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13 June 19:30 [UTC +9] ~15 August

Takao Kawaguchi Selection: Un Certain Regard

Yasunori Ikunishi
The Standing Sticks: May Only I Live Long

撮影:石田ミヲ

『火影に夢を見る』(撮影:前澤秀登 Hideto Maezawa)2015年/演出:生西康典/出演:首くくり栲象、山崎阿弥

奇跡の園: 『奇跡の園』(撮影:Yuriko Takagi Yuriko Takagi)2017年/演出:生西康典/出演:首くくり栲象、藤原芽生

Performers:

Kiyoshi Hashimoto (Brunoproduce, y/n),

Manabu Tomita /

Lighting & set: Go Ogoma

Known for directing unique works with a focus on sound and space, Yasunori Ikunishi adapts texts written Tatsumi Hijikata into a theatrical piece. Words taken from Yameru Maihime and The Compassionate Soul Bird Comes To Unfurl Its Rustling Skeletal Wings are spoken by the performers, their voices resonating in the underground space.

Director Yasunori Ikunishi turns two texts by Tatsumi Hijikata into a theatrical performance. The words of Hijikata, uttered by two performers who barely move, mix with the silence and the sound of trains, reverberating round the underground space. Within, the bodies tremble, and their fluctuations are imparted to the viewers, creating a different experience and story for each. These “fluctuations” have carefully picked out through video and sound by Yasunori Kakegawa.

Directors Notes

Having never previously managed to read through the entire of Yameru Maihime, a text full of multiple layers of twisted images, I wondered if it was possible to read it through the body of actors. My other intention was to see whether it was possible to project the more obscure “human existence” on top of the individuality of the actors’ bodies. This thought came to me while frequenting the garden of Takuzo Kubikukuri, who passed away in 2018. In that garden, there were moments where to hang one’s seemed in a sense theatrical, but for the most part it was just an old man walking slowly around the garden. I think a body that doesn’t attempt to reveal something definite better expresses a human existence that goes beyond the individual performers, in a way akin to the climax of a grand performance. Can actors use their bodies as blank canvases to present Hijikata’s text? What will the audience take away from this? These are the questions I would like to answer in this piece with director and actor Kiyoshi Hashimoto and performer Manabu Tomita.

Yasunori Ikunishi

Takao Kawaguchi Selection: Un Certain Regard

Butoh, which began in Japan in the 1960s, has influenced many artists across borders and genres. For this series, performer Takao Kawaguchi—known for his bold foray into the world of Butoh with About Kazuo Ohno—has commissioned artists who have been inspired by the experimental spirit of this dance form. A program of rich performances that transcend the boundaries of dance/theatre/music/film and art, this series aims to explore what “Butoh” is and what it may become.
This program is filmed at the Former Hakubutsukan Dobutsuen Station, a historic underground station built in the 1930s by Keisei Electric Railway that was designated an “architectural structure of historic value” by the Tokyo Metropolitan Government.
In cooperation with Keisei Electric Railway

Artists

Photo by Yuriko Takagi

Yasunori Ikunishi

Yasunori Ikunishi has been working as a film maker and VJ since the 1990s. He worked on Sayoko Yamaguchi’s dance, reading and film performances between 2003–2007. Since the 2010s, he has become more interested in working in live spaces with an audience than film, and produced a sound installation Okaerinasai, uta in 2010 (Tokyo Photographic Art Museum). Today, he creates installations and directs stage productions. His main stage works are Kiseki no En (2017) and Hibi no Koen (2018). He has been teaching “things similar to theatre” at Bigakko since 2013.

Photo by Natsuko Mikami

Kiyoshi Hashimoto

Born 1988. Director and actor. Graduated in drama from the Nihon University College of Art. Started Brunoproduce in 2007 while still at school, and received a scholarship 2012~2015. Recent productions include Keikan no Jama [Disturbing the Landscape] with Youth Group Link Kui in 2019, and The Little Match Girl with the Independent Youth Group Sakurauchi Projects in 2020. He performed in Naotoshi Oda’s play Es ist gut from 2016~2019. Since 2019 he has been working as part of a duo called y/n with dramaturg and critic Kenta Yamazaki. Their works include Coming Out Lesson (2020) and Sex / Work / Art (2021).

Manabu Tomita

Born 1981. Studied the 6th “things similar to theatre” at Bigakko in 2018. Been doing theatre ever since. Clerk.

A BUTOH Sunakku—Aftershow talk will be streamed live
directly after the performance on the first day.

Yasunori Ikunishi x Kiyoshi Hashimoto x Manabu Tomita x Yasunori Kakegawa x Dai Matsuoka





Credit

Texts


From Yameru Maihime and The Compassionate Soul Bird Comes To Unfurl Its Rustling Skeletal Wings by Tatsumi Hijikata

Performers


Kiyoshi Hashimoto(Brunoproduce, y/n)


Manabu Tomita


Composition & Direction


Yasunori Ikunishi


Film Director


Yasunori Kakegawa

Sound Recording


Tetsu Umehara


Film Crew


Masabumi Kimura


Fumimaro Ayano


Film Production in cooperation with


NPO LAND FES


Ryo Sakemoto


Yuta Tamanaha


Post Production


Yuto Niyama


Ryo Sakemoto


Film Coordination


Dai Matsuoka


Title Design


Kenta Suzuki


In cooperation with


“Mokohan Kakumei” Revival Project


Brunoproduce


Fumimaro Ayano


Mio Ishida

Stage management


Takashi Kawachi


Lighting


Noriyuki Mori (balance,inc.DESIGN)


Go Ogoma


Set


Go Ogoma


Sound


Noriaki Coda


Photography


Tatsuhiko Nakagawa


Tzvasa Wada


English Subtitles


Takao Kawaguchi, Mai Honda