本書は、演出家・危口統之が遺した74冊のスケッチブックとノートを複写しまとめたものである。また、２０１１年から２０１７年にかけて、危口が本人アカウント(@kigch)で発信したツイートを抜粋し併載した。

This book presents photographic reproductions of some of the pages of the notebooks and sketchbooks that Noriyuki Kiguchi left behind. A member of his theater company AKUMANOSHIRUSHI received his permission before he died to compile and edit them for publication in book form. The tweets in this book were chosen from entries in his Twitter account (@kigch) over the years 2011 - 2017.

前書き

　いつも彼の傍にはスケッチブックがあった。スケッチブックがあってもなくても、彼は常に描くことと共にあった。息を吸って吐くように、彼はいつでも、何にでも描いていた。
　初めて彼の絵を見てすぐにその虜になった。水性ボールペンだろうと、マジックであろうと、よれよれと描いた線一本一本それぞれがそれぞれの意味を持って生きていることを感じた。
　特段覗き見をしたことはなかったが、時々彼が開くその本は魅力ある書物のように見えた。「実際に画集を出したら売れるよ、というか、まず自分が欲しい」というような話をしたことがあるが、彼は全くそんなことには興味がないようだった。危口統之の描いた絵とはどんなものであっただろうか。自身でも描くことについて、以下のように記述している。
　「描くだけでも多くの発見があるし、また描くことのむづかしさも身にしみて感じることができるし、そもそも描くまえに見ることができているのかというのも考えることができるし、それは俳優の演技でも同じだろう。だから写生大会を時々やっている」
　彼の残した幾多の絵は膨大な入力無しには有り得ないものだ。見ること、考えることが結果として絵の形として現れていると言えるかもしれない。彼の絵は作品ではない。見ている、考えている過程そのものなのだ。
　彼のスケッチは完成を目指すものではない。下書きはしない。少ない線で描くことの難しさ、大切さを知りつつ、反復されるハッチングの祈り。ボールペンやマジック、修正液など、身の回りにある文房具を愛し、描くための特別な道具は使わない。白黒で構築していく紙面。絵画、美術、クラシック、漫画、ゲーム、ロック、ヘビーメタル、演劇、建築、文学など、自らが多大な影響を受けている事象を自覚しながら静かに咀嚼し、自身の中で発酵させていく。その間にも次々と頭に浮かぶ異形の者。そして気がつくと自画像を描いているその右手。これらは彼が演劇作品を作る手つきと似通ってはいないだろうか。

　ずっと前に夢想した、彼の画集。まさか実現する日が来るとは思っていなかった。彼のスケッチブックの中身が見られることは嬉しくもあり、同時に彼の絵や言葉がこれ以上綴られていかないことを意味している。この本の編集作業に関わる時間は常に喜びと哀しみと共にあった。
「演劇というのは観るのもいいけど、やるのもけっこう楽しいので皆さんぜひやってみてください 身内の婚礼とか誕生日会とかでも全然いーんですよ ぜひ 世界人口＝この世に存在する劇団の数 で全然いーんですよ」（@kigch ２０１２年１月７日）
　『搬入プロジェクト』や『百人斬り』など、自分の思いついた遊びやゲームで実際に周りの人と楽しく遊び倒した彼がオススメする「演劇」というフィクションは、世界の面白がり方、遊び方であり、スケッチすることと同じなのかもしれない。
　限定的で断片的な集積ではあるが、この本を開くたびに各々が各々のきぐちと対話する時間を過ごすことを願っている。

石川卓磨（悪魔のしるし）

Preface

He seemed to always have a sketchbook with him. And even if he didn’t, his urge to draw was always there. He drew on anything all the time, like he breathed.
　　　　When I first saw his drawings, I immediately became captivated by them. Whether the drawing was in water-based ballpoint pen or marker pen, I felt that each of the shaky lines had a life with its own meaning.
　　　　Although I had never really dared to take a peek to see what he was reading, the books he opened occasionally looked interesting. I have once told him, “If you actually published an art book, it would sell quite well. In fact, I’d like to buy one”, but he did not seem interested in such a thing at all. What were the drawings by Noriyuki Kiguchi like? He himself described the act of drawing as follows:
　　　　“I can make many discoveries even just by drawing, and realize the difficulty of drawing in the fullest sense. I can also consider whether I’m really seeing the subject before drawing or not. The same thing can be said about acting. That’s why I’m holding a sketch meeting from time to time.”
　　　　Many of the drawings he left behind could not be drawn without enormous input. Perhaps we can say that his drawings are the results of his observations and thinking manifested, in the form of drawings. His drawings are not works of art, but his reflections of his processes of seeing and thinking themselves.
　　　　His sketches were not aimed at completion. He did not make a draft. They were like prayers made with repeated hatching by one who knew the difficulty and importance of drawing with few lines. He was fond of stationery items such as ballpoint pens, marker pens, and correction fluid, and did not use any special tools to draw. His drawings were “constructed” on paper in black and white. He drew on the matters he was heavily influenced by -- such as paintings, art, classical music, manga, games, rock, heavy metal, theater, architecture, and literature -- and quietly ingested and fermented them inside himself. Meanwhile, there were variant creatures that came to mind, one after another. His right hand drew a self-portrait without him realizing it. Isn't this similar to the way he created a theater piece?

I had dreamed long ago of creating a book of his art. I never imagined that day would come. It is such a pleasure to be able to finally see his sketchbooks, but at the same time this means that his drawings and words will no longer be composed. The time I spent editing this book was always joyous yet sorrowful.
　　　　“It is good to just see a theater performance, but also great fun to actually do one. I would encourage all to try it. It doesn’t matter whether you do it at your friend’s or family’s wedding, or a birthday party. It’s alright to have the same number of theater companies as the world population” (@kigch on Jan 7, 2012)
　　　　For someone who loved playing games he had invented -- such as “CARRY-IN-PROJECT” and “100 Massacre” -- with the people around him, the fiction called “theater” he recommended was probably the same as sketching, and another mode of enjoying, and playing with, the world.
　　　　Although this book is a limited and fragmentary collection of his works, I hope that each and every person who opens it will have a conversation with the Kiguchi each of them came to know.

Takuma Ishikawa (AKUMANOSHIRUSHI)