works

Romeo OR Juliet

Choreographer : Mikuni Yanaihara
Visual Director : Keisuke Takahashi
Sound Director : SKANK
Costume Designer : Mitsushi Yanaihara
Lighting Designer : Kai Takinoiri
Set Designer : Keitaro Hisano
producer : precog

performers :
Mayu Takagi, Shigeya Yo, Yu Harada, MiuMiu, Minako Kimura, Anna Kuroda,
Ayako Fukushima, Kohei Takahashi, Osamu Fujiwara, Mikuni Yanaihara

2008. Jan. at SETAGAYA Public Theatre, TOKYO

<Award>
2009"Japan Dance Forum Award 2009 Grand Prix"


- concept
Borders that are drawn between every little thing. Between men and women, the soul and body. Mountains and cities, countries and countries. Let's say, between you and me. We try to jump over this line, or get rid it. The password is, "No Border".
But because where we think this line "exists" is wrong, the world has become a bit screwed up.
There's no way we can go over this line to begin with, if it's a line that has been drawn where it's "supposed to be".
Look really, really carefully. Between you and me, there is a clear cut line that we cannot cross. To draw a line correctly. The password is, "No, No border". Can the world save Romeo and Juliet?

flier design : Yousuke Yonemochi(case)



Review: Asahi Evening News Jan. 28th, 2008
Romeo or Juliet celebrates the 10th anniversary since the launch of Nibroll as a company. Yanaihara herself and 10 other dancers she has chosen will perform in the piece. The piece starts with Yanaihara appearing on the dark stage with the hanging curtains, dancing quietly and beautifully. However, this then develops into an intensity which is very Nibroll-like.
What is different from the usual Nibroll is that the positioning and timing of space when multiple groups are moving simultaneously are accurate and careful. When they move in unison, what seems to be violent is actually choreographed meticulously. The uniqueness of the dancers who are dressed genderless appears nicely.
What should be worth mentioning are Takahashi's images and the sounds by Skank. The images of multiplying insect samples and stuffed animals projected onto the curtains and background wall seem at first sight to have nothing to do with the dance, but they are delicate and dynamic, as if they imply the boundaries between life and death. Skank draws in the sound of jazz, orchestral, and choral music, and in addition effectively uses weak and strong sounds, thereby increasing density in the electric sounds, which is his specialty.
The final part which began with Anna Kuroda's outstanding solo brought about catharsis through the threesome with sounds which gradually build and the gigantic image of water splashes engulfing the dancers who escalate in intensity.
I sympathize with the attitude of avoiding convergence on conventional stories or sentiments. It was a 10 year anniversary which showed their deepening rather than maturity.
-----Tatsuro Ishii, dance critic


all photo by Kenki Iida