UK-JAPAN.net Interview | Showko

Real Name: Ayako Ono

Born: December 28, 1968 - Kobe, Japan

Stage Name: Showko Shoufukutei

Title: Rakugo Artist / Ventriloquist

Rakugo: Traditional Japanese Sit-Down Story-telling Comedy

Ventriloquist: To use of puppets to help tell a story

UK-JAPAN met with Ayako Ono on a warm Saturday afternoon in the vibrant and far end of Covent Garden, London. To compliment the lovely day and Ms Ono’s bright attitude, she wore a radiant yellow and black outfit, which reflected her cheerful and energetic mannerism. It is with great pleasure that UK-JAPAN had the opportunity to interview such a wonderful person, who brings laughter, entertainment and happiness to her audiences’ in the UK.

UK-JAPAN: Hello, how are you?

SHOWKO: I am fine thank you! (Nods and smiles)

UK-JAPAN: Can you tell me about your hometown in Japan?

SHOWKO: Kobe (smiles). I grew up in Kobe, which is one of the most beautiful cities in Japan. Before the Kobe earthquake, there were many old beautiful architecture in Kobe, the city was very narrow, had plenty of greenery, and a mountain. After the earthquake many things got destroyed. (Thinking briefly) I had to move to Osaka because of the earthquake, and I then started on a radio programme. Whenever I return to Kobe now, I always feel like something is missing. However, Kobe is a very stylish, but small city.

UK-JAPAN: What are the differences between people from Kobe and Osaka?

SHOWKO: (Cheeky smile). Kansai people are stronger, funnier, and friendlier than those from the east, Tokyo, etc. Kyoto people are more indirect, and I would say that people from Kobe are slightly snobbish and not as friendly as people from Osaka.

When I moved to Osaka, I began to start adopting the Osaka mentality. Meaning, I always asked for discounts when shopping (laughs). Definitely, Osaka people are really funny. I would never ask for a discount anywhere else in Japan other than Osaka.

UK-JAPAN: At what age did you become interested in Rakugo?

SHOWKO: I had always watched Rakugo performances on television and always found it interesting, but it was not until the year 2000 when I saw a live traditional Rakugo performance - this is when I decided I wanted to become a Rakugo artist. At the time I was a radio analyst, and I had always wanted to be an entertainer. I went to find my favourite master and kept asking to become a student. Eventually I was accepted, and had to leave my job, stay at my master’s house and help clean.

UK-JAPAN: Sounds like being a Buddhist monk living at a temple.

SHOWKO: (laughs) Yes, pretty much so. At the time there were not many women performers, so I felt excited and privileged. But now, more and more women are starting to become Rakugo artists.

UK-JAPAN: What was your first training experience with Rakugo? And what type of training did you go through?

SHOWKO: At first, I started by playing the drums, doing backstage work, and some warm up performance. I used to teach safety traffic instructions to children in Japan using puppets. I was pretty skilled as an announcer and MC and had tried many things as an entertainer. I was taught in Singapore under my master. I initially began using puppets to tell jokes.

UK-JAPAN: What was your first story?

SHOWKO: I told the Monkey story, in a traditional short story form of Rakugo. Usually though, I am shown a story by my master, I then translate into English, imitate and steal the technique from my master, and then make my own style. After which, I receive advice from my master.

UK-JAPAN: Can you tell me a little more about the history of Rakugo?

SHOWKO: There were three different types of groups of Rakugo performers. First being the Edo/Tokyo. The roots came from Ozashiki (Geisha hosting a party in a room with tatami floors). The Rakugo performance was told while a shamisen (traditional guitar-like instrument) was played.

The second being the Kyoto Rakugo, which was taught and shown at temples. And thirdly, the Osaka street performance of Rakugo. (Gestures with right arm) A wooden object was generally used to change the story from one to the next. The Osaka style of Rakugo could explain their louder approach (smiles).

UK-JAPAN: How long did it take from the start of your training until your first live performance?

SHOWKO: Around a month! A Live performance is much better than just practicing. The more performances, the better you become. I always tell myself that I am not perfect, and that I always can be better.

UK-JAPAN: How do you normally prepare for a live performance?

SHOWKO: I try not to remember or repeat lines. But instead just try to be relaxed, make jokes with somebody around me, and drink water. I do not necessarily have to warm up my voice.

UK-JAPAN: When did you start to learn Ventriloquism? And do you always combine it with your Rakugo performances?

SHOWKO: I started in 1990 and only used puppets once to accompany a Rakugo story, Momotaro (Peach Boy). Rakugo is a parody, which uses the story to make fun, and does not necessarilly tell the story. Therefore, it is good if the audience already know of the story. Since being in London, I have become more interested in traditional Rakugo performance as opposed to using puppets. I find that English people are more interested in the traditional art form of Rakugo, which only uses a fan (sensu) and a hand towel (tenugui).

UK-JAPAN: What added dimension does using puppets give to your performance?

SHOWKO: It becomes more visual, and allows for more people to get involved. Rakugo is quite a sensitive performance. It is really up to the audiences’ concentration and imagination.

UK-JAPAN: Can you tell me more about your stage name: Shoufukutei ‘Showko’? Does it have any significant meaning?

SHOWKO: Yes (smiles). Shoufukutei represents the 400 hundred years’ history of Rakugo. Showko derives from ‘Kakushow’, from master’s name. Kaku means crane and Show means to laugh. ‘Show’ (which represents one character from my master’s name) adding to ‘ko’ (child), giving me my stage name: Showko (laughing child).

UK-JAPAN: You have done numerous performances on radio, TV, at clubs, festivals, and via other mediums. What was your most memorable performance and why?

SHOWKO: I would say my first performance! I tried to impress myself too hard and I was very nervious. I performed in front of a Philipino audience (in English). They laughed a lot, and so I thought I was good. But then I did my first performance in the UK, at the Japanese Embassy in London. My master told me not to expect too much of a response. The English audience were very quiet, and seemed to be trying hard to analyse me. I prepared a script for both boys and girls, but there were only boys there.

UK-JAPAN: How long have you been living in the UK, and why did you move here?

SHOWKO: I have been living here for three years now, since March 2004. I moved her because my master wanted to come here to perform.

UK-JAPAN: How often do you do workshops and shows in the UK?

SHOWKO: Almost once a week, but I used to do them three days a weeks. Usually we start with a workshop then performance, or vise versa. Definitely people are more relaxed in the UK, as compared to Japan. We thought that taking a ‘daradara’ (lengthy, dragging) approach would be too lazy, but the UK audience prefer this approach.

UK-JAPAN: What usually happens at a workshop performance?

SHOWKO: We start by doing a sing and dance warm up in Japanese. The children love it (smiles). We then introduce Rakugo in a comedic visual way, and let the children try on the stage. They have to take off their shoes and kneel (seiza) - then copy some gestures, and perform a short line.

I usually use a tama style bamboo blind (tamasudare) - to create different shapes, and then teach the audiences how to do it and let them try. My master does paper cutting art wonderfully. He can use a pair of scissors and a blank piece of paper to make any shape. After, I tell a Rakugo story, my master does a puppet Rakugo story, and then I do some puppetry and jokes.

UK-JAPAN: What cultural differences have you noticed between the Japanese and British since moving to the UK?

SHOWKO: (Thinks). For me it is hard to make British friends. I guess Kansai people are more open-minded. But it is hard to say, because I have not been back to Japan for around two years. I stayed in Singapore for six years, and then came to London.

UK-JAPAN: Do you miss Japan?

SHOWKO: Yes! I miss Japanese toilet and food. Once I fell asleep for two hours in the toilet in Japan. A Japanese toilet will always make you feel warm and welcome no matter what day you had. You feel loved from the toilet (laughs). I often tell this story as a joke in my performances. People love it!

UK-JAPAN: What are the differences between the audience’s reactions and interactions from those in Japan and those in the UK?

SHOWKO: Audiences’ in the UK are the hardest to please, because the comedy standards are very high here. Other countries are much easier to please. I had to adopt a more British style since coming here. I try to use British English with much humour. In Japan we do not really interact with the audience much. But here in the UK it is imperative.

UK-JAPAN: Who usually attends Rakugo performances?

SHOWKO: Rakugo is for all people but mainly for the family. In Japan, you will find that more adults go to performances. But in the UK, I find that it is a nice mix of both adults and children.

UK-JAPAN: Does anything influence your work now?

SHOWKO: I try not to change too much. I once tried to change from an original story, but it did not really work. I watch a lot of British comedy to get a better understanding of the British sense of humour. I also go to comedy clubs, and do open mic performances to improve my English and my overall performance.

UK-JAPAN: What advice would you give to aspiring Rakugo/Ventriloquist artists?

SHOWKO: You can experience olden time Japan when listening to Rakugo and go into the Rakugo world. Everything these days is more visual (TV, games), but Rakugo is good for the imagination.

The teacher is your audience, is what my master always tells me. So always practise in front of an audience. The most important thing is pausing and timing, and this is something that has to be felt. This comes through practise and through your own feeling, this cannot be taught directly.

UK-JAPAN: What are your future plans and aims?

SHOWKO: I would like to introduce more traditional Rakugo stories in English. I want to travel and perform in more countries after my son gets slightly older. It would be nice to work with a British person, actor, or director and try to adopt a more in-depth British style to my work. I would also like to properly combine puppetry to make an original Rakugo performance like my master does.

UK-JAPAN: How long does it usually take to translate a story?

SHOWKO: Translation of a story usually takes one week, and then I do further editing, then perform and perhaps change again.

UK-JAPAN: What is your philosophy in life?

SHOWKO: Follow my heart because everything in life is possible. Enjoy myself!

UK-JAPAN: If you could describe your life in one colour, what colour would it be and why?

SHOWKO: (laughs) Yellow! I feel like life is like a situation comedy. It is a youthful colour! (smiles)

UK-JAPAN: Ayako Ono, thank you very much for your time!

SHOWKO: Thank you! It has been a pleasure!

Showko’s website: http://www.show-ko.com