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I have finished translating the first part of Domonet’s interview with Arisawa Shoutarou! Thanks for proofreading my masterpiece, @akiyomitsu! Without you I wouldn’t achieve this great work.

The original Domonet interview part 1 can be found here.

「He’s at 120% in character when on stage」Actor Arisawa Shoutarou’s acting and pursuit of the role 【Recommended Figure vol 19】Part 1

Domoplus, a series of interviews introducing men of interest, had the chance to interview the actor Arisawa Shoutarou who is known for his active roles in various stages such as Izuminokami Kanesada in/from the Musical Touken Ranbu. Arisawa Shoutarou, who will be performing as Ban in the upcoming stage adaptation of “Nanatsu no Taizai,” in August of this year, talked about the opportunity to aim at the actor’s way/path and how to face the preparation for his upcoming role.

Full interview under the cut!

The hero that he admires, his inspiration to become an actor

― What inspired Arisawa-san to become an actor?

I came out to Tokyo from Hyogo Prefecture and ever since I was a child, I have been looking for someone to look up to like some kind of a hero. I love the dramas, Kamen Rider and Sentai Mono, and from then on I had that feeling of admiration. Time has passed really fast from there, I quit the extracurricular activities I have been doing on the way,「What should I do from now on?」is what I’ve been thinking that time. My mother brought me an advertisement flier for an audition,「Why not try this kind of work?」she told me.

I was longing for a hero and I liked television, so I was definitely interested in the actor's job before, but I couldn't quite pinpoint it. Then, because my mother recommended it to me,「You can aim for such a job.」, she said. I feel like I was being holding myself back, and from then I decided to never do work halfway, and to do it seriously. I was checking/searching for offices and agencies by own, sending my profile.

— So you had an edge and started working in your current agency?

Now that you mention it, I have sent a lot of documents, so it’s hard to know, right? I didn’t receive any contact (from the offices he applied to). And it was very regrettable, so I thought 「For now, I will go to the capital (Tokyo)」, and moved to Tokyo after I graduated from High School.. At that time, I still didn't know anything about the basic of acting, so I told myself, 「What I should do first is not to enter any office/agency」 so I decided to attend a training school in Tokyo. I think that what I learned from there is connected to my work now.

Being an actor, I met the new me

― Since you have debuted as a full-fledged actor in 2015 for Hyper Projection Engeki『Haikyuu!!』as Kunimi Akira, you have performed various characters; which character have left a (big) impression/impact to you?

I often look back at the characters I have played and thinking which one of them has the impression of, 「I was able to find a good role」 or「This role is very impressive」 – I can’t decide easily. However, if there’s a role that step up among the rest, it is definitely Izuminokami Kanesada from Musical『Touken Ranbu』.

And later I played as a high school student - Nakamura Kazuhiro for Chuubyou Gekihatsu Boy who’s experiencing a painful Junior High School 2nd year Illness (puberty), but I enjoyed that role very much. He’s wearing white gloves, and saying that there’s a “Dark God” living under the gloves. This kind of behavior (behaving in a way characteristic of teenagers going through puberty, esp. by being overly self-conscious; 2nd year of junior high sickness) is something I can’t really like. There was a time that even I was also like that, 「I want to say cool words too」. (Laughs)

However, it was a work that made me feel like I was a Junior High School who’s going through this phase too, although I didn’t show it. Besides, they seems to do a lot of stupid things, the message of the story was also very strong, and it was good that the audience enjoyed it as well. It became a turning point for me.

― When a character’s personality is completely different from yours, do you consider it more interesting?

It is interesting. It also makes me realize,「Even I have a side like this」and I think it’s one of the privileges of being an actor. Sometimes I think about that, there’s a lot people who have not yet express their own nature/personality….. (Laughs)

― Are you hiding it, or are you not even aware of it? (Laughs) By the way, you played a character that is so different from you – have you experienced being influenced by your character?

It is only during the period/process of being involved with the role. For example, with Izuminokami Kanesada, Hijikata Toshizou’s (manly) sword, I have a feeling that I have become the “Ora, ora” type. Because I was told that I have a very gentle personality, well it is not only his “Ora, ora” personality but also his short-temper nature. Now I think that this is a place that is somehow strange. But now I am in front of my next work, I am just being myself.

When you stand on the stage「 You have become the 120% of your role」

― In making a role, What kind of preparation does Arisawa-san care (the most) about?

I got involved with many 2.5D works, but at first I thought「Because it is different from my own personality、I just have to shake away (from my own self) and perform.」But, I started noticing that it was not the case.

When I stand on the stage, the thing that I have to keep in mind is that I need to be 100% of the role but I think I don’t need the part, 「What I would do if I were you」 – if you put emotions and gestures like, 「I think this is what/who you are」 it will become like I’m just being "myself", and the result will be the same no matter what/which role you play. That’s why, 100% is not enough,「I will stand on the stage as if I am in that position – 120%」I have that concept inside of me.

―To get 120%、certain preparation is necessary but what kind of thing are you doing specifically?

Although it is kind of unexpected for me to say, I do not read scripts that much. Of course I read them as part of my preparation/role making at the very beginning, if it’s about history I will do my own research and have my own base. From there, I always challenge myself「Let’s act like this」and try various things I thought myself like, how to talk and act natural and become familiar with the role, the feelings that I will also propose to the director. So I think in my own way, I try to make a lot of suggestions to the director until the character is final/settled.

― So while you are practicing, you’re also doing a lot of trials and errors until you get the feeling you are close to the role.

Not only during the rehearsals, but also during the (whole) run of production. The reactions of the audience during the performance is a very big factor for me, many actors have changed since entering the production, which I think is totally natural. Because it keeps going until the rest of the performances. I also think that there’s a difference between the first day and the rest of the performances.

― Will the character be decided by living as the character, and in engaging/interacting with your co-stars?

That’s right. After all, everyone will change (to be their character). I think that’s the good quality of stage plays. Rather than simply creating the character by myself, I think there are a lot of things to learn/get from the other characters/cast as well. Even if I’m performing the same content many times, a different play is seen every day. It’s was only recently that I noticed such things. And it makes (the work) even more fun.

The tension we get from the very first day「It makes me happy and I’m enjoying it」

― So, at what is the happiest moment you have experienced so far as an actor?

There are many, but I personally like the atmosphere of the first day of the performance. Greeting everyone I have the thought of「I’m glad I’m doing it」. I have been into various productions and I can say that the confidence during the opening day is 100% (special), I have my own challenges with my anxiety but seeing the reactions and applause of the audience「I am really glad I did it. (Hearing my name) is a really nice feeling」. That I can only think so during the first day. But of course I am deeply impressed with the rest of the performances however, if there’s anything I feel better during the first day.

― It is also the right moment to show off the role you’ve been recreating for the very first time.

After all, everyone is also getting fired up. Somehow it feels like the same way as when I was attending the school’s cultural festival during my school days, since it almost feels like a one-time thing – everyone is full of energy and very fired up. And I thought something like that will never change (even in stage plays). It is a pleasure to ask the audience to see what we have been working on, then it will eventually deliver a good result, I also have my company’s (quantity of) heat, and I, as always, will do my best.

― On the first day, Arisawa-san is in the state where the tension is constantly rising.

The tension is all around me, the kind of tension that I can only feel during the first day, it’s very fun and enjoyable. It is also a relief when it is ending safely (with no injury). Thankfully, with all the works I did up until now, 「I did not have my morning coffee」never happened but I’m still anxious from time to time.

Facing the pressure and weakness head on, creating a role by exploring

― Even if the role of Izuminokami Kanesada was already mentioned earlier who left a big impression/impact on you – what can you say about Musical『Touken Ranbu』〜 Musubi no Hibiki, Hajimari no Ne〜 that has just recently come to a conclusion?

I spent about three months with the same friends/partners on a long stage of 50 performances. The atmosphere of the group was really good and everyone is always really friendly, so I was feeling really lonely when it was finished. And since I used a lot of physical energy during the performances, after the show I can’t even move from the wings (side) of the stage anymore, I have those kind of thoughts such as, 「Aah…… It seems like I’m going to melt (as it is), I wonder if I can fall asleep like this」「I don’t want to go home, I want to live here (in the theater) just like that」(Laughs)

― So much so that you can run out of energy during the performance。

With a role that has emotions which is very visible, the amount of heat (energy power) is also important, because it was a character that compromise and carelessness is not allowed at all, I performed every show with my full power so when it ended, I feel like I’m an M (masochist) or something because I have the feeling of wanting to do it all over again (Laughs). And since it became part of my life now, even during my day off, I feel like「I will do my best again tomorrow」, and if I I’m free for a week or two, it is more like, 「I do not have any performance (today) , I feel somewhat lonely.」- kind of feeling. Also whenever I wake up in the morning with a jump, I’m like「Uwa, this is bad! I didn’t go to the theater!」 (Laughs). Even during my day off, 「I overslept! 」I’d say with a surprise and will jump (out of the bed).

― It looks like it is imprinted in your consciousness (Laughs)? Although you have said that they (Team Bakumatsu with Tomoegata Naginata) are a good company, was there any impressive episode during the performance period?

As we cherished the time we have with each other, (because we only cared about the time we can be together), we’re always together with someone (from the team) to eat outside. In local areas, we only have one performance (in the afternoon), sometimes, I go out to watch baseball and six people were beautifully divided into two-man groups of people. Members going out for lunch, members going out for hot springs, and then there’s me and Imari-kun (Nagasone Kotetsu’s actor = Imari Yu) together watching baseball.

It should have been done separately, but for some reason it will end with the six of us all together for dinner and like 「Huh? Who contacted you? 」「Why are you all together? 」(Laughs). We did not plan to gather at all, but it happened and it was a good feeling.

― What kind of scene does Izuminokami Kanesada left an impression?

It was my first time to do such kind of work, it was also my first time with Hijikata Toshizo, was there any person who actually existed – stood on stage? The weight (of the pressure) of the work was there. For the first time I feel like I have something like responsibility since he’s a really popular character and also has a very huge content (Content may be delivered via any medium such as the internet, television, and audio CDs, as well as live events such as conferences and stage performances.)

― After all, did you have any pressure there?

There is. The work itself, every performance, 「Exceeding the previous work」- it is a work that has been continued being told, and I thought we should never break what we have accumulated so far during our time. 「This is so cool」- what I actually felt when I look at the script. In this work (Musubi no Hiki, Hajimari no Ne) I felt like I have to go far beyond the previous works. During the first meeting, I thought it would be a work that could surely be evaluated in the theater word, and with that I felt some pressure as well.

― Although you seem troubled by recreating the role、what kind of difficulties have you encountered?

My last appearance in Musical『Touken Ranbu』〜Bakumatsu Tenrouden〜, the emotions were suppressed too , and for the emotions to be shown (on the table) for the current work – all emotions and pleasures were packed up, that means if he is a light character, then it will come in handy (bitter smile), but since it was not only established by form, I got things (advices) from the people around me, and because of that I have made this role.

Since then, I felt a lot of things to catch up and it was a difficult part. Even if I intend to be angry, you won’t be able to see it. If you do not have (genuine) love for the character’s partner, you won’t look angry at all. We can’t reach that kind of feeling if we didn’t properly established the relationship of each character – so I think relationship with the co-starts are also important. So I thought it would be the hardest thing to get angry. However, it was very unpleasant to become like a dashing brother who is constantly yelling, and there was considerably a struggle, yes.

― Regarding that part, have you reached a convincing point?

I don’t know if this a correct answer, but I think I was able to do it, there’s a sense that I feel like I was able to find an answer within myself. However, I felt 「I do not have my weakness yet」in the scene where I get angry, so I think that it was good in the sense that I have found my weak point.

Arisawa-san who talked about his feelings towards the play while carefully choosing his words and with a gentle tone. From the phrase, 「Tension from the first day (of the performance) it is fun and enjoyable」- I felt the strength of the core and the passion within him. In the second part we talked about watching and aiming for the image – the manner of spending his day off, the story about his part-time job, etc. so please look forward to it!

The second part is now on the work! Thank you so much and I apologized for the long wait, please credit me and Aki for the effort we have both spent for the interview. It was all fun translating, to be honest. Despite him using a very polite structure and all. See you on the second part!

PS: They might have some changes from time to time because I love editing stuff! Sooo....*sweats*

Reference:

オラ(ora) is a slang term, coined by the Japanese “Yankii”. The Yankii are a Japanese group, kind of resembling punks or greasers (if you want to go back that far). They have a very distinct style, demeanor (basically pretty rude and in your face) and most importantly jargon.

Chuubyou Gekihatsu refers to teenagers going through puberty, esp. by being overly self-conscious; 2nd year of junior high sickness.

HIjikata Toshizo is the proud owner of Izuminokami Kanesada.

#arisawa shoutarou #shoutarou arisawa #有澤樟太郎 #arisawa shotaro #shotaro arisawa #interview translation

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