Here we present some of the various opinions you posted on Twitter.
I’d like to make people aware of how much of our daily lives, the way we think and the words we use are all rooted in tradition. I think everyone should recognize that classical theater is not some special, separate thing but something ineluctably intertwined with our lives.
The sense of color in classical theater is the costume that kabuki wears. The color schemes in kabuki costumes are something you would never see in ordinary, everyday clothing. I hope we can convince more people to pay attention to the traditional performing arts.
I believe traditional culture has an extremely valuable role to play in the development of our city. What do we need to do to protect tradition with the passage of time?
Today Tokyo attracts artists in a wide range of genres. I think it would be fun to see collaborations between classical theater and contemporary art happening live before our eyes.
Born in Tokyo in 1959. Hideki Togi is a musician specializing in gagaku, a form of courtly music prevailing in Japan from the Nara period 1300 years ago to the present day. Togi lived overseas as a child, growing as a musician by absorbing music of a wide variety of genres, including rock, classical music and jazz. During his career in the Music Department of the Imperial Household Agency, Togi performed using the hichiriki, a bamboo wind instrument; the biwa, a form of lute; as well as drums, singing, dancing and the cello, among others. In addition to presenting gagaku performances at the Imperial residence and at Imperial court ceremonies, Togi has taken part in concerts overseas and played a vital role in introducing Japan's traditional culture and building international goodwill. His debut album, Hideki Togi, achieved widespread acclaim; and the album Japanese Songs released on 2015. Today Togi engages in collaborations in a diverse array of genres and is passionately involved in creating original compositions and expressions drawing on the inherent flavor of gagaku. He also publishes books such as "35 reasons of being talented on parenting at Togi Family ".
Tokyo is a city where you can have anything from around the world in your hands in an instant. I’m somebody who really likes new things. I’m interested in high-tech stuff. One of the attractions of Tokyo is that you can get right into the frenzy [of the latest new tech] with no delay at all.That’s the Tokyo I love. It’s vibrant, it’s bustling, you can feel the tension in a good way. There’s a strange feeling of expectation here that I love, where you can look all around you and think, What kind of place is this? What’s going to happen here tomorrow? Tokyo is all-encompassing.
Born in Tokyo in 1989. Minosuke Bando is the eldest son of the late Mitsugoro Bando X, the 10th in a line of kabuki performers. In 1991, at the tender age of 3, Minosuke performed for the first time at Ginza's famous Kabuki-za under his own name, playing the part of Karako in the play Kairaishi, in a Buddhist service marking the 17th anniversary of the death of Mitsugoro Bando VIII. In 1995 he appeared for the first time in a kabuki performance at Kabuki-za in the role of Ranpei's child, Shigezo, in Ranpei Monogurui and as a small monkey in Kotobuki Utsubozaru, when he took the name of Minosuke Bando II. In recent years Minosuke has enjoyed great acclaim as a young kabuki artist, being a frequent performer at the Asakusa Shinshun ("New Year") Kabuki during the New Year holiday and at the Kabuki-za Noryo ("Cool Evening") Kabuki Show in August. Minosuke Bando also continues to expand his activity in roles outside kabuki. He has appeared in the movies Sakurada Gate Incident (2010) and The Kiyosu Conference (2013) and in information and travel programs on TV.
I was born and raised in Tokyo, so naturally I think of Tokyo as my hometown. Every time I come back to Tokyo I feel a sense of relief.For me kabuki theater is a window on Tokyo. For example, after I watch a play at Kabuki-za, in which Edo is the stage on which the drama plays out, I can smell the remnants of old Edo as I walk around Tsukiji or Asakusa. Edo is not just an imaginary world that exists only on the stage. It is a presence that you can touch, that is living, in the culture of Tokyo today. You can find anything you want in Tokyo. It is always brimming over with new things. It’s getting more convenient all the time, and the shape of the city changes relentlessly all the time. Yet amid all that, Edo remains. That’s the appeal of Tokyo for me.