November 20, 2013
Twenty-three theater companies and a group of about 120 writers, including chief editors of popular weekly journals and gossip magazines, on November 19 issued their respective appeals in opposition to a state secrets protection bill.
The notorious prewar Law of Public Order Maintenance which was designed for the smooth conduct of Japan’s war of aggression cracked down on western-influenced theatrical dramas at that time, restricting freedom of expression, jailing or confining stage actors, directors, and writers, censoring scripts, and forcing theatrical companies to be eventually dissolved.
The appeal states that the state secrets protection bill is so similar to the prewar and wartime law that they cannot accept it because doing so would betray their forerunners’ struggles. “Only when there is peace can people feel fulfilled enjoying theatrical plays,” states the appeal.
Editors and writers in their appeal criticized the bill for endangering Japan’s freedoms of speech, press, and expression.
Their appeal points out that the bill entails the possibility that news gathering activities would be subject to punishment and gives absolutely no consideration to the right to individual people’s access to information on the Internet or in everyday life other than publishing and news reporting.
Shinoda Hiroyuki, editor-in-chief of Tsukuru magazine, said at a press conference, “The state secrets protection law would expose magazine journalism to the danger of prosecution because of our guerrilla-style news gathering activities.”
The appeal of the theatrical world includes the names of Japan’s leading theater companies Mingei, Bungakuza, and Haiyuza on its list of initiators. Many other drama groups are giving their support to the appeal as well.
To the latter appeal, a Kyodo News Service ex-assistant managing editor and editors-in-chief of weekly Gendai, FRIDAY, Josei Seven, and SAPIO are also giving their support.
The notorious prewar Law of Public Order Maintenance which was designed for the smooth conduct of Japan’s war of aggression cracked down on western-influenced theatrical dramas at that time, restricting freedom of expression, jailing or confining stage actors, directors, and writers, censoring scripts, and forcing theatrical companies to be eventually dissolved.
The appeal states that the state secrets protection bill is so similar to the prewar and wartime law that they cannot accept it because doing so would betray their forerunners’ struggles. “Only when there is peace can people feel fulfilled enjoying theatrical plays,” states the appeal.
Editors and writers in their appeal criticized the bill for endangering Japan’s freedoms of speech, press, and expression.
Their appeal points out that the bill entails the possibility that news gathering activities would be subject to punishment and gives absolutely no consideration to the right to individual people’s access to information on the Internet or in everyday life other than publishing and news reporting.
Shinoda Hiroyuki, editor-in-chief of Tsukuru magazine, said at a press conference, “The state secrets protection law would expose magazine journalism to the danger of prosecution because of our guerrilla-style news gathering activities.”
The appeal of the theatrical world includes the names of Japan’s leading theater companies Mingei, Bungakuza, and Haiyuza on its list of initiators. Many other drama groups are giving their support to the appeal as well.
To the latter appeal, a Kyodo News Service ex-assistant managing editor and editors-in-chief of weekly Gendai, FRIDAY, Josei Seven, and SAPIO are also giving their support.
