今回はモシェさんのインタビューのアンコール企画として
今まで公開しきれなかった写真や
英語のままのインタビュー記事
を公開していきます。

新宿パークタワーホテルにて：インタビュー中のモシェさん

ワークアウトでは通訳が入りモシェさんの言葉を正確に訳しながら進んでいきます

円になって手を叩きながらそれを伝えていくエクササイズ

マイムの基本　見えない壁を感じながら押すエクササイズ

道具を使って感情を遊ぶエクササイズ

 

感情を大きく表現するだけではなく、自分の世界を静かに作り上げていくことが基本

 

どんな小さなことでも常に相手の反応を見ながら場を作り上げるモシェさん

その総決算としての即興演劇

いかがでしたでしょうか？
よりいろいろな「何か」が伝わったのではないかと思います。

「ノウハウ」や「スキル」といったものを伝えるためには
音声や書き起こしやインタビューだけでも十分伝わります。

ただ、感情、生の空気感、雰囲気、などなどは
生の現場から離れれば離れるほど
どんどんそぎ落ちて行ってしまいます。

ノウハウを学ぶことも大事です。
ただ、ビデオ教材や、テレビ教育、インターネットが普及した現代においては

あえて、かなり意識的に学ぼうとしない限り
生以外ではそぎ落ちてしまう何ものかを学ぶことはできません。

このインタビュー記事が、こういうライブの場に参加していただく
きっかけになることを祈っております。

林　洋一

英語のままのインタビュー記事

Q  I want to ask you about your history

 

A:  I was born in Los Angels.

And I brought up in Europe.

    1 year in Germany, 3 years in Brussels Belgium 4 years in Paris ,when I was in 9 – 17.

 

    I went to University in Calfornia. Davis.

    I had Business Bachelor’s degree and Agricultural economics.

    My father is an engineer, satellite

    At that time, I wanted to be an engineer.

 

 

Q: When did you start “Juggling” ?　

 

A: I was about 20. I went to Europe to visit where I lived as a child. My friends asked me to do a show

  in the town. So I did the show. I enjoyed. I thought that was great.

After 2 years work in Merill Lynch (the Stock brokerage firm), I quit the job and went to Montreal in Canada.

 

Then I started doing Street shows, Street performer as a Juggler.

 

A: At the beginning, I tried to be funnier.

  I found it challenging to make people laugh. That was very interesting.

  People laughed, but I didn’t understand why I was funny.

 

  I wasn’t clear why I was funny.

  I had no theater training.

 Then I started taking work shops.

  I studied with my Clown teacher in Montreal.

 

 

Q: Who was your Clown teacher in Montreal ?

　

A: “Richard Pochinko”.

 （He is a notable Canadian clown trainer who developed a new style of mask/clown performance

training, known as the “ Pochinko technique”.）

  I took workshops in movement theater, physical theater, and mime.

  And also took workshop about clowning with Richard Pochinko for 7 weeks.

 

 

I like his method a lot,because that is very similar to the work we did.

His method involved “Channeling”, something like meditation.

We worked with an archetype of energies.

 

We have energy currency running through our bodies.

We’re born with energy. Every person’s energy is different.

In Native American tradition, we have energies from the East, West, South, North,below, above.

 

They often work with 6 directions.

The energy of the North, and taking that energy, just being in that energy field.

Doing exercise for example,.breathing ”Fu-Fu-Fu Fu”, “North North North”,

 

Then we would vibrate our bodies., and we’ll get a feeling with coming from this.

What feeling did you have?  Then we play that feeling.

We got a different feeling each other.

 

Before we started doing the vibration, we had a clay on the ground.

And we would create 6 masks with closed eyes, by meditating on each direction.

  We would play that energy in both as experience and as innocence.

  So we would get two different expressions from that.

 

  At the end, after 6times,we would have 12 expressons.

  He would say “mask 1” and you go, and “mask2” “mask3”….and we would play.

  He also worked with levels,0-6. that comes from him.

 

 As the weeks progressed, we had more expressions.

It’s very complicated method,but the simple part of it was the vibration,and that energy we played.

  The reality was that “mask 7” was the center and these expressions were around it.

 

  His method that is allowed us to find work was strongness, and learning how to play the humor in these energies.

 

　That’s what our clown world.

  And that ‘s what we brought on the stage in the world.

 

 

 

I also studied in Paris. I took a workshop with Phillippe Gaulier.

He came from Le coq school.

  (He is very famous as a playwright ,theater director, and worked as a clown in the world)

 

　I studied “Neutral Mask”.

  Then I started studying “Voice” with Roy Heart Theater.

　So these resonances came from the Roy Heart Theater.

 

Q: When did you first come to Japan ?　

 

A: In 1992, 3months in Tokyo by Bunka-cho ( agency for Cultural Affairs ) fellowship

  Japanese mime artist “Yayoi Hirano “ adviced me to apply for the fellowship, and I got it.

  I studied “KYOU-GEN” with several different people.

 

  And I learned about Shigeyama ( Noh comic actor )

  I studied with Kaoru Matsumoto (Noh comic actor)

  And I studied “ KABUKI”.

 

 

 

A: I also studied “Butoh-Dance” with Kazuo Ohno who is one of the founders at the very very beginning.

He is 103 years old. It’s very expressive with their bodies. So when I came back to perform in his festivals,

I’d go back to his studio and studied more. I spent 1 month going to his workshops three times a week.

 

 

Q: When did you come to Japan, after that ? 

 

A: In 1995, 1996, 1997. I performed at the theater festivals in different places of Japan..

　

 

Q: When did you start to join with “Clown Without Borders” ?　

 

A: “Clown Without Borders” started in Spain in 1993.

   Yugoslavia, Bosnia, Croatia…..

   Before that, in1987, I’ve already done some shows, I went to Chiapas in South of Mexico.

 

   There was a civil war. There are Refugees living in South Mexico.

   A friend of mine invited me to come in perform for the Refugees, so I went.

   I was surprised by how strong I felt about that work.

 

   It was a situation where people didn’t have very much.

   I felt stronger urgency need for that.

 

  

   In 1991 I went to Cape Town in South Africa,

   A friend of mine from South Africa invited me to come in work there ,then I did.

   I did shows in Black schools and in the townships.

 

　 I went there to work with Street Children with a social worker whose job was to support Street Children.　I taught them Juggling, and we would play.

 

When I knew “Clown Without Borders”was started, I thought it was great,

   And then I started working with them and start performing with them.

 

 

　In 1994, I went to Croatia with a French group.,and performed in 11 refugee camps in 8 days.   

That was my first Clown without Borders trip.

 

 Then I started to go to many trips to back to Mexico.

For example, I went to Nepal, there’re refugees in Bhutan,

“Clown without Borders” goes always in the crisis.

 

 So I went to Kosovo twice.

 It’s not dangerous,because I mean refugees get away from danger.

 It was challenging

.( Over the past 25 years, he has given over 2000 performances in 30 plus countries.)

 

 And that’s why my experience comes from.

You can study but the real training is being in front of audience.

 

 

 Recently I went to Haiti, Sudan, and Myanmar twice.

 

 

In 1993, I hold my first Clown work shop at the circus school in San Francisco.

  Then I started teaching in work shops.

In 1995, I found “Clown Without Borders” in the United States.

 

So I brought the organization in the United States.

  I was the director in the United States until last year.

 

 

Around 1997,I started teaching more workshops than performings.

  By 2000, mostly teaching. Maybe 70% teaching, 30% performing.

  By 2005, 80% teaching, 20% performing.

 

　Now it’s usually something like that.

  Of course I love performing.but

   In Festivals,Theaters  they want a new show. They don’t want to bring back the same show.

 

  It’s more difficult to find work.

  And let do younger people.

  If I can help performers who are performing be funnier, or if I can help people who are in regular world be funnier, it’s also doing that work perhaps even more than making performing.

  So I think that’s important.

 

I don’t think my focus on profit or finance.

  I think that if people are happy about being at work, they’re going to produce more.

 

　I feel like I mean my general goal the reason I do this work is because I want to bring more laughter into the world.

  My job is to increase the laughter.

 

Q: How many countries are there joining in“Clown Without Borders”?

　　                                      

 

A: There are 9 organizations. (Spain, France, Sweden, Germany, Belgium, Ireland, South Africa, Canada and the United States.)

　

 

 

Q: Do you think the humor is very important for public speaking ?

                                

 

A: It makes people relax. I think that creating humor opens up the feel.

  That makes it easier for communication.

 

 I facilitated a meeting in Austria last November.

  This was a conference between adults and high school students with difficulties, challenges, behavior, all kinds of things.

 

  My job was to introduce humor to open up their ability for them to communicate.

 This time I took the Tag board game.

 

 And I also played the game, for example, “ You become a monster. How do you play a monster ?”

 One person performed like a monster,and the other person performed like the victim.

 

Each student performed different way of the monster and the victim.

Then reversing the roles.

 

It was just about making in the same level.

Then communication was easier,and more open to talk to the other person.

So that was very valiable.

 

I can bring this type of work to many places.

 

 

Q:Do you have any plan next  ?　

 

A: I’d like to go to South Africa this September.

  There’s a “Clown Without Borders” in South Africa that was started by one of my students.

  And he asked me to come and give a workshop for the performers.

モシェさんインタビューバックナンバー
No.1 世界で活躍する道化師（クラウン）モシェ・コーエンさんに話を伺ってきました
No.2 自分の面白さを知るためにワークショップに出た
No.3 クラウンになるためのトレーニングとは？
No.4 クラウニングの実例
No.5　国境なき道化師団
No.6 アンコール企画　写真＆インタビュー書き起こし英語版