I enjoy practice more than performance (Miyashita)

—Ms. Miyashita, you always have a stylish image, and I imagine you enjoy fashion. What do you like about M.A.R.S.?

Kyoko Miyashita (hereinafter Miyashita)While jewelry from popular famous brands is lovely, it's often something you share with someone else, isn't it? I also dislike the idea of someone glancing and thinking, 'Oh, she's wearing that brand.' In that sense, M.A.R.S. is high quality, has a bit of character, and is still easy to wear, which I appreciate.

Yoji Yoneyama (hereinafter Yoneyama)That's wonderful to hear.



MiyashitaI like to wear various types of clothing, but I prefer to wear the same jewelry all the time. 'Easy to wear' also means easy to match with any outfit. I like things that make me feel like, 'This is all I need.' It's like a part of my body.

—So, you don't particularly like very feminine things?

MiyashitaI often wear men's clothing, like Mihara Yasuhiro's menswear. However, among M.A.R.S. pieces, I tend to wear the more delicate designs.

YoneyamaYou wear them so stylishly, Kyoko. You have a character and presence that can carry off anything. I find that truly impressive. But were you always tall, even as a child?

MiyashitaI was quite small in my early childhood. I had a growth spurt in the second year of junior high school.

YoneyamaI see. And you were already doing ballet then, weren't you?

MiyashitaI had been doing it since I could remember. At the time, I had asthma and was physically small, so my parents probably thought I would quit soon. But by the third or fourth grade of elementary school, I decided I wanted to do ballet for the rest of my life.

YoneyamaOh, why was that?

MiyashitaBecause it was a dream world, separate from reality. Also, I enjoyed the daily lessons more than performing on stage; I felt like I didn't even need the performances. It's still somewhat like that now. I enjoy practice more than performance. It's like how marathon runners prefer daily runs over participating in races.

YoneyamaSo you're the type who enjoys steady progress.

MiyashitaI don't think that's quite right, but I do enjoy things that can only be achieved through accumulation. My husband, Yashima (Tohito), is the complete opposite; he dislikes things if they can't be done instantly (laughs).

YoneyamaSo you're the type who wants to do things that are difficult to begin with.

MiyashitaThat's right. That's why ballet and acting aren't really suited for me. And that's precisely why I've continued them.

YoneyamaBeing able to continue is a talent in itself, and it means you're more suited for it than anyone else.

MiyashitaI don't think so.

My physical strength may be declining, but I feel 'now is the best' (Miyashita)

YoneyamaBut now that I think about it, I suppose I'm also the type who enjoys steady progress. I can do most things quickly, but I tend to stick with things that are difficult, precisely because they are difficult.



That was my first acting experience. I became very close with the cast members from that production, and it led to my current career.

YoneyamaSo that's how you moved into acting.

MiyashitaHideki Noda's play was very challenging. I didn't understand the meaning and just did as I was told, and then I got injured towards the end of the performance. It ended without a single positive moment. So, at first, I thought of it as a college memory. But I felt I couldn't end it like that, especially after causing trouble for Mr. Noda. From then on, I started auditioning again.

YoneyamaYou still choose the difficult path (laughs).

MiyashitaIf I had felt successful at first, I might not have continued. I still don't feel like I'm doing it well.

YoneyamaWho have been the most influential figures for you as a performer?

MiyashitaThere are many, but if I had to name one, it would be Hana Kino. Before I met Ms. Kino, I felt I could never catch up to my seniors. But she advised me to 'clear things one by one.' In other words, until then, I didn't know what I was lacking. Once I started identifying and clearing my shortcomings one by one, my approach to acting changed.

YoneyamaThat's important.

MiyashitaI tend to aim for the highest goals immediately and try to grasp things that are out of reach. But to get there, I need to clear the nearer objectives first. Ms. Kino, my acting mentor, taught me that.

YoneyamaDoes the joy of dancing change with age?

MiyashitaMy physical strength may be declining, but I feel 'now is the best.' When I watch ballerinas, I see so many beautiful performances that come from their accumulated experience. That's the most fascinating part.

Page02.Those who maintain their youthful passion can stay vibrant in their 40s and 50s (Yoneyama)

Those who maintain their youthful passion can stay vibrant in their 40s and 50s (Yoneyama)

YoneyamaI also teach ballet to children. What do you hope young people learn?

MiyashitaI often think, 'If only I were a teenager now.' When I was a teenager, I just used my physical strength without thinking. I should have been more strategic. On the other hand, ballet has changed significantly. Just as they don't do rabbit jumps in club activities anymore, efficient training methods have been established.

YoneyamaMmm-hmm.



YoneyamaI hope they can honestly embrace the music and rebellious spirit that influenced me in my teens. If they still have that feeling in their 20s, it's a bonus. The mindset of one's teens fades, but those who can maintain that passion remain vibrant in their 40s and 50s. I believe there's a difference between those who have it and those who don't. That's why I try to keep the door open to inspiration. I always want to be hungry for good things. Do you have any influences from your teenage years, Kyoko?

MiyashitaAs part of the 'Olive generation,' it's definitely Olive magazine. I saw it for the first time in junior high, and I still get excited thinking about it (laughs). In terms of expression, I visited London for a summer vacation when I was 15, partly because my aunt lived there. Until then, I had only watched ballet, but seeing a musical for the first time there opened up my world. Moreover, I had the opportunity to take lessons at a ballet studio in London with performers who had appeared in 'Cats' and other shows. That experience was incredibly significant. When I do ballet in Japan, I feel somewhat constrained. But they were so free and cool.

Except for a few exceptionally skilled individuals, everyone else becomes somewhat mean (Miyashita)

YoneyamaIs it that way in Japan?

MiyashitaThe world of classical ballet feels very peculiar. There's a slightly mean atmosphere, like, 'How good are you?' That's how it is everywhere in the world, but...

YoneyamaLike 'Black Swan'?

MiyashitaWell, something like that... But as I started taking lessons in various places, I realized that truly top-tier professionals don't exude that kind of mean atmosphere at all. Since then, I've tried not to create that kind of negativity in practice rooms.

YoneyamaThat atmosphere doesn't exist in children's classes, does it?

MiyashitaIt does. They might chuckle when someone makes a mistake. That's really not good.

YoneyamaPerhaps that's why ballet performances are so beautiful.

MiyashitaBut I don't think that's necessary, and I want to teach children that it's not needed. In acting, there are various characters and roles, and there's no hierarchy. But in ballet, everyone aims for the same role. In that context, it might be unavoidable that everyone, except for a few exceptionally skilled individuals, becomes somewhat mean.

YoneyamaThat's interesting. So, the people who aren't mean are always the top performers.

MiyashitaTo put it that way might be a bit of a generalization, but I feel that the top performers in any field tend to be the kindest.

YoneyamaI see. What are the most important things you value and the standards you set for yourself in your work now, Kyoko?

MiyashitaTheater productions are all very different. The director's requirements, even the volume of the voice, vary, as does the size of the stage. So, each time feels like a new experience. Therefore, I try not to decide in advance how I will approach it.

YoneyamaIn my case, I'm evaluated based on the finished product. But for you, Kyoko, it's live performance, which is amazing. Every time I see your play and visit your dressing room to say hello, I still get nervous. It's purely because I'm deeply moved that I feel nervous even though I know you. It's an admirable profession.

MiyashitaI'm always inspired by you as well, Mr. Yoneyama.



YoneyamaAre you taking on any new challenges right now?

MiyashitaI'm involved in both dance performances and theater productions. Being able to do both dance and acting in my 40s is something I consider remarkable. I intend to continue dancing for some time.

YoneyamaPlease let me see your next performance. Thank you for your time today.

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