What we see Why we see

We finished presenting “What we see Why we see” on January 8th at Dance Place, Washington, DC. This collaboration was one of the most adventurous and meaningful one for me in many ways. My collaborator, Tzveta Kassabova, and I come from a very different background. I’m from dance, theatre, literature and linguistics. She is from dance, gymnastics, and astrology. Since our common interest lied in sculpting the space, we started with a specific type of material to shape the space: plastic. For 7 days in June, we played with all kinds of plastic to see what intrigued us. In August, we met for 10 days to work with what we came up in June and generated some material. We documented everything we had in 45-minutes footage. Then I left for Japan.

0.01 Decibel ~ Improv. Menu

Just finished dancing “0.01 Decibel” at Improv Menu in DC. I asked my cellist/vocalist friend Audrey Chen to join me since she was back from Berlin for a short time. I have worked with Audrey a couple of times in small and big projects in the past and was missing moving with her sound. I wanted to feel her again and meet her with where I was now – it was like a impulsive short rendevous I looked forward to. The duet with her felt like 8 minutes instead of 18 minutes. I was thoroughly enjoying her sound, her presence, her silence, and give and take between us. At the end, she was going far and farther away from me. I caught the last glimpse of her and she disappeared from my sight.

ライフイントーキョー＃１０ 素になる

神戸に帰省していたせいで、一週間稽古をしなかった。帰ってきて、さすがになまってるなと自分でも感じた。ところが、復帰して２、３日後に少し変化が見られた。少し楽になったのだ。鼓の音が出るようになった。笛は未だに苦しいけれど、頭で考えていない時は比較的楽に吹ける。謡の声が動かせるようになってきた。これはどうしたことだろう？　やっとだんだん「力が抜けて」きたのかもしれない。

ライフイントーキョー＃８ ことば。からだ。演劇。

演劇は「喋る」ことによって、内容を伝えるものと思われがちだが、昨日見た太田省吾作、キム　アラ演出の『砂の駅』、そして今日の、京都出身の三浦基率いる地点のパフォーマンスは、この常識に反するものだった。

ライフイントーキョー ＃７ こころで見る

能楽師O先生を訪ねる。これで５回目のお稽古である。能楽堂の裏口から入り、稽古部屋へ行く。初回からずっと敦盛のキリという仕舞をやっているが、これは今年の夏ブルームズバーグの能ワークショップで一度舞ったものを、今月３０日の会に向けて練習している。