see / saw

Choreographer : Mikuni Yanaihara
Video Projection&Lighting: Keisuke Takahashi
Sound Director : SKANK
Set Designer : Takuya Kamiike
Costume Designer : Takayuki Suzuki

performers :
Emi Oyama, Akina Kinukawa, Ayako Yamashita, Ayako Fukushima,
Yuri Kinugawa, Manaho Kaneko, Misato Mochizuki, Kazumasa Takahashi, Maki Kurita, Yu Tomatsu, Haruna Maekawa,
Hiroki Kadota, Yumiko Takeda, Ririko Ohniwa, Takehito Kinoshita, Miho Shibayama, Itaru Sasaki, Taiki Nakano

Stage manager : Koro Suzuki
Special thanks : Kei Ito, Steep Slope Studio
produced by precog

2014. Aug. at KANAZAWA Art Village, JAPAN
2014. Mar. at KLPAC, Kuala Lumpur, Malaysia
2014. Feb. at PenangPAC, Penang, Malaysia
2012. Jul. at YOKOHAMA Creative Center, JAPAN
2012. Aug. at Echigo-Tsumari Art Triennale, JAPAN

- concept
We start from where you imagine as you go down,
the scene you saw as you went up whilst sitting on the other end,
when the seesaw eventually tips over.
And when asked "Did you see?", you say "I saw"

A piece created by Nibroll, reborn as a dance company in 2012, on the theme of “life and death.” Normal everyday life was interrupted by March 11th 2011, and the work with its sense of plunging down into despair shook many in the audience. A one month-long show was performed at the Yokohama Creative City Center involving 4 main dancers and 15 extras. Subsequently, another version developed through collaboration with the local community was presented at the Echigo-Tsumari Art Triennale.

photo : Hideto Maezawa

The title of the piece is “see/saw.” It's something that probably everyone has played with at least once during their childhood. The word is composed of “see” (to view) and “saw” (tool for cutting, to move back and forth) but this combination of past and present tense gives rise to a variety of images. What was it that we saw as it creaked repeatedly carrying you up and down? And who was sitting at the other end?

We start from where you imagine as you go down,
the scene you saw as you went up whilst sitting on the other end,
when the seesaw eventually tips over.
Recall the days to come, describe the days gone by,
why something was chosen, why something was not,
you ponder, born on one day, dead on another,
Imagine a scene seen at a faraway place that’s not here,
And when asked, “Did you see?”, you say “I saw”

It appears that throughout the world people make an offering of flowers when a person has died, regardless of religion. Why flowers for the dead? This piece began from this simple question. It seems like a person’s death is linked to those left living by a series of scenes. Perhaps the flowers are a symbol of those scenes. Those living offer the memories they have of the dead, a scene from the past, as flowers. Even if it was the same scene, each person is different, in terms of environment, time, the circumstance into which a person is born as well as philosophy, values, religion and physique. If one were to compare it to a seesaw, depending on how high or low, heavy or light, and the speed, people come to learn of various things, etch them into their memory, and become subjective about their life and death. If one were on a seesaw, can you imagine who’s on the other end? Is it you, or someone else? The moment a person offers a flower, he senses the distance to that person up till that point, in the future, and as of that moment. At the same time with a premonition of their own death, think about how they can how to view their life and death subjectively. This piece is about memories but it’s a compilation of various people’s memory fragments. “See” and “saw,” and the scenery in between.

+ Review

 前半は4人のダンサーによる、いかにも矢内原美邦の振 付けらしい動き。日常の仕種とトリッキーなムーヴメントを美事にフュージョンした暴力的で被虐的な、しかしリリカルなダンスだ。それは、時間と空間を正確 にプログラミングした、高橋啓祐の幻惑的な映像とリレーションをとりながら進行する。さらにはスカンクの機械音のような無機質でミニマルな音楽が、じわじ わとそれを強力にサポートしていく。何気ない、しかし決定的な記憶への回帰と、それほど遠くない死への戦慄、抵抗、あるいは共鳴。動くことで解体してしま いようなダンサーたちの肉体が、生への希求から死へ至る危機感をも呼び起こしていく。
 後半は、スズキタカユキデザインの、黒いコスチュームの18人の若いダンサー、アクターたちがぞろりと登場して来る。ここで前半の「生」のモチーフが一転 「死」のテーマへと移行する。日常のプロダクツが飛翔して永遠に飛び去っていく映像の中で、彼らはあらん限りの声を絞って叫び続ける。世界の終わりに立ち 会っているような絶望と、しかしそれでも林檎の種を蒔こうとするような若々しいアンビバレンツ。ヨコハマ創造都市センターのギリシャ風な白い巨きな列柱 が、死を祀る斎場にも見えてきて、彼らの熟練していない動きや発声が続く。それがかえってダンス作品という既成の完成度を拒絶しながら、リアルで真摯な答えのない行為の連続から、切ない程の共感をオーディエンスに投げかけて来る。

+++佐々木敦(評論家 / HEADZ代表 ) 
 ヨコハマ創造都市センターにてニブロール『see/saw』。矢内原美邦らしさを存分に注ぎ込み、更に新生ニブロールとしてのネクストディメンションを鮮やか に提示した、恐るべき舞台。とにかく一個の作品としての凝集力が並外れている。映像も照明も光も完璧。2012年ニッポンの「痛み」のダンス。ここ数年の矢内原ダンス作品の中でも最も成功していると僕は思った。ナイーブな少女の傷だらけの内面を、壊れかかったまま激しく痙攣し続けるティーンエイ ジのからだを抱えたまま、ニブロールは大人になった。これなら矢内原美邦の未来は明るい。いや、彼女のダンスは明るくない未来に光を射すだろう。


flier design : Okamoto Tsuyoshi+, Takuya Kamiike

see / saw - EchigoTsumari Triennale 2012 -

@POCYOMKIN and YAHANACHI Shrine / KURAMATA area, Toukamachi city, Niigata, Japan
Special Thanks to people of KURAMATA area

photo:Yuhei Kaneda