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Theater / Dance

Tachigata Hiroichi'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.)

A job called "choreography" that allows you to see a world different from yourself
Tategata Hiroichi (actor, dancer, choreographer)

From some time, I have been involved in choreography as a job. Beginning with reading theatrical performances, we also challenge musicals. Last year, I was in charge of the choreography of Kiki's Delivery Service.
When you give a choreography to a person, you may see a different world than you thought. By transforming the world I have imagined into a body that is different from myself, I can create landscapes that I never imagined. It is a very interesting experience.
On the other hand, it is quite difficult to choreograph yourself. Because we know our limits, everything falls within our expectations and becomes boring. I think it's fun to think about how to arrange the “swings” given by others and dance in my own way. So, even in small scenes, you often rely on someone you can trust for your choreography.

About 4 years ago, I participated in the choreography of Artistic Swimming (formerly Synchronized Swimming). Of course, I am not in the water to teach. I think about the whole composition and theme, select songs, perform land movements and underwater upper body choreography. The movement of the legs is considered by head coach Masayo Imura, so it's a collaborative work.
It may seem like there is a common paradigm of "dancing", but the industry is completely different for me, so I was puzzled when I first talked. But Professor Imura said, "It's interesting because I'm not a person in the industry and I have no knowledge at all." If you get caught up in common sense, something that jumps out of it will not be born, so please say "messy things". I felt it was truly an idea.
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Artistic swimming is, as the name implies, a competition that demands a high degree of artistry. My main expectation was to teach "bruise and expressiveness." Overseas players have a strong appeal, and from the moment they appear, emit an aura that says, "I am the best in the world." I was asked to teach Japanese players such expressiveness and "bruise". I'm not a dexterous dancer, but that's why I have the pride that I've honed my thoughts, how to get into the work, and concentration. Imura-sensei must have watched it.

The most important thing in choreography is to bring out the goodness of the person. I've been asked to do it, so I can develop "Tategata World", but what I actually express is a different body from me. I think it's important to imagine what would happen if the person embodies my world, rather than imposing it unilaterally.
However, at first there was no common language with the players, so I think we struggled with each other. I tried to change my hand, change the product, and select various words to convey my understanding of the "expression" I think. There are many abstract expressions, so a wide range of experience is required to understand each other. What Imura recommends to the players is to watch a variety of things, such as dance and drama stages, kabuki, music, and art. In fact, Prof. Imura has a wide range of experience in art, so it was a wonderful experience for me to choreograph while exchanging views.
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At the French Open in March this year, Noriko Inui, who was in charge of the choreography, won the solo FR. I feel that we have made a good move toward the Tokyo 2020 Games.