Hiroichi Tategata's Danceable LIFE Vol.3
The body of a dancer is capital!
Hirokazu Tategata (dancer/choreographer)
The "Hoshikoshi Pump" that opened in September has been injured because of an injury. We sincerely apologize for any inconvenience caused.
It was worth the effort to rehabilitate, and thanks to that, the recovery of the injury was good. I'll do my best to stand in front of everyone on the stage of THE CONVOY SHOW in December, so please look forward to it!
I took this opportunity to look back on my body as a dancer.
I am currently training a personal trainer twice a week. However, that was a habit since I was in my late thirties, and when I was young, I didn't make any effort. He was very thin, and even though it was a complex, he was convinced that "I can't help because I have a constitution that doesn't give me muscles." I had a lot of breakdowns because I had a small amount of muscle in spite of my height, but when I was in my twenties, even if I was tired, I would be fine after an overnight sleep, and my injuries would heal quickly. It's a bad story for dancers, even though their bodies are capital.
I met my current trainer when I was 37 years old.
"In the current state, the engine is too small, that is, the amount of muscles in operation is small, so good performance cannot be done as it is."
Remember what I was told is. As with a car, a more delicate performance can be achieved by moving the body in an area where the engine is large and there is room. I was satisfied with that idea, so I asked them to create a menu and started training.
However, it was hard at first. It's hard to feel any tangible results or changes just by doing sober training. The situation began to change about three months later. It will be fun for you when your body is visibly changed, and you will be free from the pains of the lower back and numbness of your fingers that have been annoying everyday, so your life will be easier.
And above all, I was no longer injured. I really felt that this is what it takes to train your body.
Since then, I have been working on a detailed training menu, always considering the muscle strength and physical strength required for the next work. What you are asked for depends on whether you dance hard or focus on the play.
Also, if you get injured like this time, it is important to approach based on the schedule for returning. Surprisingly, this time, I started rehabilitation the day after the surgery. Of course, we don't move the injured right leg immediately, but by stimulating the muscles of the left leg, we can prevent the muscles of the right leg from weakening to some extent. It's because you instinctively try to keep your feet balanced, but the human body is strange.
By understanding my body and meeting a trainer that I could trust, I became more confident on the stage and improved my performance. I often hear that the mind and body are connected, but that's exactly what it is. For example, even if you have a sprain, when the trainer tells you, "I'm fine with taping, it's okay."
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My goal is to stay on the stage as an expressive artist with a physical body and spirit that are full of tension, no matter how many. To do this, I have to maintain my body and face it with my own body.
Photography cooperation: Don Giovanni
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