Tomohiko Tsujimoto x Mirai Moriyama "Kyukakuushio" talks about the new work for the first time in two years!
Performance unit "Kyukakuushio" led by Tomohiko Tsujimoto and Mirai Moriyama. The two, who have always been at the forefront of the times since their launch in 2010, will appear in the Yokohama Red Brick Warehouse Number 1 with the new work "Flying a wonderful coincidence" for the first time in two years. What are they looking for and aiming for?
For the new performance, a creation was held in Hazu, Nishio City, Aichi Prefecture in May of this year. Furthermore, we are planning to create in Hong Kong from October 28th. Prior to our departure to Hong Kong, we talked to two people who hit each other in the rehearsal hall.
* Mr. Tsujimoto's "Tsuji" Shinnyo has one dot, but it may be displayed with two dots depending on the environment.
First of all, what is "Kyukakuushio"?
Moriyama Originally, it is a unit that was launched in 2010 with Tomo-san (Tomohiko Tsujimoto). This time, as an attempt, all nine people, including the staff, became members of Kyukakuushio, involved in the creation from a flat standpoint, and constructing the work.
It is still necessary for someone to take the initiative in creating the work, which is the role of Tomo-san and myself. However, in the process leading up to that point, I was worried that the staff, such as lighting and sound, would often be "waiting for instructions." Such "vertical relationships" may be common in Japan, but I want to change that. Even if we make a decision in the end, we want to create a flat relationship in the process leading up to that decision. I would like to create a relationship in which each person makes independent proposals.
080; "> Tsujimoto If I'm going to do it, I'd like to continue doing it for the next 10 years, so I don't want to change the members as much as possible.
Moriyama: At the work-making sites that we are usually involved in, it often ends up in a transient relationship where one work is disbanded once it is finished. It is also an attempt to make the environment continuous and to what extent it is possible to create works with fixed members.
The two have been together since 2010 , has the relationship changed?
Tsujimoto: Various things have changed. The most unusual thing is that I became positive about the talent of the other party. Respect changes the way you speak and ask, and the way you make it. Of course, I had respect from the time I met him, but there was also "denial" on the flip side. "It's great, but I think it's different."
Moriyama: It may have been a criticism, or a critical point of view. We went to see each other's works, and every time we said, "How was that?" "That's Akan." If you have such a relationship, you should try it together. "Kyukakuushio" was launched at the suggestion of Mr. Tomo.
Moriyama Certainly, the relationship has changed since we worked together in 2010. There is no waste of criticism (laughs).
Tsujimoto : It's not that I'm on bad terms, but I think that because I'm working hard on performing arts, I tend to get more criticism than praise.
Moriyama: From the time I met Tomo-san, I received a lot of stimuli, and various words got caught in me, which became an element that made me imagine my body. From there, I gained a lot of experience and started the performance on my own initiative.
Tomo-san is Tomo-san, and he used to focus on being a dancer rather than choreographing someone, but now he dances himself, but he also choreographs positively. Therefore, I feel that I am involved from a different perspective than before.
In 2017, when I performed last time, I think my consciousness was different from now, and I myself still had low experience points. For me, there was still a feeling of tension in dancing in front of Tomo-san, and there were various dialogues in it, and I think the work that was born from that was interesting.
It's been two years since then. I feel that another dialogue is being born now.
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It feels like you can understand without saying it?
Moriyama That's not true. I don't know unless I say it (laughs).
Tsujimoto: Rather than criticizing or criticizing, I think we are working together. Because we both have the feeling that we are making one thing.
Moriyama : I didn't think this would happen from the beginning, so I didn't have nine people. At least I wasn't. However, by having nine people, I became aware that the work does not move only by the relationship value between the two of us. There is a part that is viewed from a bird's-eye view as a maker, and there is also a point of view that is subjectively involved. I haven't lost the tension in dancing in front of Tomo-san, but by confronting eight people instead of two, I have another feeling that I have to start up from there.
I experienced rice planting work at the creation of Hazu, Nishio City, Aichi Prefecture.
Tsuji Honda I wanted to experience the “work movements” that Japanese people have come to, such as planting rice and harvesting rice. What I've been saying for years has finally come true.
Moriyama That's right, it was great to be able to camp with nine people. Agricultural work has become a distant existence for us now, but I think that we are human beings who have risen up as agricultural people. Therefore, there are many movements rooted in the soil in daily movements. Considering that, he said, "I have to enter the rice field first."I have always had a desire to experience what a Japanese body is.
《In May of this year, an artist-in-residence was held in Hazu, Nishio City, Aichi Prefecture. On the final day, we invited people from the area who took care of us to perform a show in the rice fields. ”
Are you swimming?
Tsujimoto I'm not swimming (laughs).
Moriyama I wonder if I swam a little (laughs). What was surprising was that the mud did not taste like mud. I thought that when the water in the paddy field got into my mouth, it would smell like muddy, but I was surprised because there was no unpleasant smell at all.
Tsujimoto At first, I had the impression that it was a little dirty, but as weeds were removed and cultivated, I felt that it became more beautiful.
And slimy. There is also a passage of Senryu that all the members wrote, but I can't forget the action of "Fumu Numeru". The movement when stepping on depends on whether or not you actually have the experience, and I think the meaning will be different. I've been paying attention to it for a long time, so I felt a sense of accomplishment that I did it.
Another. It's not shown in the video, but at that time there were customers around me and I was laughing a lot. We express our bodies in a stoic manner, but I'm glad that we were able to do something exciting and interesting as both extremes.
Moriyama </ span> In the fundamental part.
Tsujimoto : I was happy that the people who watched it were pleased. When I and he stand on the stage facing each other, I think that a unique atmosphere of tension is created. In contrast, I feel that we were able to reaffirm that we also have different attractions. I was able to obediently put out the part with humor.
What kind of work is it going to be this time?
Tsujimoto: My personal opinion is, "I'm going to make something I've never seen before, so come see me." Since the definition of new things is undecided, customers may be confused, but I would like to make something that is said to be "Oh, I have never seen it."
Moriyama: What I want to aim for is "how can we incorporate the phenomenon that we can do because we are facing the audience here?"
It's abstract. Then in one word.
Please come and see the dance performance!
Born in Osaka. He did not start dancing in his childhood, but was absorbed in basketball from elementary school and achieved numerous results. He started dancing and snowboarding at the age of 18, and after moving to the United States in 1997, he moved abroad and was appointed as the first Japanese male dancer at Cirque de Soleil in 2007. After that, he succeeded in 485 performances in 27 countries of "Michael Jackson The Immortal World Tour". Currently, he is also active as a choreographer.
Born in Hyogo prefecture. Active as an artist who is not bound by categorization such as theater and dance.
In 2013, he stayed in Israel for one year as a Japan Cultural Envoy, and has been active in European countries based at the Inbal Pinto & Avshalom Pollack Dance Company.
Received the 40th Japan Academy Award for Best Supporting Actor. Received the 10th Japan Dance Forum Award 2015.
This event has ended.
"Flyer a wonderful coincidence" (world premiere)
[Schedule] November 22nd (Friday) -December 1st (Sunday), 2019
[Venue] Yokohama Red Brick Warehouse Number 1 3F Hall
The application for the present has been closed. Thank you for many applications.
We will present a ticket for the "Kyukakuushio" A Wonderful Chance "(World Premiere)" held at Yokohama Red Brick Warehouse Number 1 Building 3F Hall to 2 people per group for each of the following performances.
■ November 26th (Tuesday) 19: 00 ~ 1 group 2 people
■ November 27th (Wednesday) 19: 00- 1 group for 2 people
■ November 28th (Thursday) 19: 00- 1 group for 2 people
If you would like to receive a viewing ticket, please select one of the dates and times from the application form below and apply. We are looking forward to your application.
Until 24:00 on Sunday, November 10, 2019
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Yokohama Red Brick WarehouseThe Yokohama Red Brick Warehouse was built in the Meiji and Taisho eras as a model warehouse for the country. On the sho ･･･Enjoy history exploration and famous ice cream with red brick2012.03.17
The Yokohama Red Brick Warehouse was built in the Meiji and Taisho eras as a model warehouse for the country. On the shopping floor where small shops are lined up, leaving the impression of the warehouse at that time, there is a wide variety of shops such as various brands from Yokohama, Yokohama souvenirs, shops full of individuality unique to Yokohama Red Brick Warehouse. ..
As for cafes and restaurants, there are shops that can be used in a variety of situations, from casual food courts to shops with a mood that takes advantage of the excellent location.
Various seasonal events are held in the event plaza, and in the hall and space of Building No. 1, the art and culture unique to Yokohama are created and transmitted through performances such as dance, theater and concerts, and various exhibitions.
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