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Feb. 7, 2019
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TPAM in Yokohama 2019 opens (Feb. 9 – 17, 2019)
 
TPAM in Yokohama (International Performing Arts Meeting in Yokohama), an international platform for professionals involved in the performing arts, opens this year on February 11 and runs until Feb. 17 at venues including the Kanagawa Arts Theatre (KAAT), Kosha33, the Yokohama Port Opening Memorial Hall and others. The 2019 edition of TPAM consists of three programs: the TPAM Direction program presenting performances of the latest performing arts from around the world selected by the TPAM curation team and three outside directors, the TPAM Exchange program which serves as a networking platform for professionals involved with the performing arts from Japan and abroad, and the open-application showcase program TPAM Fringe.
The TPAM Direction program this time presents 10 works and projects with contributions from three outside directors: sound artist Aki Onda (Japan/USA), the head dramaturge of the Ruhr Triennale, Max-Philip Aschenbrenner (Germany), and producer June Tan of the Five Arts Centre (Malaysia). As his curatorial contribution, Onda presents Philippine composer José Maceda’s representative work Cassette 100. In this large-scale work, 100 volunteer participants move throughout the performance space each with a cassette (recently MP3) player in hand, playing recordings of indigenous Filipino instruments and voices. This performance is choreographed and staged by Yoko Higashino and Toshio Kajiwara, leaders of the ANTIBODIES Collective. June Tan’s contribution in a documentary type production titled GE14 that takes as its subject Malaysia’s 14th general election (GE14) in 2018, in which an artist, Fahmi Fadzil, was elected to Parliament. Zan Yamashita, a Japanese choreographer who is his long-time collaborator and friend, composed this work based on meticulous research and coverage. Max-Philip Aschenbrenner’s contribution is The Mysterious Lai Teck, a work that centers around a man known as Lai Teck who served as a triple agent working with the French, British and Japanese secret services. Among the other diverse works on the program is Post Capitalistic Auction, an alternative and “performative” but real contemporary art auction conceived and directed by the China/Norway-based artist Jingyi Wang, in which the audience/bidders are invited to bid not only with money but also with “understanding,” “opportunity” or “exchange.”
The TPAM Exchange program consists of symposiums and talks concerning a wide range of issues involved in performing arts today. Among them are “Group Meetings” at which participants suggest topics for discussion and reservation-type “Speed Networking” meetings for presenters from Japan and around the world to meet on a one-to-one basis.
On the TPAM Fringe program will be diverse performances by ARICA, Co. Yamada Un KUKANGENDAI and others presenting performances in the Tokyo and Yokohama area. For details, please visit the official website.
+TPAM in Yokohama 2019 (International Performing Arts Meeting in Yokohama)
https://www.tpam.or.jp/2019/en/

24th Japan Playwrights Association New Playwright Prize Goes to Sakotsu ni Tenshi ga Nemutteiru
 
For the 24th Japan Playwrights Association New Playwright Prize, there were 238 applicants in 2018. Of them 30 were chosen for the second judging, and then six were selected as finalists in the second judging. At the Japan Playwrights Association Conference 2019 in Oita, held for the first time in five years at the J:COM Horuto Hall Oita, on Jan. 26, Sakotsu ni Tenshi ga Nemutteiru (An angel sleeps in the collarbone) by Pinkchiteijin3 was chosen winner of the New Playwright Prize.
Pinkchiteijin3 is the leader and playwright/director of the a theater unit Pinkteijin active in the theater company Chiten of Kyoto. Since 2015, he has also been active with Wakadanna Ieyasu of the unit Kotori ni Kai under the unit name of Momochi no Sekai, and the winning play this time was performed in 2018 by Momochi no Sekai. As a metaphor for “things lost,” it tells a story of the return of a good friend who had gone missing for some time.

Pinkchiteijin3
Graduated with a degree in Aesthetics and Art Theory from the Department of Cultural Studies of the School of Literature of Doshisha University. At university in 2016, he joined with two other students to form the unit “Pinkchitei” with the “No. 3” as his stage name, and as the unit’s leader he was responsible for writing and directing their plays. Among his representative works are the 2010 play Sono Yubi de (literally: With that Finger, finalist in the 11th AAF Drama Awards), the 2017 play Kuroi Rakuda (literally: Black Camel, finalist for the 23rd Japan Playwrights Association New Artist Award) and the 2018 play Watashi no Hero (literally: My Hero, 6th Sendai Short Drama Grand Prix). (From the Momochi no Sekai website)
+Finalists
Akutamokuta by Morita Shinnosuke (Fukui Pref.)
Hetakuso na Jitachi by Onishi Hiroki (Kanagawa Pref.)
Sakotsu ni Tenshi ga Nemutteiru by Pinkchiteijin3 (Kyoto Pref.)
Homura by Nakamura Nobuaki (Kyoto Pref.)
Retire Men by Shimizu Yayoi (Kyoto Pref.)
Hikari no Nakade Me wo Korasu by Kotaka Tomoko (Kyoto Pref.)
+Jury members
Kawamura Takeshi, Sakate Yoji, Tsukada Norihiko, Tsuchida Hideo, Nagai Ai, Hirata Oriza, Makino Nozomi
+Japan Playwrights Association (Japanese only)
http://www.jpwa.org

18th AAF Drama Award’s Grand Prize winner is Kuchita habikoru
 
The “AAF Drama Award” was started by the Aichi Arts Foundation in 2000 with the objective of exploring the question of what theater can and should be. Plays are solicited with the intention of staging performances of them and five plays are selected through primary and secondary judging sessions as finalist candidates. For the finalists of the 109 applicants for the 2019 prize, the open Grand Prize jury session was held on January 6th, and the Grand Prize winner was Aki Yamanouchi’s Kuchita habikoru, while the Special Prize went to a high school student, Suzu Watanabe (Minamiyama Senior High School Girls Drama Club) for her play By us.
Aki Yamanouchi is a member of the directing department of the theater company Seinendan, and the prize-winning work this time is a longer version of the play Inclusion performed with direction by Momo Hachisu of the same Seinendan directing department in Tokyo in May of 2018. The setting is a “fictional ruin” and the story is written on the themes of the impermanence of buildings, the prosperity of culture and the residual quality of ideas. This winning play and the other nominated finalist plays are shown on the Aichi Prefectural Arts Theater website.
+Winner’s profile
Aki Yamanouchi
Graduated from the Theater Department of Nihon University College of Art. She is the leader of the performing arts group Kiligs (former group name: AnK), a member of Kabujo (Kabuki Women’s College) and the directing department of Seinendan. Yamanouchi is responsible for writing and directing all of the plays of Kiligs and Kabujo. Her aim is performing arts that have romance or are romantic and she creates unique worlds that contain elements of inspiring culture (traditions, Joruri (Japanese traditional ballad dramas), club music, mangas, etc.). In 2014, she won the Best Directing award of the Sato Saikichi Awards for (directing the play Henalede) and the Special Prize of the 2017 AAF Drama Awards (name of play: Hakuchi wo warauka).
+Nominated Works
Kuchita habikoru by Aki Yamanouchi
Sugoi Kikai by Naoya Wagatsuma
by us by Suzu Watanabe
Yakutatazu! by Furukawa Toshimasa
Wattsui Jinmin no teki by Katsumi Sasaki
Jury: Chiharu Shinoda (director, writer, eventer), Kohei Narumi (Dainanagekijo representative, director), Shirotama Hitsujiya (director, playwright, actor, artistic director of Yubiwa Hotel), Motoi Miura (CHITEN representative, director), Miwa Yanagi (artist)
+18th AAF Drama Award (Japanese only)
https://www-stage.aac.pref.aichi.jp/event/archive/detail2018/18_aaf_bosyu/

Yokohama Dance Collection 2019 held (Jan. 31 – Feb. 17, 2019)
 
Organized by the Yokohama Arts Foundation, the Yokohama Dance Collection has been held since 1996 as a contemporary dance festival for the purpose of discovering and nurturing young choreographers and popularizing contemporary dance in Japan. The key words of the 24th Yokohama Dance Collection 2019 are “Method / Space /Presence.” This year’s three-week program will be held at the Yokohama Red Brick Warehouse No. 1 and the Yokohama Nigiwaiza Small Hall.
For Competition I, finalists are chosen based on video recordings of performances and written applications. For this year’s Competition I that is open to choreographers whose works have been publicly performed there were 208 applications from 35 countries, from which ten artists/groups from six countries were selected as finalists that will give live performances at the Yokohama Red Brick Warehouse No. 1 (Feb. 9 – 10). For Competition II, competing in the New Choreographer Division open to choreographers under the age of 25, 12 artists/groups were selected as finalists from among 38 applications. The finalist performances for the Competition II Outstanding New Choreographer Prize are scheduled for Feb. 7 – 8 at the Yokohama Nigiwaiza Small Hall. The winners of the Competition I Jury Prize and the Outstanding New Choreographer Prize and the other prizes will be decided on the final day.
For the Opening Program, there will be a world premiere of a new collaborative work by the Israeli choreographer Ella Rothschild and visual artist Omaki Shinji titled Futuristic Space and a new work by Company Derashinera titled Keep it Simple –Mitate–. Also, among the performances by past Yokohama Dance Collection prize winner, the 2017 winner of the French Embassy Prize for Young Choreographer, Ryu Suzuki, will present the Japan premiere of his new work AFTER RUST (one a double bill with the work Cellude by Nach, a Kyojomaru Artist in Residence).
The 2018 winner of the Outstanding New Artist Prize, Yuriko Nagano, presents a new work titled MONOLITH with her dance unit Youseidaizukan on a triple bill with a work titled Aqua by the winner of Best Performer Award at Spain’s MASDANZA International Dance Festival (Affiliated with the Yokohama Dance Collection), Chey Durado, in a Japan premiere, and the work Flight by Jeong Cheolin that drew attention at the 1st HOTSPOT East Asia Dance Platform in Hong Kong.
+Competition Finalists
- Competition I
Kaigaishi Nami, Hoei Miki, Norimatsu Kaoru/Tetsuda Emi/ Choi Myung Hyun, Japhet Mari Cabling (the Philippines), Wong Tan-ki/Li Sze-yeung Justyne (Hong Kong), Okamoto Yu, Shimomura Yu, Kang Subin (Korea Rep.) Chen Yi En (Taiwan), Jana Jacuka (Latvia)
* Jury members: Okami Sae, Kondo Ryohei, Tada Junnosuke, Hamano Fumio, Yanaihara Mikuni, Samson Sylvain, Xavier Person, Aymar Crosnier, and others
- Competition II (New Choreographer Division)
Aoyagi Machiko, Aramata Natsumi, Kai Hirona, Nishi Junnosuke, Furuyabu Naoki, Nishi Junnosuke, Mita Mao, Omori Yoko, Shawn K. Farrel, Fujimoto Shigetoshi, Furusawa Miki, Honjo Yuya, Maruyama Yaeko
* Jury members: Ito Chie, Vivienne Sato, Siba Yukio, Hamano Fumio
+Yokohama Dance Collection
http://yokohama-dance-collection.jp/en/

Japonismes 2018: les âmes en resonance: Stage performance lineup announced
 
Japonismes 2018: les âmes en resonance (souls in resonance) will take place from July 2018 to February 2019 with events at more than 20 venues around the city of Paris, France. As 2018 marks the 160th anniversary of the Treaty of Amity and Commerce between France and Japan, this project has been planned to introduce the great variety and universal appeal of Japanese culture in Paris and for transmission around the world. The official program will include more than 50 events in the four areas of exhibitions, stage performances, film screenings and lifestyle culture.
Approximately 30 stage performances are planned. They include “YÛGEN” Nô x 3D image directed by Amon Miyamoto, Mahabharata - Nalacharitam directed by Satoshi Miyagi, Kafka on the Shore as directed by the late Yukio Ninagawa, a production of In the Forest, Under Cherries in Full Bloom directed by Hideki Noda, and a Contemporary Theater Series featuring works by Kuro Tanino, Shu Matsui, Takahiro Fujita, Hideto Iwai, Toshiki Okada and Kunio Sugihara. Dance performances will include a new duo piece by Mirai Moriyama and Kaori Ito, About Kazuo Ohno by Takao Kawaguchi and more. For details, see the event website.
+Japonismes 2018: les âmes en resonance stage performance program:
Concert of Japanese drums and shamisen
(Jul. 5 - 6 ,2018 at Japan Expo)
Wadaiko presented by DRUM TAO
(Jul. 13 - 15, 2018 at La Seine Musicale)
Imperial Gagaku
(Sep. 3, 2018 at Philharmonie de Paris)
SHOCHIKU GRAND KABUKI
(Sep. 13 - 19, 2018 at Chaillot – Théâtre national de la Danse)
“SAMBASÔ, divine dance” performed by Mansaku and Mansai Nomura, designed by Hiroshi Sugimoto
(19 - 25, 2018 at Théâtre de la Ville – Espace Cardin)
Contemporary Theater Series: “Dark Master” and “Avidya – The Ignorance Inn” directed by Kuro Tanino
Dark Master: Sep. 20-24, 2018 at Théâtre de Gennevilliers
Avidya: Sep. 25-29, 2018 at Théâtre de Gennevilliers
*Daniel Jeanneteau (director of Théâtre de Gennevilliers) Interview
Contemporary Theater Series: “PROUD SON” directed by Shu Matsui
(Oct. 5-8, 2018 at Théâtre de Gennevilliers)
Contemporary Theater Series: “Throw away Your Books, Let’s Get onto the Streets” directed by Takahiro Fujita
(Nov. 2018 at Maison de la culture du Japon à Paris)
Contemporary Theater Series: New production by Hideto Iwai
(Nov. 22 - Dec. 4, 2018 at Théâtre de Gennevilliers)
Contemporary Theater Series: “Five Days in March” Re-creation and “Silhouette of Desire” (tentative title) directed by Toshiki Okada
(Autumn, 2018 at Centre Pompidou)
Contemporary Theater Series: Kinoshita Kabuki “Kanjincho” supervised and revised by Yuichi Kinoshita, directed and stage designed by Kunio Sugihara
(Nov. 1-3, 2018 at Centre Pompidou)
Contemporary Theater Series: Reading “Blue Sheet”by Norimizu Ameya “Before We Vanish” aka Sanpo Suru Shinryakusha by Tomohiro Maeda
(Sep. 19, 21, 2018 at Théâtre de la Ville – Espace Cardin)
“YÛGEN” Nô x 3D image directed by Amon Miyamoto
(Sep. 2018)
TRIPLE BILL: French-Japanese collaboration project on hip-hop dance
Co-production: Biennale de la danse de Lyon (Artistic Director: Dominique Hervieu)
Choreographer: TOKYO GEGEGAY, etc.
(Sep. 18 - Nov. 14, 2018 at Chaillot – Théâtre national de la Danse)
A production by Hideki Noda
(Sep. 28 - Oct. 3, Chaillot – Théâtre national de la Danse)
Contemporary dance: “About Kazuo Ohno” by Takao Kawaguchi
(Oct. 2-5, 2018 at Théâtre de la Ville – Espace Cardin)
Bunraku
(Oct. 12 - 13, 2018 Cité de la musique)
Gagaku – Ensemble Reigakusha and Kaiji Moriyama
(Oct. 13, 2018 at Philharmonie de Paris)
Taiko – Eitetsu Hayashi and EITETSU FU-UN no KAI
(Oct. 14, 2018 at Philharmonie de Paris)
Buyô (Oct. 14 - 15, 2018 at Cité de la musique)
*Artist Interview: Yasuko Inoue (Traditional Kyoto dance of the Inoue school)
Contemporary dance: “Is it worth to save us?” by Kaori Ito x Mirai Moriyama
(Dec. 18-20,2018 at Maison des Arts de Créteil)
“Mahabharata – Nalacharitam” – directed by Satoshi Miyagi
(music by Hiroko Tanakawa)
(Nov. 19-25, 2018 at La Villette)
Noh and Kyogen
(Feb. 6-10, 2019Cité de la musique)
“Kafka on the Shore” directed by Yukio Ninagawa
(Feb. 15-23, 2019 at Théâtre national de la Colline)
<2.5-Dimensional Musical> “Pretty Guardian Sailor Moon” The Super Live
(Period/TBA: TBA)
<2.5-Dimensional Musical> Touken Ranbu: The Musical “Atsukashiyama Ibun 2018 Paris”
(Jul. 15, 2018 at Palais des Congrès de Paris)
*Makoto Matsuda (2.5-Dimensional Musical producer) interivew
HATSUNE MIKU EXPO 2018 EUROPE
(Dec.1, 2018 at La Seine Musicale)
*Wataru Sasaki (Hatsune Miku Producer) interview
Yasutake Shimaji
(Sep. - Nov., 2018 at Chaillot – Théâtre national de la Danse)
Jazz Makoto Ozone featuring No Name Horses
(Dec. 5-6, 2018 at Maison de la culture du Japon à Paris)
TOKYO HIT vol.3 Club event
(Sep. 28, 2018 at Maison de la culture du Japon à Paris)
Techno Concert
(Sep. 28, 2018 at Centre Pompidou)

+Japonismes 2018
https://japonismes.org/
Presenter Topics
One of Australia’s largest international arts festivals, the Adelaide Festival, to open (Mar. 1 – 17, 2019)
 
Founded in 1960, the Adelaide Festival is a large-scale comprehensive arts festival. Its two-and-a-half week program features a wide variety of arts, from theater, music, dance, literature and visual arts to works for children and more. Originally a biennale, the festival has been held annually since 2012. The artistic director until last year was the founder of London’s alternative music festival Meltdown, David Sefton. From 2017, welcomed the former co-directors of Sydney’s Belvoir St. Theatre, Neil Armfield AO and Rachel Healy as artistic directors.
Among this year’s large theatre productions are: Kings of War, a conflation of five plays by Shakespeare (Henry V, Henry VI Part I, II and III, and Richard III) directed by Ivo Van Hove; The Far Side of the Moon, written and directed by Robert Lepage; and the opera production of Hamlet composed by Brett Dean that premiered to high acclaim at the Glyndebourne Festival Opera.
On the dance program are: Akram Khan’s new work XENOS, which he has announced will be his final performances as a dancer in a full-length piece; the piece FLA.CO.MEN performed by the Israel GALVÁN, a famed maverick of the genre; and Bennelong, a work by Bangarra Dance Theatre that explores the life of one of our history’s most significant Aboriginal elders.
During this year’s festival a special program titled Adelaide Writers’ Week will introduce that gathers novelists and writers from around the world to talk on a wide range of subjects.

Festival Outline
Believing in the potential for an arts festival in Adelaide through his involvement in the South Australia national theatre movement, journalist Sir Lloyd Dumas and Adelaide University music professor John Bishop enlisted the support of influential citizens to launch the festival in 1960 with a program of 105 performances (74 for adults and 31 for children) over the course of half a month. Held biennially on even numbered years, the Adelaide Festival and its concurrent Adelaide Fringe Festival grew to become one of Australia’s leading international arts festival events along with those in Sydney and Melbourne. Invited participants from Japan include Daisan Erotica with A Man Named Macbeth in 1994 and Yukichi Matsumoto with Mizumachi in 2000. The festival has been held annually since 2012.
+Adelaide Festival
https://www.adelaidefestival.com.au/

PuSh Performing Arts Festival opened in Vancouver (Jan. 17 – Feb. 2, 2019)
 
Modeled after Europe’s international theater festivals, this festival invites performing arts creators from Europe, Asia and the United States with the aim of creating discourse among Vancouver-based artists and stimulate the local theater scene. It focuses in particular on inviting a diverse, genre-bending range of works of music, video, theater and other genres of performing arts in forms such as never seen before. The 2019 edition celebrates the 15th anniversary of festival.
Of particular note on this year’s program is a documentary installation titled Zvizdal (Chernobyl – So Far So Close) created by the Antwerp-based art collective BERLIN, together with journalist Cathy Blisson, who together spent five years filming an elderly couple living deep within the irradiated Chernobyl exclusion zone where they formed an intimate bond of trust within that time.
There was also the stunning play Palmyra by Bertrand Lesca and Nasi Voutsas which takes the name of a Syrian city as its title and plays out a simple situation in which two men are onstage, one of them has a plate while the other does not. From there, conflict develops in a theater-of-the-absurd style that ranges from the comical to the brutal.
Appearing from Japan were musicians and artists in Tetsuya Umeda, ASUNA and Marginal Consort. Their musical and theatrical performances included experimental interludes.

Festival Outline
This Vancouver festival has been the focus of growing attention recently and has helped put the city on the map of Canadian performing arts centers along with Montreal and Toronto. The festival uses several venues in the Vancouver metropolitan area. The program covers the genres of theater, dance and music with a mission of providing “the very best in contemporary performance” selected from Canadian works. The successful 2009 festival gathered a total audience of 23,000 during its run. Japanese artists performing at that 2009 festival included Chelfitsch. The festival schedule also features meetings for presenters and other events to encourage networking. In 2019, the program also included meetings for presenters and other events to help networking to function between Canada and abroad. With curation in 2019 by musician Aki Onda, sound artists Tetsuya Umeda, ASUNA and Marginal Consort also gave performances.
+PuSh International Performing Arts Festival
https://pushfestival.ca/
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