And contemporary art, such as contemporary music, just stick the word "contemporary", I want to refuse to accept it and for some reason the body atrophy. So, people who are contemporary = feel as "difficult" would be surely many. But, I want you to take a good idea. This time I am alive now, this moment, and anything that is around us is, in fact "(together the = age) contemporary" ones. Maybe, I contemporary, maybe not something hard as I think in my head ....
そこで、第1ステップ『コンポラを学ぶ』では、人気と実力を誇るコンテポラリーダンス界のカリスマ・黒田育世さんの丁寧な解説のもと、Q&A形式でコンテンポラリーダンスの基本とその魅力について学んでみたい。
More contemporary dance is like!
Step 1 Tell me! Kuroda teacher contemporary dance Q & A
Step 2 Vivienne Sato Recommend "Dance Triennale Tokyo 2009"
Step 3 dancer Maki Morishita mini workshop theme: trying to master the "winding sign language!"
Step 4 introduced in one fell swoop the dance color of Shibuya Aoyama related events!
Ikuyo Kuroda's
Established in 2002 dance company BATIK. A remarkable success in the arena of domestic and foreign, dancer and choreographer who has been noted in the physical expression. Including the classical ballet from the age of six, studying in London in college. Performers from 00 years to Kim Itoh + the Glorious Future performances. Decoration a brilliant debut at the beginning of the year 02 of the choreography "SIDE B", established itself as a choreographer in the blink of an eye. 04 years "SHOKU" "Hana is time congeals flow" 4th Asahi Performing Arts Award, etc., double won the Kirin dance support. He won the 2006 Dance Critics Association Awards. Recently here, they have spread in addition to perform aggressively overseas performance, choreography and to Noism05 led by Jo Kanamori, collaboration work "part, Blue" with Hideo Furukawa writers a range of activities, such as announcing.
»BATIK
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But I think that it is also different from country to country, but it is commonly referred to as "that came out after the modern dance" I contemporary dance in Japan. But in fact, modern dance, Japanese dance also Gagaku also function as well, I think that the generation time was a contemporary (= together the era) dance. "Now, compelling dance" is a contemporary dance for me all.
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The ballet body technique referred to as "Pa" will be required. For example, Toka momentum raise well high while stretching the legs, Toka bending and stretching exercises, to follow them all of the technology, the basic catch of the ballet that will show the work of story while the aim of the most beautiful line since the person such, it is a classical ballet as long as you are stepping on it. After that, there is also the side that as soon as the intention of the choreographer. If Osshare choreographer is that it is contemporary expression of the "path" of ballet, or would not be sure what may be referred to that way.
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In most of the dance school overseas, such as Europe and the United States, it has taught a variety of techniques such as "release technique," "Graham technique," "Horton technique" in the modern dance / contemporary dance class. However, even if there is in Japan open studios and private studios, there is no school to teach contemporary dance in a professional. Instead, Welcome a lot of people who are creating the original method. Even without having to learn a fixed technique, it is unexpectedly large who Rassharu doing as a professional dancer.
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Dance does not compete for only the height of technology. On technology that was as firm, and yet to realize the "beyond anything" on the stage is, Would not it be important that "how much are sincerely alive". I have kept in mind in everyday life, "Thank you," "I'm sorry". I learned to grandma Toka mom, is that the most rudimentary. It is the case for me, or "courage is necessary" or "not discouraged", I think that variety there by people.
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In addition to over-breathing, cut is too dance capillaries, sometimes became black and the lower blood is too flows from the elbow from the bottom and the knee by the centrifugal force. Dangerous because, I sometimes tried to continue dancing vigorously to try before performances. But it was okay up to 40 minutes, and when it is more than one hour, it was found that such phenomenon occurs (laughs).
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Live house, ruins of a department store, you dance in Inari and street. What kind of place, since there is no both sides of the pillar that separates the stage space and the audience space as theater, I'm there is nothing separating the space of the side on which the dance with the audience. It is close to the feeling of the audience, rest, I think you come out feeling that I am allowed to dance in place. For example, if you dance at the mall, but it is not rude to the place we started to do the shop at that location for decades. So why I dance to bother you in there, it is a very important feeling that I am allowed to do in humility at that location. Taking care of the Encounter of the location, it might be the most important thing to dance out of the theater.
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And say contemporary dance, criticism of the dance of the technology and methodology, but is likely to look like people in the industry with the experiment of doing difficult, not just that. For example, and one page of the diary I wrote one day, any one of those scenes would somehow linked, it may become somehow also linked to the kind of their own experience in contemporary dance. The good work, there is always. So it is not absolutely necessary for that perspective. Or hit somewhere, if fit, so good. If you do not link if, then if I have hope, but it means that (laughs).
Ikuyo Kuroda's interview
Towards "Dance Triennale Tokyo 2009"
2002, since graced the stunning debut as a choreographer in the "Side B", continued the remarkable success on the stage at home and abroad, as a dancer, as a choreographer, Ikuyo Kuroda, who exert regret without their talents. Ahead of the opening of the "Dance Triennale Tokyo 2009", I heard the talk about the intense this time of the performance piece "arrows and chain" between the practice followed by every day. "I want to betray Kuroda fan!" - Never be satisfied with the status quo, pursue the dance that goes beyond the dance, ... are the new challenges of Kuroda.
Dance Triennale Tokyo 2009 Kuroda related information"Arrows and chain"
場所＝青山円形劇場 日時＝9月30日（水）〜10月2日（金）各19:00開演
"Dance Showcase" (BATIK)
場所＝ショウケース（スパイラル1階入口） 日時＝9月24日（木）14:00〜／16:00〜／18:00〜
"Talk"
場所＝青山ブックセンター 日時＝9月20日（日）13:00〜15:00 ゲスト＝黒田育世×古川日出男（作家）
Aoyama Round Theatre, me always the opportunity to me, thankfully location
- But dance Triennale will celebrate this time the fourth time, Is Kuroda's participation is what time?
Practice landscape declined to performance
2002, the first time Dance Biennale (2002), it I was performance of the work "SIDE B", which worked for the first time choreography. So, it is the first time after becoming the Triennale, it will be the second time unless you include from the Biennale. In fact, amphitheater, gives us always opportunity in the timing that should not to be then proceed, I'm very grateful the theater for me. Just as well this time, I got to talk to when you are driven to the next. Ever to show you the work that different with me, whether you are us and what reaction, I'm looking forward to really.
- Please tell us about this work, "the arrow and the chain".
"Arrow and the chain" is a work that was a documentary on the stage. From the time that everyone was born, too, but I think to have each of the history, it is it is important that if the blockage prone documentary personally how much can be opened when it is represented on the stage. Dance is five people, including me, but I like a little black box position. The memories and dreams of family things and birthdays we asked to talk to the four main people in the video. Or sad, each of the documentary that happy or, or to nestled, or together staring, or tie, or messes up, or to replace kid. Such as "this documentary will Who?" In the meantime, I think I'm the one episode of it was who of things to come is no longer particularly important. And, everyone of tears is attacked by a feeling like going melted together and reflection ..., it has become in such a configuration. In this "tears are melted together" thing is that the most important, where the tears melted together, the melted together body, if pop and Okere on the stage, for example, cut glass and jewelry is to have a lot of surface to, any person be seen by projecting their own something, I think I think I get as Ikeru entered melted in. Place where everyone can project their own naturally, everyone is Fumikomeru like, the body be nice once you become one of the location, and I think.
Not aimed at any success as a "dance is all not a" final dance piece, so free
- Did not have a sense of incongruity to work to combine dance and text and image?
Go boiled down the details while exchanging opinions
Since it was the work not the final goal of the dance, even if there is a word, a natural for me even if there is a video, uncomfortable feeling is I did not particularly. Of course I'm scared feeling is there, was trying to give up the fear. I began to say to myself in the words that "dance is not everything." But I do not bother to say separately from people, it can Tteyuu began to say neatly to yourself may be the reason. Not aimed at any ultimate success as a dance piece. So I'm free.
- What will be the new frontier of Kuroda-san, that?
But it was referred to as a completely different work and until now, I'm actually there was a kind of feeling even when the previous work of "pendant Eve". However, I think I guess I misunderstood me it, always. Or that it is not received in that way, but the theme is we have a lot every time at any given time ..., I guess do too much basically. For example, I'm little I that was conscious of "femininity" when creating the work. But when do too much, or you are not a break something form. Look broken things, or somehow when you and you try to name it in words, someone is said to be referred to as "femininity" or or "violence". That I'm doing in the underlying, for the person, I feel like does not change much. "Thank you" and "I'm sorry", or "want to contact kind to people" or "affection", kind of mom and dad, and I'm doing with underlying much a very, very natural thing, such as has been said in Nari grandma I think. It is not changed from the time of the 22 and 23-year-old began to create the work. I do every time too to do it, I better overkill that might be a little this time is different. No, also how about you the same (laughs). You do not may end up in my misunderstanding. Everyone, you might end up with a thing Tteyuu do not think so.
- Finally, if I want to watch this "arrow and the chain" to the audience?
Even think I "Do not the dance" to the audience, it does not matter even think "Do I dance." To "arrows and chain", there is also of course dance scene. Therefore, appropriate dance is to not be at all, do not to be dance to very important. However, ultimately the work itself to the visitor is as good to left that I mean if seemed to dance, such large et Kana mood is on the inside of me. Not a frontier that should not to be seen in the dance work. Just because I think personally that it is work full of affection, I am watching, If you are not in friendly feeling a little even, please gently to your family back home (laughs).
Actors that fit the music, move vigorously limbs
More contemporary dance is like!
Step 1 Tell me! Kuroda teacher contemporary dance Q & A
Step 2 Vivienne Sato Recommend "Dance Triennale Tokyo 2009"
Step 3 dancer Maki Morishita mini workshop theme: trying to master the "winding sign language!"
Step 4 introduced in one fell swoop the dance color of Shibuya Aoyama related events!
