Respectable Again

Abstract

1924 was an important year for modern Japanese theatre. Out of the destruction of the Great Kantō Earthquake of September the previous year came two ventures that focused attention on the theatre and helped to ensure that drama took its rightful place in the culture of modern Japan. The first of these was a new theatrical journal with the name Engeki Shinchō (New Tides in Drama), first published in January. Its first run lasted until June of 1925; in April of 1926 it was taken over by a different publisher and the second run lasted until August 1927. In its vigorous first year Engeki Shinchō brought together all the leading personalities of the contemporary theatre and filled its pages with discussions of contemporary problems, articles on drama theory and original play texts. The first issue contained an appendix entitled ‘Who’s who in contemporary theatre?’, and one section of this was devoted to playwrights. Questionnaires had been sent out and playwrights had been asked to give (a) their date and place of birth, (b) a short account of their careers, and (c) a list of their major works. Mayama Seika’s reply under (b) simply mentioned that he had failed to graduate from a number of educational institutions, and for (c) he wrote: ‘Only plays written to make a living. Being under contract to write for Shōchiku means that in a strict sense one’s plays are not one’s own.’¹