Hanjo

German Photographer, Yoram Roth, Pays Tribute to Yukio Mishima’s Noh Opera Adaptation

A sullen geisha sitting alone at a station, Hanako waits, For years, she has waited every day in the same place, gripping a treasured fan in her hand.

Such an exquisite beauty, she was noticed by all. The world wondered how she could be so passively obsessive. The conclusion was that she must be mad.

What her spectators didn’t know was that the fan she held was the embodiment of a vow she had made to the man who possessed her heart. Hanako had promised to love Yoshio eternally. When he had to depart, he had given her a fan to represent their love, which would be requited upon his return. And so she had sworn that she would wait.

Reprint of August 1983 article

You switch on your TV set any day of the week and there’s Oshima Nagisa conversing about things sociological on a mid-day women’s program or on the panel of a “Whodunit” murder-quiz or, a few days ago, introducing the highlights of Star Wars. He even appears clad in shorts and wielding a butterfly net in a current anti-cockroach TV commercial. Ten years ago, Oshima Nagisa was the darling of dissent, the hirsute enfant terrible of the Japanese cinematic New Wave which he had virtually created in 1960. Whatever Oshima was then, it was and still is impossible to hang a label on him. His radical ideas and politically oriented films placed him in the camp of the leftists, but his Night and Fog in Japan denounced the power-hungry in-fighting and monolithic structure of Japan’s leftist factions. In a country in which everyone voluntarily ascribes to one group or other, Oshima stands alone.