- Performance -

- Exhibition -

photo:Nobutaka Sato

Nibroll employs a new way of presentation in this performance. Each member of Nibroll individually exhibits his/her production in the artistic media s/he specializes in (Mikuni Yanaihara: dance, Keisuke Takahashi: visual arts, Kai Takinoiri: lighting design, Skunk: sound design, Mitsushi Yanaihara: costume design.) The performance venue consists of 5 different exhibition rooms, providing one room for each media. The audience is free to walk around the venue moving from one exhibition room to another to enjoy the performances and exhibitions happening simultaneously.
In the first 30 minutes, performances happen in 4 rooms (visual arts, lighting, music, and costumes) by dancers moving from one room to the next. The performances are composed in correspondence with the exhibition each space features. For example, in the room of costumes, dancers represent the relationships between men and women on patchwork quilts laid throughout the floor. You see dancers dance solo with headphones on their ears in the room of music, where you hear music coming out from a lot of headphones placed in the room. In the room of lighting, an objet is placed right in the center of a space colored all in white. Under the fluorescent lamps that light up the objet, there happens a dance performance by three dancers of males and females dancing as if they were chasing each other.
In the last 60 minutes, all of the dancers including Mikuni Yanaihara unfold a dance performance in the fifth room, a broad performance space. This room is also divided into several small spaces. On the house right, there is a space that is made up like a room furnished with a sofa and a TV monitor playing a video of a merry-go-round.
At the center, there is another performance space - seven small squares (one for each seven dancers) are placed on the floor, and numerous clothes are hung from the ceiling. While maintaining their own spaces on the squares, or sometimes jumping over from one square to another, dancers hold on to each other’s hands, leap, scream, thrust each other away and catch each other. The performance space is so close to the audience that the audience on the first raw can even touch the dancers without reaching out.
While the scene when the performers sing to live guitar made the audience wallow in Mikuni Yanaihara’s characteristic nostalgia, a high-speed dance scene was flooded with a sense of live performance to an extent that it even felt painful. The audience physically perceived the different grooves as they are throughout the performance.