Masashi Nomura Direction

The experience of the earthquake disaster and nuclear accident overturned all our trust in society. By “trust” I mean “calculability” or “controllability.” Not only capitalism and radioactivity but also our lives and relationships are uncontrollable… We realized that we are passive existences from birth. From subjective activity to objective passivity. From calculated construction to indefinite development. How can we, born alone and passively, connect to others and get along to survive? How can we develop community in the uncertain society where catastrophe remains latent? I selected performances that should respond to these questions about passivity toward “life” and “relationship,” and on this premise, the direction that “life” takes, “division” and “community.”

Photo: Hideto Maezawa

Masashi Nomura
(Producer, Komaba Agora Theater)
Born in Nagano in 1978. After working at a public hall, he joined Komaba Agora Theater and Seinendan. Meanwhile, he took part in activities of young artists in various ways. Our Planet (2009) by mamagoto and The Treasured Son (2010) by Sample, for which he worked as dramaturge, won the Kishida Kunio Drama Award. He has also produced black coffee (not for drink) by Okazaki Art Theatre (2013) and Time by Shuta Hasunuma and Ryota Yamada (TPAM2012).

Shuta Hasunuma

Photo: Takehiro Goto

Composition: New Philharmonic

Kanagawa Arts Theatre, Hall

2.11 Tue 17:00

Ticket available prior to other programs!
Sales starts on: 1.15 Wed 10:00
Available at: eplus

*Available at Ticket Kanagawa from 1.25 Sat.

Shuta Hasunuma, who started as a solo electronica musician, started to form a community called “Philharmonic” by reversing and opening the private time inside headphones into shared and public space as if turning a can inside out and through replacing timelines by diverse players to perform across the fields of expression. It can be said that their performance emerges as a “landscape,” and audience can stay there, meet and share while keeping their own time just as the players do, neither being subjected as receivers nor actively involving themselves in what is going on.

Shuta Hasunuma (composition, piano, synthesizer, electric piano), Shuta Ishizuka (bass, guitar), Itoken (drums, synthesizer), Yoshio Ootani (sax), Toshihiko Kasai (PA), Misato Kinoshita (chorus, piano), K-Ta (marimba), Utena Kobayashi (steelpan), Tomohiko Gondo (euphonium), Ryosuke Saito (guitar), Jimanica (drums), Roy Tamaki (rap), Hiroki Chiba (violin, bass), Eriko Tejima (viola), Chiaki Miura (flugelhorn, glockenspiel), So Ozaki (stage manager), Atsuki Kikuchi (advertising art), Ryoichi Kiyomiya (production coordinator), Akiko Saito (editor), Atsushi Sasaki (critic), THEATRE PRODUCTS (costume concept), Megumi Sato (technician), Masayoshi Takada (lighting), Yuko Mohri (decoration and apparatus)

Shuta Hasunuma

Born in 1983 in Tokyo. In addition to his own recordings and the concerts in and outside of Japan of Shuta Hasunuma Philharmonic Orchestra, he has produced a number of commission works and collaborations with films, advertisements, performing arts and contemporary art. Presented an exhibition soundlike in 2013 in Tokyo and Kobe. Releases Shuta Hasunuma Philharmonic Orchestra’s album Time plays — and so do we. in January 2014. Resides in New York from early summer 2014 invited by Asian Cultural Council.

HANCHU-YUEI

Girl X (2013)
Photo: amemiya yukitaka

Girl X

Kanagawa Arts Theatre, Middle Studio

2.12 Wed 16:00
2.13 Thu 14:30/20:00

Fortunately for some and unfortunately for others, so far, this small country, which had been said to be a “big power,” seems to have only buried the experience of the unprecedented accident deep under the surface. Girl X is a middle-length play that simply and honestly crystallizes the various separations within Japanese society and views of life formed since the disaster into a theatrical fiction. Are we, as existences that are continuing to live more or less, capable of responding to the prayer for the “safety of the coming lives” — the prayer of the character who tries to kill oneself in this play?

Written and directed by: Suguru Yamamoto
Performers: Kazuki Ohashi, Sachiro Nomoto
Art director: Kazuki Takakura
Producer: Momo Sakamoto

Suguru Yamamoto
Photo: 斉藤翔平

HANCHU-YUEI

A theatre collective launched in 2007 and based in Tokyo. Suguru Yamamoto writes and directs its pieces characterized by critical approaches to the boundary between reality and fiction that question the ways interactions between them occur. The themes are humorously drawn from opposites such as dream and reality, play and play within play, video game (or virtual reality) and the real world, or love and hate. Their recent works involve two-dimensional letters, images, lights and floor plans that are projected, and these elements organically relate to the three-dimensional bodies of performers, which results in 2.5-dimensional theatre. Among other works of theirs is Good-Bye, Japan — I Want to Sleep in Meditation.