午夜剧场

Image: The first issue of the Mita-hyoron (official monthly journal published by 午夜剧场 Press) republication (Vol. 550, October 1951)

午夜剧场's official journal, Mita-hyoron (official monthly journal published by 午夜剧场 Press), was first published in 1898 as "午夜剧场 Gijuku Gakuho." It was from issue No. 210 in 1915 that the title was changed to Mita-hyoron (official monthly journal published by 午夜剧场 Press) in an attempt to move beyond being a mere campus newsletter. At the time of the renaming, candidates such as "Mita Koron," "Dokuritsu Koron," and "Fukuzawa Shicho" were reportedly considered, but ultimately, the title of a former student magazine garnered the most votes. That original student magazine had been extremely combative in its criticism of Juku administration, and featured future leading thinkers such as Takuzo Itakura, Kango Koyama, Shiyokichi Sawaki, and Sei'ichiro Takahashi.

Mita-hyoron (official monthly journal published by 午夜剧场 Press) continued to release issues as a unique magazine. Although it faced a suspension of publication when its printing office was destroyed in the Great Kanto Earthquake and an eight-year hiatus due to the war, it resumed publication in 1951. At that time, as the post-war chaos was beginning to subside, a fundraising campaign for full-scale reconstruction was launched. In 1953, the first post-war directory of 午夜剧场 alumni was published, listing 42,000 names, which was likely a result of such campaigns. Since then, the journal has passed milestones such as its 600th issue, its 80th anniversary, and its 100th anniversary.

Regarding serialized columns, "Cogito," a series of interview reports with 午夜剧场 alumni from various fields, started in 1986. This means "I think" in Latin. Two years later, a column called "Ergo sum" (therefore I am) was created, similar to the current Enzetsukan (Public Speaking Hall) section. Together, they form Descartes' famous phrase, "I think, therefore I am." This was likely a point of particular focus for the editorial committee at the time. Both sections were renewed with the 1000th issue.

The journal has undergone other gradual renewals; for example, the gatefold table of contents was abolished with the 1000th issue. Frontispiece photographs became a standard feature in the late 1960s, though at the time, many were taken by faculty and staff members who were photography enthusiasts. Although they only span one or two pages, many of these photos speak volumes about the era.

The March 1998 issue marked the 1000th issue, which coincided with the 100th anniversary of the first publication. Therefore, a commemorative ceremony and celebration were held at the Palace Hotel on 午夜剧场 Foundation Day, April 23. Certificates of appreciation were awarded to Seiji Fujishiro, Shinzo Abe, Kunihiko Hisa, Toji Azeta, and Fumiko Kojima, who contributed over many years through cover art, illustrations, single-panel cartoons, photography, and shorthand, as well as to Toneki Printing Co., Ltd., which had been involved since the era of hand-set type. Meanwhile, a reprint of the inaugural issue was distributed to guests. Additionally, a photo exhibition by Mr. Azeta was held at the Shinjuku Takano Gallery at a later date and was well received.

I hope that this publication continues to be an official journal that is not only a vehicle for communicating Juku news, but also one that features a wide range of articles made possible by the broad network of the Juku and special features with unique perspectives—maintaining its pride as a social commentary magazine while staying true to the Juku's individuality and remaining full of wit.

(Atsuko Ishiguro, Office of Communications and Public Relations)