COMING ACTIVITY of C/Ompany and SHINTARO OUE
海外においてはJULI DANS FESTIVAL NEXT(Amsterdam)をはじめ、オランダ・スウェーデンでツアーや学校巡回公演、さらに地域に密着した活動として学生を対象にワークショップを行う。
[A] [u.....n] Studio showing at Tokyo
RESIDENCE at Matumoto Art Center,Japan
[=equal] at JULIDANS NEXT,Amsterdam/Den Haag
[IKI,SHI,TAI] short version at Saitama Performing Art Theater,Japan
[IKIKIRU] at New National Theatre, Tokyo
[IKI,TE,TAI] at F/T10(Festival/Tokyo)
[=equal] Swedish tour by Dansnät Sverige & ICE HOT NORDIC DANCE PLATFORM
[IKI,SHI,TAI] short version at Cadans Festival2012 Holland
[Nagoya] at performing art garden organized by Aichi performing art center
[☞/tuisokomade] at premiere at TPAM in Yokohama Kannai Hall, Japan
[=equal] at TheaterX,Tokyo by L’Institut franco-japonais de Tokyo
[IKI.SHI.TAI] Holland Tour/15 citys
[=equal] 11 school performance in Sörmland Kommun,Sweden
[イキ、シ、タイ/iki.shi.tai] complete version at Dansenshus/Stockholm
RESIDENCE at Konstnärsnamnden in Stockholm & A-tanz in Tokyo
[バケツとロープの考査／Protocol Relating to Status of Bucket and Rope] at Dansenshus
[談ス/dan-su] at DANCE NEW AIR in TOKYO
[談ス/dan-su] at KITAKYUSYU ART THEATER
[談ス/dan-su] in Dansenshus Stockholm
[談ス/dan-su] in JAPAN TOUR 15citys 26shows
[忘れろ/ボレロ] DDD AOYAMA CROSS THEATER
[忘れろ/bolero] NAGOYA/HIROSHIMA/OSAKA/KYOTO/TOKYO tour
[凸凹しる] JAPAN TOUR
Originally from Kyoto,Shintaro Oue studied dance and graduated from the Hamburg Ballet School in 1992. To date,he has performed in numerous events,won several awards and enjoyed much success. In 2008,Oue,together with Masahiro Yanagimoto and Shintaro Hirahara,formed C/Ompany,with the name inspired by the idea of gathering under the name of none,and forming wherever possible. C/Ompany had its debut in Europe at Julidans NEXT09 and has since toured in Japan,Sweden and Holland. Prior to C/Ompany,Oue’s career includes dancing for Nederlands Dans Theater 2,as well as a 3-year stint at Sweden’s leading repertoire company for contemporary dance,Cullbergbaletten. A freelance artist since 1999,Oue has created several works and won prizes in various choreography competitions,including the first prize at Hannover International Choreography Competition in 2005.
2015[Unknown Knowing] with MIRAI MORIYAMA
Dan-su means “dialogue” in Japanese, and is also how the locals refer to “dance”. Dan-su works beyond the common boundaries in dance making. It is a deliberate choice to be imperfect, dancing with the dialogue of humour, chaos, contact, and uncertain spontaneity.Courtesy of M1 CONTACT
The stage is set with a large circle drawn with white chalk on the floor. There is a screen and a camera on stage. Moriyama stands uncomfortably with pain in his stomach. He falls and something emerges from his mouth, a little male figurine which he places in front of the camera.
Comedically, Omiya emerges from the left with his knee in pain. Moriyama and Omiya slowly build a contact improvisation duet while alternatively chanting the words one – two, black – white, oil – water, man – woman; highlighting common binaries while dancing. The synergy between the two dancers are deeply felt with a heightened awareness of their bodies in relation to each other. They have enough trust to throw themselves onto each other and the floor, knowing how to catch themselves and carry their weight. Oue then emerges from the audience, finding his place within this duality. He intentionally struggles to fit himself within this binary, and is rejected by the two. Eventually, by force, they merge into a trio.
They start to draw words outside the circle such as “dream”, “kiss” and “wherever, whenever”. They build structures with little figurines in front of the camera and together they dance re-creating the forms of the figurine structures, keeping an underlying sense of silliness while being physically rigorous. There is interdependence amongst the three performers as they have an almost acrobatic approach to the discipline of contact improvisation throughout the piece.Courtesy of M1 CONTACT
The camera shifts from one place on stage to another, following the words, giving the audience the choice to either watch the live performance or the screen. The camera is then attached to a central rope that drops from the ceiling and is brought up to provide a bird’s eye view of the performance space, as the floor transforms into a large drawing board. The performers start to draw the anatomy of a human around the stage. Moriyama and Omiya then walk us through the different body parts, singing as they go along, making rhythms and accompanying them with dance movements. There is laughter, fascination, destruction, playfulness, and mostly, confusion! They leave the stage in utter chaos with dust chalk shattered all over, dripping in sweat, at the point of exhaustion.
The pursuit of art, in this case, contemporary performance, is precarious in nature and tends to resist what society may deem as “normal”. Its underlying purpose is to question and respond to society. The performance industry continues to be saturated even as it struggles to build support systems and infrastructure. Those who truly love what they do, will survive, and eventually thrive. Oue seems to be almost mocking these fantasies of artists by laying them on stage as passion, dreams, and drawings; laughing at the seriousness of life. While the execution may seem chaotic, each moment is deliberately chosen, working within the disciplined approach to the form of contact improvisation. Watching these three men as they play, one gets to know their personalities, nuances, and tendencies as people in this performance dialogue. It is rare to see performers in space performing and playing, as themselves. It reveals their nature without any dictated character or imposed narrative.
Binary has become a marker for providing a glance into the international scene and how it develops throughout the years. The curatorial choices that Binary has cultivated over the past ten years bring anticipation, surprise, and a witnessing of differences – exemplified this year in the depth and provocation of ageing as pleasurable in Stigma, and the lighthearted play and organised chaos within the rigour of contact improvisation in Dan-su.
REVIEW [IKI SHI TAI]
[IKI SHI TAI] is the most playful introduction to modern dance that you can imagine. The collaboration between three Japanese dance geniuses result in a versatile and entertaining show. The dancers give their performance with infectious fun and see why they let this go on a blind date this month tour in the Netherlands can do. For dance fans, there is perhaps too little dance spectacle, but by the space now for humor and fantasy [IKI SHI TAI] suitable for a wide audience.
Three Japanese from the European dance scene
All three dancers have earned their stripes in the European dance scene. Shintaro Oue (1975), the originator of the concept of [IKI SHI TAI], among others danced with the Hamburg Ballet and the Dutch Dance Theatre and is an international freelance choreographer. For this series Blind Date collaborates with dancers Masahiro Yanagimoto (including Scapino Ballet, Conny Janssen Dances and Galili Dance) and improvisation phenomenon Kenzo Kusuda.
Mix of mime, dance and acrobatics
At first glance [IKI SHI TAI] a mix between mime, dance and acrobatics. Dance has this not the biggest share, but there is a lot of humor in front. The Japanese men babble at each other and constantly make cartoonish sounds and noises that are typical for fighting cartoons. You would not expect from dancers, but funny it is.
Boys playing on an empty stage
In [IKI SHI TAI] running performance to three boys, friends or brothers, who on an empty stage play with each other, tease each other and their tricks. After the first part of the show contains few pure dance, there are some moments when half the men show why they dance in the Blind Date series deserve. Short choreographies are smoothly strung together and interspersed with frolicking and fighting. The sweat stains in colored shirts of the men to read how much physical strength there is in this performance, even though it all seems so light and playful.
Besides the youthful romp of the dancers, there is a somewhat vague philosophical thread through the show around the theme of ‘the breath’. When the audience enters Kenzo Kusuda sitting on the floor in Japanese monologue to keep the breathing of people. Later in the show does Masahiro Yanagimoto the text again, but now in English.While he casually tells the public how it is with the breath, the other two dancers stalking him to lose his balance and maneuver him into various positions to which he must interrupt his monologue. It delivers a witty scene, but the link with the rest of the performance is hard to find. This theme of what is superfluous breath, air and wind, however, get to a subtle climax because at the very end of the show hundreds of plastic bags by fans on the playing surface are blown.
For children [IKI SHI TAI] undoubtedly also very suitable, they will recognize themselves in the fictional battles against the three men and with each other against an invisible opponent run. The adult observer of [Iki Shi Tai] will be pleasantly surprised to see that modern dance and humor so well together. The combination of acrobatic modern dance techniques and childlike imagination makes this show for young and old, experienced and inexperienced audience a cultural treat that you should not miss.
[IKI SHI TAI] is in the month of March 2012 in the Blind Date on tour.For the playlist and the trailer of the show’s website Theater Blind Date.
Avobe originally in dutch, written by Claire Goossens.
04-03-2012, for www.cluturbewust.nl (in Dutch)
Review in SWEDEN SVENSKA DAG BLADET
by ANNA ÅNGSTRÖM
REVIEW[PROTOCRELATING TO STATUS OF BUCKET AND ROPE]
Everything is relative in this world : what is big , small , strong, weak , securely and uncertain. The proportions vary depending on who is viewing and challenge them - the view can also be culturally determined .
Shintaro Oue , Japan born dancer and choreographer who among other things has worked for the Cullberg Ballet , operates a number of years C/Ompany , who gladly puts physical laws and cultural codes of play in acrobatic dance works .
2010 collective amused the audience with " [= equal ]" where cultural stereotypes were turned around in violent tours. Two years later came " Iki.Shi.Tai " as the basis of Japanese culture - or our prejudices about it - bad meditative and equilibristic movement art with humorous and self- ironic twist.
New section " Protocol Relating to the status of the bucket and rope" spinner on the operating concept - a series of martial arts similar showdowns where the energy migrates from body to body in a sweaty battle for territory , leading to comedy. If fans last time was attribute is it this time buckets and ropes of various sizes that may be co-players in the playful , sometimes violent shifts. New, and shortest , the gang is Naoya Aoki which may act tease but also stoically endure - like when he was kneeling in a bucket sings a song in Japanese while the rest of the trio get into a flowing choreography with yet another bucket of the fourth part .
When Shintaro Oue itself enters it with a thick rope around his neck , an ambiguous image that is reinforced when Masahiro Yanagimoto forcing him to stand on his hands . In contrast shows Naoya Aoki how he mastered the small , thin rope in his tricks . Circus disciplines transform however anarchic mischief when the quartet wild whooping as the samurai to pasture (all wearing green patterned lounge pants ) challenge each other to the audience . Despite subtle whim feels " Protocol Relating to the status of the bucket and rope" not as an evolution of the group since the last time . They spoke elements are weakest and even physically there will be some wrestling matches and trying to outdo each other too much.
Nevertheless, it is an enjoyment when the flow of complex physical assistance is performed with such ease , timing and expressive humor (although Shintaro Oue grimacing bad due to a back injury ) . The interplay is tight like a jersey. C/Ompany has laid claim to its own niche : a group of dancing clowns with cultural twist.
Review in Swedish Svenska Dag Bladet [Protocol Relating to Status of Bucket and Rope]
C/Ompany photo by MATRON