MAGCUL マグカル

MAGCUL(MAGNET+CULTURE)
the media for art, culture and events in Kanagawa prefecture.
(別ウィンドウで開きます。)
Theater / Dance
2019.10.17

Tomohiko Enomoto x Miki Moriyama “Kikukushio” talks about new work for the first time in two years! Ticket presents too!

(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.)

The performance unit “Kikukushio” led by Tomohiko Enomoto and Miki Moriyama. The two who have always been at the forefront of the times since its launch in 2010, will be appearing in Yokohama Red Brick Warehouse No. 1 after grabbing their new work “Take a wonderful coincidence” for the first time in two years. What are they seeking and aiming for?
In preparation for the new performance, in May this year, a creation was carried out in Azu, Nishio City, Aichi Prefecture. Furthermore, from October 28th, we are planning to create in Hong Kong. Prior to leaving for Hong Kong, we interviewed the two who collide with each other in the rehearsal hall.

* Enomoto-san's “辻” has one point, but depending on the environment, it may be displayed with two points.

First of all, what is “Kyukku Ushio”?

Originally Moriyama was a unit established in 2010 with Tomo (Tomohiko Enomoto). This time, as a trial, all nine people, including the staff, became members of Kikuo Ushio, involved in creation from a flat standpoint, and creating works.
When creating a work, it is still necessary for someone to take the initiative, and that is the role of Tomo and me. However, in the process up to that point, I was worried that the staff, such as lighting and sound, would often be “waiting for instructions”. Such “vertical relationships” may be common in Japan, but I want to change that. Eventually, even if we make a decision, we want to make the process up to that flat. I would like to create a relationship where each person can make proposals independently.

080; "> If Tsujimoto to do because I want to do to continue in anticipation of the next 10 years, do not want to change as much as possible members in order that, there is also a feeling that.

Moriyama: In the field of creating works that we are usually involved in, we often end up with a temporary relationship where one piece ends when it ends. It is also an attempt to see how far we can make a work with fixed members by making the environment continuous.

The two of you have been together since 2010. Has the relationship changed?

Enomoto has changed a lot. What changed the most was the fact that they became positive about their talents. Respecting changes how you speak and how you ask, and how you make things. Of course, there was a respect from the time I met, but there was also a “denial” on the other side. “I think it ’s great but it ’s different”.

Moriyama's criticism may have been strong. I went to see each other's work, and each time I was talking about "How was that" or "Akan of that". If you have such a relationship, you should try it together. “Kyuku Ushio” was launched by Tomo-san.

rong> I think it's like a “joint responsibility” that you wouldn't criticize if you were to make it with Enomoto.

Moriyama: Certainly, your relationship has changed since you joined together in 2010. There was no useless criticism (laughs).

Tsujimoto I'd get along does not mean bad, because they work hard against Geigoto, I think criticism was more apt than praise.

Moriyama I have received a lot of stimulation since I met Tomo-san, and various words were caught in me, and that has become an element of my body. From there, I gained various experiences and started to perform independently.
Tomo-san is Tomo-san, who used to be a dancer rather than choreographing someone before, but now she dances by herself, but she is also active in choreography. So I have a sense of being involved from a different perspective than before.
In 2017, when I performed the last performance, I think my consciousness was different from what I am now, and myself was still low in experience. For me, there was still something like a tension in dancing in front of Tomo-san, and there were various conversations among them, and I think that the work born from that was interesting.
2 years later. I feel that a different dialogue is born now.
_mini.jpg "alt =" "width =" 6240 "height =" 4160 "/>

A sense that you can understand without saying?

Moriyama: That's not true. I don't know unless I say it (laughs).

It's a feeling that we are working together rather than Enomoto's criticism and criticism. Because we have the feeling that we are “making one thing” with each other.

I didn't make nine people from the beginning of Moriyama . At least I was not. However, with 9 people, I became aware that “the work doesn't move only with the relationship values of the two of us”. There are parts that are seen as a bird's-eye view as the creation side, and there are also viewpoints that enter subjectively. I'm not nervous about dancing in front of Tomo-san, but there is another body that I have to start up by confronting eight people instead of two people.

I experienced rice planting work at the creation of Azuki, Aio Prefecture

Such as Tsujimoto rice planting and harvesting, I wanted to experience the Japanese came "movement of work". What I've been saying for years has finally come true.

Moriyama That's right, it was really nice to have a camp with nine people. For us now, farming is far away, but I think we are people who have risen up as a farming people. Therefore, there are many movements rooted in the soil even in daily movements. Considering that, "First you have to enter the rice field"There has always been a desire to experience what a Japanese body is.

<< In May of this year, an artist-in-residence was held in Azu, Nishio City, Aichi Prefecture. On the last day, we invited people from the area we took care of to perform a show in the rice field.

Are you swimming?

I'm not Enomoto swimming (laughs).

Moriyama I just swam a bit (laughs). Surprisingly, the mud does not taste like mud. I thought that if the paddy water entered the mouth, it would smell like a muddy spill, but I was surprised because there was no unpleasant odor.

At first, Enomoto had the impression that it was a bit messy, but as I removed the weeds and cultivated them, I felt that they became beautiful.
And slimy. There is also a passage in Kawayanagi where all the members are fond of, but I can't forget the action of “Fumu Numeru”. The movement when stepping on will change depending on whether or not you actually have that experience, and the meaning will be different. Since I have been paying attention for a long time, I felt a sense of accomplishment.
Another. Although it is not shown in the video, at that time there were customers around and I was laughing. We express the body to stoic, but I am glad that we were able to do some exciting and interesting things.

Moriyama </ span> The fundamental part.

I was happy that the people who watched Tsujimoto were pleased. I think that when I stand on the stage, he creates a unique atmosphere of tension. In contrast, I feel that we have a different appeal. The part with humor can be put out obediently.

What kind of work is going to be this time?

Enomoto: My personal opinion is that “I will make something that I have never seen before, so come see me”. Since the definition of new things is not fixed, customers may be confused, but I want to make something that is said to be “I have never seen it”.

Moriyama: What I want to do is “How can we drop the phenomenon that we can do because we are facing the audience now?”
It ’s abstract. In a word.
Come see the dance performance!

Tomohiko Enomoto
Born in Osaka Prefecture. Did not start dancing in early childhood, immersed in basketball from elementary school and achieved numerous results. He started dancing and snowboarding when he was 18 years old. After traveling to the United States in 1997, he moved abroad and became the first Japanese male dancer in 2007 at Cirque du Soleil. Later, "Michael Jackson The Immortal World Tour" 485 performances in 27 countries were successful. Currently, he is also active as a choreographer.

Miki Moriyama
Born in Hyogo Prefecture. Active as an artist who is not bound by categorization such as theater and dance.
In 2013, he spent a year in Israel as a cultural exchange ambassador for the Agency for Cultural Affairs and worked in European countries based on the Inbal Pinto & Avshalom Polak Dance Company.
Won 40th Japan Academy Award for Best Supporting Actor. Won the 10th Japan Dance Forum Award 2015.

Kikukushio
"Drink a wonderful coincidence" (world premiere)
[Date] November 22 (Fri)-December 1 (Sun), 2019
[Venue] 3rd floor, Yokohama Red Brick Warehouse No. 1

* Click here for details >>>

*** *** *** *** *** *** *** ***

&nbsp;

The application for the present has ended. Thank you for many applications.

[Gift Application Overview]
Yokohama Red Brick Warehouse Building No. 1 3F Hall will receive a ticket for “Kyukushi Ushio“ Take a wonderful coincidence ”(world premiere)” for each performance below.
■ November 26th (Tue) 19: 00 ~ 1 group 2 people
■ November 27 (Wednesday) 19: 00 ~ 1 group 2 people
■ November 28th (Thursday) 19: 00 ~ 1 group 2 people

【Application method】
If you wish to receive a viewing ticket, please select one of the dates and times from the application form below. We look forward to your application.

[Application deadline]
November 10, 2019 (Sunday) until 24:00

[Lottery / Winning announcement]
Winners will be notified by email, so please be careful about spam settings. The e-mail will be sent from the Magcal Dot Net Management Office (info.magcul@gmail.com).

The winning announcement will be replaced by the winning notification via email. On the day of the performance, please present your winning notification email at the reception desk at the “Yokohama Red Brick Warehouse Building No. 1 3F Hall”. The staff will give you a ticket.
* The personal information received will not be used for any purpose other than lottery.

    The Yokohama Red Brick Warehouse was built as a model warehouse in the country during the Meiji and Taisho periods. On the shopping floor, which has many storefronts that retain the image of the warehouse at that time, there are a variety of shops, from various brands originating in Yokohama, to souvenirs from Yokohama, and shops full of individuality that are unique to the Yokohama Red Brick Warehouse. .

    As for cafes and restaurants, there are shops that can be used in a variety of situations, from easy-to-use food courts to moody stores that take advantage of a great location.

    Various events are held in the event plaza according to the season, and the hall & space in Building 1 creates and transmits art and culture unique to Yokohama through performances such as dance, drama and concerts and various exhibitions.

    • Address
      1-1 Shinko, Naka-ku, Yokohama, Kanagawa
    • TEL
      [Building 1 (Hall / Space)] 045-211-1515 / [Building 2] 045-227-2002
    • Business Hour
      [Building 1] 10: 00-19: 00 * Hall space varies depending on the event / [Building 2] 11: 00-20: 00 * Cafes and restaurants vary by store

    Map