Tachigata Hiroichi's Danceable LIFE Vol.7
Encounter with musical
Tategata Hiroichi (actor, dancer, choreographer)
I like musicals.
When I thought about when I was interested, I remembered watching the musical stage as a child. I don't remember the content, but after that I was playing “musical pretend” with my friends, so it would have been very interesting. Later, in high school, I performed “musical mock” at a school festival.
I started in earnest when I entered university and joined the Musical Study Group. I asked the seniors I met to say, "You should dance" and knocked the gate of Nakura Jazz Dance Studio. Thanks to her height, she has been able to get a dance job since she was a student.
At that time, Japanese musicals had a kind of “role division” between dance and singing, so if I could dance, I could be on the musical stage as an ensemble dancer. Recent musicals focus on singing, so if you can't sing, you'll find it difficult to get on stage.
By the way, while I was at school, I continued to work as a musical research group, so I was busy with my work as a dancer, classes at university, and club activities. There are times when I'm so busy that I lose my memory. However, the people and experiences I met during my four years at university are very large, and I am sure that they are the foundation of myself now.
Musical songs and dances have a mysterious "power" not found in straight plays. There are also songs and dances in show dance, but I feel a little different. I like straight plays, but I also find the world of singing and dancing coexisting wonderfully.
The first full-fledged musicals I saw when I was young were Chorus Line and Cats from Shiki Gekidan.
It was unprecedented at the time to import the stage of home Broadway, create a dedicated theater and perform the work over a long span of many years.
I was just starting to dance in earnest, so I didn't think I would be a professional dancer, but it was a long run performance of the Shiki Theater Company that overturned it in a good way . In a time when it was still difficult to make a living just by dancing, the long-run system, which allows a single work to continue on stage for a long time, was a very revolutionary system that had never existed in Japan before. So, on the day of the four seasons' auditions, the powerful senior dancers all went to the reception, so the shadow disappeared from the studio. However, at that time, I was just out of the way, so I was an outsider (laughs).
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