安倍季昌先生古稀 三田徳明楽道35周年 記念
舞 楽 The BUGAKU 2013年11月20日（水）19時開演
於：亀戸カメリアホール
記念公演開催にあたって
９歳から雅楽を学び出した私が、中学に入学して最初に安倍季昌先生にご指導いただいた舞楽が「納曽利」だった。
しなやかでありながら力強さを兼ね備える指先の動き。伸びやかで躍動感あふれる追い足。唯一人安倍先生だけが表現し得るこれらの動きを一つも見逃すまい！
との思いで、定期テスト前でも舞の稽古を繰り返していた。
「君の納曽利は安倍先生そっくりだな。先生を横に拡大すると三田君の舞になるよ。」
２５年前、国立劇場音楽公演リハーサルでの兼彦先生のご感想は私には〈微妙〉だったが、確かに大きな励みになった。
他方、安斎省吾先生には何年にも渡ってひたすら「陵王」をご指導いただいた。
「はははぁ！それ、右舞のやり方ね。
それじゃ左舞にならないのよぉ。」
左右双方の舞をするのは宮内庁楽部では
「なし」な話なのだが、安斎先生の分析的且つ
緻密なご指導のおかげで、左舞・右舞双方の
特徴、そして辻流の美学が鮮明に見えてくる
ようになった。
｢アベちゃんとアンザイかぁ。ミタちゃん、
ホント最高の先生に習えてんだぞぉ。
いいなあ。そのうちわかるよ！」
中学生だった私の肩をポンポン！と叩いて、隣町の東儀博先生は
笑顔で励まして下さった。
あの頃と比べると、雅楽は飛躍的に世に広まった。
しかし今世間を見渡して目に入ってくるものの多くは、私が師匠に習ってきた舞楽とはかけ離れたものばかり。
このたび安倍季昌先生の古稀を記念して「私じしんが見たい舞台」を企画、ご出演を打診したところ、所縁の諸先生にご賛同いただくことができ、「本物の舞楽」の舞台がカメリアホールで実現する。
“The BUGAKU” …雅楽愛好者必見の舞台。
雅楽を始めて３５年の節目に、私も舞台袖から大いに楽しみたい。
三田徳明雅樂研究會 代表 三田 徳明
＊チラシにも記した上記挨拶文は、あくまで個人の感想であり、
また特定の団体を想定して書かれたものではないことを
改めて申し添えさせていただきます。
ご迷惑をおかけした皆様にはお詫び申し上げます。
Greetings
I started learning Gagaku at the age of 9. When I entered junior high school, Master Abe Suemasa taught me “Nasori(very unique Right-dance)” as the first Bugaku dance.
During his giving lessons, I had been attracted by the movements of his flexible and powerful finger-tip and his dynamic foot movements.
“I shall never overlook all his movements from the top of the head to the toes.”
I said to myself and I used to repeat the daily Bugaku practices till midnight even in the period of the periodical test of the high school.
25 years ago, after the rehearsal of the performance at the National theatre in Tokyo, Mr.Togi Kanehiko told
me,
“Your Nasori Dance is very similar to Mr.Abe's.
If someone spreads Abe's thin body aside, it will
look like the dance of Mita-Kun with the thick
body”
Those words sounded very ironical to me. But at
the same time it encouraged me very much.
On the other hand, Mr.Anzai Shogo used to
continue teaching me Ranryo-Oh(the most popular
Left-dance) for over ten years.
One day he told me,
“Ha-ha-ha. It is the typical way of Right-dance
movement.
You cannot perform the Left-dance in such a
form.”
At the Music department of the Imperial
Household Agency, performers learn either Right-
dance or Left -dance.
On the other hand, in my case, because of the Mr.Anzai's analytic and detailed instruction, I was able to spread out the field of vision gradually and clearly understand the aesthetics of the characteristic of both Left-dance and Right-dance and the Tuji-Ryu-style.
“Oh, what a lucky guy you are! Your teachers Mr.Abe and Anzai are the most excellent performers now in Japan, aren’t they? Some day in the future you will be able to recognize the real meaning of my saying.”
Mr,Tohgi Hiroshi living in my neighbor town said and encouraged me patting my both shoulders.
In comparison with those times, GAGAKU has become much more popular and common now-a-days.
But most of BUGAKU around me now are totally different from the one which my masters had taught me.
As commemoration of seventy years old of Mr. Abe we plan a memorial GAGAKU event. I think that it should be an ideal event that I myself am eager to take part in. Fortunately once I asked some best performers in Japan to join the event, they accepted my offer with pleasure.
Now it is my great honor that I can show you the memorial Stage "The BUGAKU" at Tokyo Camellia Hall.
I can say that it will be the stage which all the enthusiastic fans of Gagaku want to see.
It is no doubt that this will be the event which all the enthusiastic fans of Gagaku want to see.
I also shall enjoy the finest performance from the side stage together with you all in my 35th anniversary year.
MITA Noriaki,
Principal of MITA NORIAKI Gagaku Academy
Photo by Suzuki Yoshie