| 【1】danceWEB 1、danceWEB概要、ウェヴサイトより Enhanced danceWEB Europe - crosslink between dance and talent Contemporary Dance. No other Art form in the last decades has experienced such a movement of artists and no other "scene" has developed a comparable creativity. One may certainly say dancers and choreographers are the most important ambassadors of the inter-cultural dialogue. danceWEB Europe - this integration of European dance institutions (such as Southbank Centre London and CCN Montpellier) committed itself wholly to the promotion of contemporary dance and its artists. danceWEB Europe intends to make a contribution on a European level, it wants to close the gap between an international effective dance scene and traditional education system. Dancers and choreographers find here the support and orientation they need for their artistic careers. http://www.dancewebeurope.net/ Museumstraße 5/21 1070 Vienna, Austria phone +43 1 523 55 58 33 fax +43 1 523 55 58 88 email office@dancewebeurope.net 2. danceWEB Applicationに記載した私のArtistic Statement I have choreographed and produced 4 or 5 of my works, about 30 to 70 minutes each, in Japan. The main theme of my works is just "feeling others", which means that seeking a way of the peaceful communication. It is based on my study of Performing Arts at the University, philosophy, mostly Phenomenology. Last year, when I took part in ImpulsTanz festival, it was surprise that there were a variety of classes and so many participants from so many own countries. I am from Asia, which means traveling far from and jumping in numerous unknown things. That would give me to a notice the differences between things known and things unknown. Not only dance technique but also art, culture, nationality, history and so on. In your long term program I would learn about "dance" a lot for my next step as a dancer. But also as a choreographer and dance maker, learning about "dance" in DANCE WEB EUROPE 2006 would be a precious experience for me. Because my artistic theme, "feeling others", needs physical, mental and philosophical sensitive awareness and I think that they would become consist in the attention of differences from others. 3. Research Projectに提出したMotivation Letterの一例 (1)Coaching Project led by Philippe Riera I saw your "Big 2nd Episode" in Salzburg last year according to my friend's recommendation. It excited curiosity in me. I felt a new possibility of contemporary dance in your work. There were so many elements, and each of them showed possibilities of connection with the each context. But each elements were not clearly separated, the performance had very mixed and complex construction. Nevertheless, I did not feel complex because of a comfortably quick tempo with cool jokes inserted on good timing. In addition, there were often a feeling like not meaning much. Nowadays, our life is surrounded with a lot of media such as TV, radio, internet, music CDs, advertisements. We can get numerous information which is often over numbers to recognize for us. Meanwhile, we have been losing the joy and the surprise very quickly in accordance with increasing the information day by day, I feel. Hence, sometime we get to feel nothing in front of the TV screen which shows a miserable scene of the war... A possibility I found in your performance is not only it shows some ideas from the context connecting with a particular element, but also the situation itself of the performance, the audience was seeing your performance in the theater, inscribed the problem of our common life in my mind. I have been inspired with the Phenomenology in my works recent 2 or 3 years. That encourages me to pay attention to more what happen in dancing, with dancers' sensitive eye. I think that this main theme of my dance would find a crossing point in your project. Because the Phenomenology is also one of the good way to explore the relationship between the movement and the context, and to consider of our situation including that relationship, so simply. I expect to get a extra/special moment this summer. Thank you very much for your consideration. これは受講出来ました。 (2)Pro Series led by Xavier LE ROY I am feeling a big sympathy for the concept, "Let's try again". During this 14-day project, you would ask us again and again, how we could try to make a choreography. And we will feel free to discuss and try it with some mistake there. Through this process, we shake together, feel together and exchange our experiences. Working not alone, but with other participants and with you as a leader would give me a more complex and fresh point of view, I expect. And we will confront and consider the questions why/what/how to do with very sensitive eye anytime in our production. Dance has its own history. But as a phenomenon of "now", dancing brings out a so interesting view. Because our thought can adjust a distance from our movement. This means we can dance on various ways such as a manipulation of the thought, facing with the thought, pure movement(absolutely far from the thought), et cetra. Our movement and thought are represented in a same performance, so they are covered each other or sometime reveal the other, according to this adjustment. Because of that, dance shows a very interesting view. And that provides/proposes us possibilities to dance or see dance with some intelligence like "philosophy", "economy" and "politics" which are variations of our thought. I have been inspired with the Phenomenology in my works recent 2 or 3 years. "If we want to change what we produce we have to change how we produce," if so, I think that the Phenomenological thinking way is very effective to pay attention to more what happen in dancing, for our trying. I would like to find a crossing point with my idea in your project, and get a extra/special moment this summer. Thank you very much for your consideration. これは受講出来ませんでした。 【2】Angers滞在 1、CNDC概要、ウェブサイトより ─アーティストレジデンシー、2年制コンテンポラリーダンス教育機関 Le CNDC est un centre chorégraphique national qui permet la création et la diffusion d’œuvres contemporaines, invite des artistes en résidence, partage la pratique de la danse et sa pensée. C’est aussi l’École supérieure de danse contemporaine. 英訳：by Babelfish The CNDC is a national choreographic center which allows creation and the contemporary diffusion of?uvres, invites artists in residence, shares the practice of the dance and its thought. It is also the higher School of contemporary dance. --- Community outreach /The CNDC plans to reach the entire community, its elementary, middle and high schools, IUFMs, block associations, cultural associations, universities and other groups in the area, bringing contemporary dance in a multitude of forms to the daily life of those living in and near Angers. There are the many activities offered by the centre chorégraphique national and via the new programme Essais which will begin in January 2005 who will be living proof of the ‘porosity’ between the various artistic disciplines. There are also the events which are themselves part of the season’s programming, among them a series of events showing the continuing creative process of Emmanuelle Huynh, a project with Nathalie Collantes in the city’s libraries, Istanbul Danse Retour, a programme of works in partnership with the Nouveau Théâtre d’Angers, open rehearsals and ‘open houses’ at the studios, conferences, lecture-dems, teacher training programmes, setting up a resource center and classes for non professionals. http://www.cndc.fr/ 42, bd Henri-Arnauld BP 50107 / 49101 Angers cedex 02, France tel. +33 (0)241 24 12 12 fax +33 (0)241 24 12 00 【3】Porto滞在 1、Maus Habitos概要 ─パブ、クラブ、ギャラリー、パフォーマンススペース。地球の歩き方にも記載。 Maus Hábitos, an alternative. It is not a conventional gallery, but it is a fully adequate venue to host exhibitions. It does not have an Italian style stage, but it has conditions to host theatre plays and even concerts. It is not a school in the traditional sense, but it offers training courses in plastic arts and photography and also labs for this purpose. Maus Hábitos project, housed in a spacious flat in an old building located in the deserted downtown Oporto has its inter-disciplinary nature as its main characteristic. The diversity of cultural means of expression to be found at Maus Hábitos is surely a consequence of the variety of backgrounds and experiences of its founders. To fill an existing void, these came up with a project to bring into existence an area of creative freedom and cultural dissemination to suit their requirements as well as those of others. http://www.maushabitos.com/ Rua Passos Manuel, 178 – 4º 4000-382 Porto Telephone - +351 22 2087268 Fax +351 22 2000134 maiL@maushabitos.com 2、555 スタジオ ─私設スタジオ。 http://555.weblog.com.pt/ 3、Teatro Aveirense ─劇場 http://www.teatroaveirense.pt/ Rua Belém do Pará, 3810-066 Aveiro, Portugal Telefone: +351 234 400 920 Fax: +351 234 400 921 info@teatroaveirense.pt 【4】Brussels / Amsterdam滞在 1、Charleroi-Danses ─ダンススタジオ/劇場 トレーニングクラスが充実 http://www.charleroi-danses.be/ Rue de Manchester 21, 1080 Bruxelles t +32(0)71 20 56 40 tarquin@charleroi-danses.be 2、Kaaitheater ─Kaaitheater：大劇場 バレエ、オペラなど, Kaaistudio：小劇場 若手アーティストなど http://www.kaaitheater.be/ 2 Quai des Péniches, 1000 Brussels tel. 02/201 58 58 fax. 02/201 59 65 email: info@kaaitheater.be 20 square Sainctelettesquare, 1000 Brussels 81 rue Notre-Dame du Sommeil, 1000 Brussels 3、PARTS ─2年/4年プログラムのコンテンポラリーダンス専門学校。日本人卒業生も多い。 The Performing Arts Research and Training Studios (P.A.R.T.S.) were launched in September 1995. The school is a joint initiative of the dance company Rosas and the Belgian National Opera De Munt / La Monnaie. Its director is the choreographer Anne Teresa De Keersmaeker, who designed the artistic and pedagogical curriculum. PARTS is a training in contemporary dance. It provides a thorough technical training to dancers/choreographers and helps them develop into independent and creative artists. But dance is not an isolated art form; it is involved in a constant dialogue with the other performing arts – music and theatre. Both these disciplines figure prominently in the curriculum, as PARTS always works towards the actual performance, the moment when the artist engages in a dialogue with the audience – the dancer as a performer, but also as a thinking performer. The school looks for students who are strong individuals, yet possess a sense of group dynamics. http://www.rosas.be/Parts/index.html av. Van Volxemlaan 164, 1190 Brussel tel: (32) 02-344 55 98, fax: (32) 02-343 53 52 ※2007年現在日本人学生在籍あり。 4、Amsterdamse Hogeschool voor de Kunsten Theaterschool ─舞踊芸術全般の専門学校。演劇、バレエ、モダンダンスなど専攻が分かれる。4年制。 3ヶ月のゲスト制度あり。ポストグラデュエイドの"Dance Unlimited"(3年)もある。 2007年現在日本人学生在籍。 The Theater School is a faculty of the Amsterdam School of the Arts. It encompasses twelve courses of higher professional studies (HBO) in dance, theatre and theatre technology and production. Each course upholds its own set of aims and objectives, its own curriculum and its own distinctive ambience. The courses are full-time and take an average of four years to complete. A study at the Theatre School is rather demanding in regard to time input and physical commitment. It is a fact, however, that those who do get admitted engage in their study with heart and soul. http://www.the.ahk.nl/ Jodenbreestraat 3 PO box 15323 (postadres), 1001 MH Amsterdam (Visiting adress: Jodenbreestraat 3 Tel:020-527 7777) Tel: +31-(0)20-527 7667 Fax: +31-(0)20-527 7642 info.dans@ahk.nl 5、Henny Jurriens Foundation ─ダンススタジオ。モダン、バレエのクラスをレギュラーでもち、コンテンポラリーの ワークショップも催す。 http://www.hjs.nl/ Bellamystraat 49, 1053 BG Amsterdam tel: +31 (0)20 412 15 10 fax: +31 (0)20 612 31 59 info@hjs.nl 【5】Pointe to Point １、Asia Europe Foundation (ASEF) ─アジア、ヨーロッパ間の国際文化交流プログラム支援。個人申請不可。日本政府も出資。 http://www.asef.org/ 31 Heng Mui Keng Terrace, Singapore 119595 Tel: (65) 68749700 Fax: (65) 68721135 info@asef.org 2、Pointe to Pointに提出した私のMotivation Letter Question for the "visual". In your "Pointe to Point" program, where various artists are gathering from Europe and Asia, I would like to challenge about this theme with other participants. Needless to say, we can't imagine contemporary dance without the visual. The spectators come to the theater to see dancers' movement(and/or something related it) mainly. Though if there is a beautiful ceiling picture in the historical theater, no one just observe it while the performance. I have learned the importance of the visual in the contemporary dance through various opportunities. For example, on 2001 when I participated in a research project of Philippe Decoufle, one of represented French choreographers, he taught me that the strong image, which can offer the stimulation, freshness and involvement of imagination to the spectators, makes the performance very interesting, and to find out that we must not forget the effort every time in our creation. Also in the classes of the University, I learned that trying to have a feedback in visual for my own dancing and choreography such as using a mirror and video camera, is certain good way to raise the quality of them. However, simultaneously, I have had interest in the dancers' sensitive sense which can not be appeared easily in visual, according to attending some workshops of various artists. Saburo Teshigawara's own method, noticed me that our body can receive our aim and move flexibly even if we are extremely tired. Studying contact improvisation, with Kosei Sakamoto, Andrew de Harwood, Nita Little and so on, I discovered my body can feel the extensity among people and what happens there. In the ballet class by Misako Terada and Janette Panette, I was aware of my habit to use too much power to move unconsciously and learned how to release it. Of course, originally these workshops aim to refine the movements as visual. But it is sure that they also offer the way to notice the sensitive sense of our body which we hardly experience in our daily life. In addition, I also have studied about the Phenomenology. Especially I was affected by Merleau-Ponty's thought and that let us know that, as describing the state of things carefully, we can understand the detail of our situation(relationship with social, politics, system of knowledges and so on) and our aim more. And I noticed that this approach in describing of Phenomenology is close to the approach in dancers' sensitive sense which I learned in some workshops. A common point among them is strongly adhesive persistence for 'the moment.' What happens right now, here? In other words, if we can find out a way to make dancers' sensitive sense open up as in intelligent possibilities, using it not only for getting refined movements, we can clarify the relationships between us and the various knowledge systems or intelligent thinking movements such as social, politics, ethic and so on. Reflecting that idea, my latest piece "parole" aimed to reveal the minute movements in our communication to see how people are confronting to the others. In the choreography, we use the technique of contact improvisation mainly, but we did not decide the detail before the performance. In accordance with that, the dancers have to see and guess how do they move together and accept each other carefully. Then spectators can find attention and caring of them in between this process, and that proposes the approach to the ethic. (Hajime tried to plan to adjust the relationships between 'creation community and spectators' to understand each other as the others, as the public area. Tohru Inekura, Engekijin 22nd) I have visited European countries 3 times since last year. Especially this year, I took part in danceWEB intensive study program(Austria, Wien), and that offered me the opportunities to touch with the real European dance scene, seeing a lot of performances, taking so many workshops and directly exchanging opinions with the artists in person. In accordance with this experiences, many artists of today are creating his/her work having the question for the visual in the similar way as me. Jerome Bel explained that he started from the question for a 'spectacle' in his "Pichet Kunchen and Myself", which was very symbolically for me. I think this question is from that most of contemporary dance in 90's concentrated to make 'spectacle', but they could not propose the idea of solution for the miserable politic problem such as 9.11 and Iraqi War. Or, as we know, the same of spectacle in the media, explaining looks/sounds obviously, encouraged US nations to sustain to start the war. We are not already living in the optimistic world, being not satisfied with just delighting spectators. The place is where the next generation gathering, your "Pointe to Point" program. Participants would share that theme there, I think. So I would like to propose my idea, dancers' sensitive sense can be connected various knowledge system or thinking movement, and would like to join the process of seeking a new way of contemporary dance. Meeting people who have various back ground, exchange the numerous opinions and ideas, try and experiment together. I am expected to be pleasure there. Thank you very much for your consideration. 【6】Wien滞在 1、Tanzquartier Wien ─アーティストレジデンシー、プロダクション、トレーニング/ワークショップスタジオ http://www.tqw.at/ Museumsplatz 1/5, Halle G, A-1070 Vienna, Austria Tel: +43-1-581 35 91 Fax: +43-1-581 35 91 12 【7】Angers / Montpelier滞在 1、Centre Chorégraphique National de Montpellier Languedoc-Roussillon ─アーティストレジデンシー、プロダクション、教育機関(e.x.e.r.ce) Le Centre chorégraphique de Montpellier Languedoc-Roussillon est dirigé par Mathilde Monnier. Ses créations sont présentées à Montpellier et dans le monde entier. La vitalité et l’importance de sa créativité sont reconnues et saluées par les critiques, les professionnels et par les prix prestigieux qui lui ont été décernés. Mais c’est dans la double reconnaissance du public et du monde des arts que Mathilde Monnier puise son statut de personnalité artistique parmi les plus emblématiques de la chorégraphie actuelle. 英訳ÅFby Babelfish The choreographic Center of Montpellier Languedoc-Roussillon is directed by Mathilde Monnier. Its creations are presented in Montpellier and in the whole world. The vitality and the importance of its creativity are recognized and greeted by the critics, the professionals and by the prestigious prices which were decreed to him. But it is in the double recognition of the public and the world of arts that Mathilde Monnier draws its statute of artistic personality among emblématiques of current choreography. http://www.mathildemonnier.com/ Les Ursulines Boulevard Louis Blanc, 34000 MONTPELLIER, FRANCE phone : (00 33) 4 67 60 06 70 fax : (00 33) 4 67 66 44 79 accueil@mathildemonnier.com 尚、本文中で新作と表した作品は、tempo76というタイトルに決定。 コンセプトはwebで閲覧出来ます。
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