Hiroichi Tategata's Danceable LIFE Vol.7
Encounter with a musical
Hirokazu Tategata (actor, dancer, choreographer)
I like musicals.
When I thought about when I was interested, I remembered watching the musical stage as a kid. I don't remember what it was, but it seemed like I was doing “musical pretend” with my friend after that, so it would have been very interesting. After that, when I was in high school, I also had a musical festival at a cultural festival.
I started in earnest when I joined the "Musical Study Group" after I entered university. I asked the seniors I met there to say, "You should dance," and knocked at the gate of the Nakura Jazz Dance Studio. Perhaps because I was tall, I got a job of dancing while I was at school, and I feel like I was spending a lot of dance in the latter half of my college life.
At that time, Japanese musicals had a sort of “role division” between dance and song, so if I could dance, I could stand on the musical stage as an ensemble dancer. Most musicals these days are singing, so I feel that it's difficult to get to the stage if I can't sing properly.
By the way, while I was in school, I continued to work in musical research groups, so I was busy working as a dancer, teaching at a university, and club activities. There are times when I'm too busy to forget my memory. However, the people and experiences that I met during my 4th year at university are very large, and it is certain that this is the basis of my own.
Musical songs and dances have a mysterious "power" that straight plays do not have. Show dance also has songs and dances, but I feel that it is a little different from that. I like straight plays as well, but I also find it fascinating in a world where songs and dance coexist.
The first full-scale musicals I saw when I was young were the Shiki Theater's "Chorus Line" and "Cats."
It was unprecedented at that time to import a genuine Broadway stage, create a dedicated theater, and perform the work over a long span of many years.
Since I was just about to start dancing in earnest, I never thought of becoming a professional dancer, but it was the long-run performance of Shiki Theater Company that overturned it in a good way. .. In a time when it was still difficult to establish a life by dancing alone, the long-run system that allowed you to continue on the stage for a long time with one piece of work was a very epoch-making system that was not available in Japan until then. So, on the day when we had auditions for the four seasons, all the powerful senior dancers went to the reception, so the figure disappeared from the studio. However, at that time, I was a fledgling person, so I was an outsider (laughs).
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