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the media for art, culture and events in Kanagawa prefecture.
(別ウィンドウで開きます。)
Theater and dance
2019.04.10

Hirokazu Hinagata's Danceable LIFE Vol. 6

(Please note that this page was created using Google's automatic translation service and understand that because of this, its translation may not necessarily be accurate.)

Work called "choreography" that world different from oneself is seen
Hirokazu Hinagata (Actor / Dancer / Choreographer)

One day I have been involved in choreography as a job. Starting with the staging of the recitation play, we also challenge the musical. Last year I was in charge of choreographing “Kiki's Delivery Service”.
If you provide choreography to people, you may see a different world than you thought. By making the world that I imagined into a form different from me, a landscape that I never imagined is born. That is a very interesting experience.
On the contrary, it is hard to choreograph yourself. Because you know your limits, everything falls within the expected range, and you get boring. It seems to be fun to think about how to arrange the "swing" given by people and dance in my own way. So, even in small scenes, you often ask someone you can trust in your choreography.

I have been involved in artistic swimming (formerly called synchronized swimming) choreography for about four years. Of course, I am not in the water to teach. I think about the overall composition and themes, select a song, and perform onshore action and upper body choreography in water. The head coach, Masahiro Imura, thinks about the movement of the feet, so it's a collaborative task.
I may feel that there is a common term for "dance", but I am totally different in the industry, so I was puzzled when I first spoke. But Imura-sensei said, "Because I'm not an industry person, it's interesting because I don't have any knowledge at all." If you get caught up with common sense, nothing pops out from there, so say "Please say something messy". I felt that it was a true idea.
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Artistic swimming, as the name implies, is a competition that requires a high degree of artistry. What I expected of me was to teach "the expression of bruises" to the Lord. Overseas players are highly appealing, and have issued an aura that says "I am the best in the world" from the moment they appear. I was asked that I want Japanese players to be taught such expressive power and "brightness". Although I am not a deft dancer, I have a pride that I have improved my strength, how to enter, and focus on my work. Imura-sensei probably noticed it there.

I think the important thing in choreography is to bring out the goodness of the person. Since I was asked by me, it is possible to develop the "shaped world", but what is actually expressed is a different body from me. I think it is important not to impress unilaterally, but to image what happens if that person embodies my world.
However, at first there was no common language with the players, so I think they struggled with each other. I tried to change my hand, change the product, and select and convey various words so that I could understand the "expression" I think. Because there are many abstract expressions, a wide range of experience is required to understand each other. Imura recommends that players watch various things such as dance and theater performances, kabuki, music and art. In fact, Imura-sensei has a wide range of experience in art, so it was a great experience for me to exchange choreography while exchanging views.
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At the France Open held this March, Noriko Toru, who I was in charge of choreography, won the solo FR. I feel that a good flow has been made for the 2020 Tokyo convention.