Kabuki's leading lights look to the futureーNHK WORLD-JAPAN NEWS

Turning to the traditional Japanese performing art of Kabuki, two big stars have been sharing the stage in Tokyo recently. Onoe Kikugoro, 8th, and Ichikawa Danjuro, 13th, are more than just fellow actors. In many ways, they're lifelong companions ever since they were classmates at elementary school. NHK World's Katayama Chieko spoke with them about growing up together and their thoughts on the future of Kabuki. The annual Dankick Festival at Tokyo's Kabuki theater is always a crowd pleaser. It brings together two of the great acting families of the centuries-old Kabuki world, represented by stars Onoe Kikugoro, 8th, and Ichikawa Danjuro, 13th. Both are successors of their families' traditional acting styles. When we were students, we used to talk about wanting someday to perform both daytime and evening plays just like our fathers did. I remember that. We used to talk about it a lot. I'm truly happy that we can celebrate the Dankick Festival together like this. One highlight of this year's program is the classic play, Sukeroku, The Flower of Edo. The story is set in the Yoshiwara Pleasure District of what is now Tokyo. Danjuro's character, Sukeroku, is popular with the local courtesans. When he appears, they offer him their smoking pipes. Kikugoro plays Agemaki, Sukeroku's lover and a high-ranking courtesan. The play is often described as a showcase of Kabuki's splendor, filled with action, romance, and dramatic flair. The production features both veterans and younger actors, including Danjuro's son, Shinnosuke. Danjuro has now become a teacher to the next generation. But he and Kikugoro still remember what it was like to be students. After practice, we often went for ramen together. When the crows go home, so it's time to go. That was our youth. We even traveled together just to watch our fathers perform. It's natural, isn't it? He's been by my side for as long as I can remember. It's like the bond between fish and water. Simply a natural presence. In a fast-changing world, they feel Kabuki is still just as relevant. When people come to the theater and experience Kabuki firsthand, they can feel the warmth and spirit of what it is to be Japanese. Many classical works convey that. The pace of modern life is accelerating, and the world is becoming increasingly digital. But when people begin seeking human connection again, I believe the kind of direct interaction found in Kabuki will become even more important. Our role is to prepare for that future and guide the next generation.