"Real Reality" 2015
"Real Reality" Promotion
2015. Jan. at Theatre Tram, Tokyo, Japan
2015. Feb. at Kamitonda Cultural Hall, Wakayama, Japan
2015. Jun. at Aichi Arts Center, Japan
2015. Aug. at ECHIGO TSUMARI ART FIELD, JAPAN
2015. Aug. "Singapore Internationl Festival of Arts" at Tanjong Pagar
2015. Dec. "Takamatsu Media Art Festival" at Sunport Hall, Kagawa, Japan
2016. Jan. at Teatre ARENA, Surakarta, Indonesia
2016. Jan. at Youth Theatre, Hanoi, Vietnam
2017. Mar. at Teater Luwes, Institut Kesenian Jakarta, Indonesia
"Real Reality" Digeest
Choreographer : Mikuni Yanaihara
Video Projection : Keisuke Takahashi
Music : SKANK
Set Designer : Takuya Kamiike
Emi Oyama, Fumiko Ishigaki, Mihoko Tsurumi, Jun Morii, Mikuni Yanaihara
in Surakarta, Indonesia : Agus Margiyanto
in Hanoi, Vietnam : đào thụy thúy vân
in Jakarta, Indonesia : D. Maharani Pane, Korinta Cyntia Delfi, Ciota Inkani Tarigan, Rayi Utaminingrum, Sylvi Dwinda Aurelia, M. Anugrah Sepdiansyah, Putri Ayu Wulandira Handayani, Fitri Anggraini, Irfan Setiawan
in Nagoya and Tsumari, Japan : Yoshihiro Horie, Mai Tanabe, Tomomi Watanabe, Ayaka Shimizu, Momoko Takeuchi, Shigetoshi Fujimoto
Flyer design: Okamoto Tsuyoshi+, Takuya Kamiike
The development of television, the Internet, mobile phones, and various other technologies have made it possible to bring occurrences in the distant past and times from the past and future before our eyes, as if they were really there. We nevertheless cannot imagine the tragedies which happened long ago and share the bodies we see affected by them. Designed especially for this present age of diluted reality, this work taps the fundamental power inherent in stage arts, which definitely cannot be experienced without actually being there. It is aimed at imparting a genuine grasp of reality by presenting corporal- ity that can actually be felt by us who live here and now, for a limited, uncertain future.
In preparation for this work, Nibroll held "creation workshops" in Wakayama, Nagoya, and Tokyo in June and July of 2014. These workshops brought togeth- er local artists and creators in the fields of dance, art, visuals, music, and production. Through the communication and creation in them, Nibroll engendered the basic bones of the work which it then fleshed out and organically joined together to create the piece. Furthermore, it newly collected performing arts at all the stops on its tour of eight cities. At performances in Indonesia and Vietnam, it invited local dancers to take part, in order to inject the work with a reality relevant to those countries while also further updating it.
- Concept -
Omit the body and expand.
People use technologies that allow them to move as little as possible. I have no quarrel with these technologies, which make life easier for all. But when the body is omitted to this extent, it is a little unsettling. Our imagination tries to bring occurrences of the distant past and times from the past or future to the front of our minds, as if they were actually here in the present. Nevertheless, people cannot even imagine the tragedies of long ago, and cannot share the bodies which experienced them.
We stand at places that are empty, spend time that is not real, listen to voices without speech, and encounter people without bodies. Death is right before us, unlimited, and decisive. Life is here and now, limited, and with an uncertain future.
The work explores corporality that can be really felt by us who live in an age in which the body is no longer needed.
- Review -
"A Genuine Attitude toward the Times and Cogency" Akiko Tachiki, Dance Critic
The Internet instantly links us with the other side of the globe. A speed nullifying time and space is beginning to exert an influence on human cognition. In the glut of information, the pain of an other is merely a distant image. The new work by Nibroll, a group of artists in heterogenous fields arrayed around choreographer Mikuni Yanaihara, focuses on the dangers and shadiness of an age marked by faded corporeality. Mobile art (Takuya Kamiike), cutting-edge visuals (Keisuki Takahashi), physically moving music (SKANK), and the choreography of Yanaihara, who extensively incorporates everyday gestures and moves, smoothly mesh and synergistically generate a very cogent piece.
A space enclosed with white walls. Running with all her might, Yanaihara crashes into the wall at top speed. The flow of numerals and information that continues to race before our eyes is unintelligible. The sound of speech confessing ignorance is joined with looped footage of a dancer hanging herself. These stand in sharp contrast to a totally exhausted man swinging a tennis racket and the freewheeling dance by young women. Meanwhile, objects are thrown away, and the old clothes worn by dancers are piled up on stage. This juxtaposition of the breathing of flesh-and-blood dancers with the debris of life is a device for cutting through the membrane covering the real. Suddenly, we are connected to the memory of the Great East Japan Earthquake, and the visuals shift to neutral colors. Living time does not permit us to go back. Symbolic expression imbued with allegory awakens the buried memories.
In the final act, pieces of ominous black cloth that continue to fall on the stage call to mind the black rain that fell on Hiroshima after the atomic blast. The dancers pick them up along with the objects and clothes scattered around the stage as if hinting at the mass-consumption bent of contemporary society, put them into a box, and push the box to the rear. It has been 70 years since the end of the Second World War and four since the earthquake disaster. One wonders if there is any way to stop the erosion of memory. While there is some room for exercise of more ingenuity in aspects such as presentation of the physical reality of the dancers grouped by age, the work is a good one that squarely confronts the times.
Nibroll Kritik Efek Negatif Teknologi Lewat Pentas Real Reality + SOLO EVENT
Kiem Van Tim「KVT’s January Briefs... Oh What a Company!... Nibroll!」 + Hanoi Grapevine
- Credit -
Lighiting Designer : Yann Becker
Costume Designer : Tomoko Inamura
Stage manager : Koro Suzuki
Sound Designer : Kazuya Sugai, JOY SOUND PROMOTION
Special Thanks : Yuka Narita, Tomotaka Nakano, Moyo Kawazaki
Flier Design：Okamoto Tsuyosi+, Takuya Kamiike
Photography : Hideto Maezawa, Naoshi Hatori
Video Documentation : Takaki Sudo, Yuichi Sasaki, Hironori Itabashi
Presented by Nibroll
Produced by precog
Co-produced by Theatre Tram, Wakayama Kamitonda Cultural Hall, Aichi Arts Center, ECHIGO TSUMARI ART FIELD, Sunport Hall TAKAMATSU, Singapore Internationl Festival, STUDIO PLESUNGAN
Supported by The Japan Foundation Asia Center, Arts Council Tokyo, Agency for Cultural Affairs of Japan
Special Thanks : The Inoue Ballet Foundation, SNOW contemporay, Kindai University, The Koganecho Management Center, Daikon Inc., Mika Fujiwara, Emi Matsuo, Moyo Kawazaki, Steep Slope Studio, Arabesque Dance Company, Tiffany Chang, The Japan Foundation Center for Cultural Exchange in Vietnam, Phan Trong Khuong, Melati Suryodarmo, The Japan Foundation Center for Cultural Exchange in Indonesia
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