Hirokazu Tategata's Danceable LIFE Vol.6
A job called "choreography" where you can see a world different from your own
Hirokazu Tategata (actor, dancer, choreographer)
From some time, I've been involved in choreography as a job. Beginning with the staging of a recitation drama, we also challenge musicals. Last year, I was also in charge of choreography for "Kiki's Takkyubin".
When you provide choreography to people, you may see a world that is different from what you thought. By giving shape to the world I imagined with a body different from myself, a landscape that I never imagined is created. It's a very interesting experience.
On the other hand, it's quite difficult to choreograph yourself. Knowing your limits, everything falls within your expectations and becomes boring. It seems to be fun for me to think about how to arrange the "swing" given by people and dance in my own way. Therefore, even in a small scene, I often ask a reliable person to choreograph my dance.
I have been participating in the choreography of artistic swimming (formerly known as synchronized swimming) for about four years. Of course, I don't go into the water and teach. I think about the overall composition and theme, select songs, and choreograph the upper body in land and underwater. Head coach Masayo Imura thinks about the movement of the legs, so it's a collaborative work.
You may feel that there is something in common with "dancing," but for me, the industry is completely different, so I was confused when I first heard about it. However, Professor Imura said, "I'm not a person in the industry, so it's interesting because I have no knowledge at all." If you get caught up in common sense, nothing that jumps out of it will be born, so "Please say something messy." I felt that it was truly creativity.
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Artistic swimming, as the name implies, is a sport that requires a high degree of artistry. What was expected of me was mainly to teach "Azatoi expressiveness". Overseas players have a strong appeal, and from the moment they appear, they give off the aura of "I am the best in the world." I was asked to teach Japanese players such expressiveness and "Azatosa". I'm not a dexterous dancer, but that's why I'm proud that I've improved my strength, how to get into the work, and my concentration. Imura-sensei must have paid attention to it.
I think the important thing in choreography is to bring out the goodness of the person. Since I was asked to do so, I could develop the "Tategata World", but what I actually express is a body different from mine. I think it's important to imagine what would happen if the person embodies my world, rather than imposing it unilaterally.
However, at first we didn't have a common language with the players, so I think we had a hard time with each other. In order to help me understand the "expression" that I think of, I tried to change hands, change products, and select and convey various words. There are many abstract expressions, so a wide range of experience is required to understand each other. Professor Imura recommends that the players watch various things such as dance and theater performances, Kabuki, music, and art. In fact, Professor Imura has a wide range of experience in art, so it was a wonderful experience for me to choreograph while exchanging opinions.
ent / uploads / 2019/04 / DSC1396.jpg "alt =" "width =" 1200 "height =" 801 "/> After four years, the players became interested in various worlds and saw various things. It seems that we are going. I feel that we are now able to have a common language.
At the France Open held in March of this year, Yukiko Inui, who I was in charge of choreography, won the solo FR. I feel that there is a good flow toward the 2020 Tokyo Games.
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