka naranka?”—“Jadranka, Branka… can't something be done?” It was in the 1990s. That was also when I heard about Mademoiselle Cinema. But I had my hands full getting used to Japanese and life in Japan, so dance was out of the question. By contrast, when I was in Munich because of my husband's work, Takashi invited me: “We're collaborating with a dancer from Pina Bausch's company in Wuppertal; would you like to come and see?” I went with another Japanese friend. Stiff in both body and brain, I was allowed to join in an improvisation and got a little taste of the pleasure of dancing onstage. To “fast-forward” this memory, when I performed a one-person play at Session House Garden in 2010, I was dancing, even if only a little. I devised a bit of choreography myself and danced it in front of Naoko! How presumptuous! To return to Wuppertal, I met Atsuko Murakumo (村雲敦子), who lives in Germany, and almost 20 years later the two of us would appear in Mado's “Her Chair.” Back then, wearing a red turtleneck sweater (there is a photograph), I never dreamed that I would stand onstage with Atsuko, whom I had just met, and the young women of Mademoiselle Cinema.
After my life abroad ended and I returned to Japan, I spent the next 12 years in Tokyo. I probably saw all of Mado's performances. As Mado gradually began to incorporate words into its works, it became an increasingly close presence for me. For me, someone who uses words as a means of expression, the fusion of words and dance has an incomparable impact. When Naoko told me her rough idea for “Her Chair,” I excitedly wrote dialogue. Coordinating it with Atsuko's dialogue and coordinating our movements with the dancing young women was tremendous fun. Many writers are not good at teamwork, and I lean toward that type too. Even when I stand onstage, it is mainly in one-person plays. At first I worried about how “Her Chair” would turn out, but with Naoko's gentle yet assured guidance, and the cooperation of dancers perfectly in harmony both physically and mentally, as soon as a rehearsal ended I could hardly wait for the next one. If I remember correctly, “Her Chair” itself was performed three times. The second was better than the first, and the third better than the second. I wanted to keep doing it! I wanted to show it to everyone in Tokyo, then get on a train and perform it throughout Japan. After showing it to everyone in Japan, I wanted to get on a plane and perform it here and there around the world. That is how strongly I feel this work can speak to everyone.
And then, amazingly, just as I had wished, plans began for a performance in my homeland, Serbia. Unfortunately, however, because of matters such as funding and the differences between Japan's and Europe's responses to COVID, the plan fell through. I am so disappointed… The organizer told me, “Let's regard it as postponed, not canceled,” but I feel we may have missed the moment. Still, life does not offer only unpleasant surprises, and you can never know where or what unexpected good fortune is waiting. Following the example of Mademoiselle Cinema, which is constantly opening new paths, I too will put all my energy into tomorrow rather than yesterday.
Branka Takahashi
Excerpt from Voice of Session House 2023
