Tuniscope

A Space Odyssey? Oddity aux JTC
Entre ciel et terre
Le Carré d’Art d’El Teatro a eu du mal à contenir le public jeudi 22 octobre, à l’occasion de la présentation de la pièce japonaise A Space Odyssey ? Oddity, produite par KPR —
Kaimaku Pennant Race, mise en scène par Yu Murai et interprétée par Taka.o.k.a.saki Takuro, G.K. Masayuki, Nene Okubo et Akihiro Kohama. L’affluence massive du public pour cette pièce est un indice sur le degré élevé de la curiosité du public des JTC à l’égard du théâtre japonais, dont les expériences sont aussi nombreuses que riches. Dès le début de la pièce, le ton a été donné. Une atmosphère surréaliste, trois postes de télévision déroulant à la fois la traduction en anglais du texte et des images indéchiffrables. Trois cosmonautes, que rien ne rassemble, sont perdus entre ciel et terre, confrontés à leur solitude et l’incommunicabilité et à la perte certaine. Une situation de huis clos où le sens du moment n’est perceptible qu’à travers les gestes chaotiques des protagonistes. La civilisation est perdue, ce qui plonge les personnages dans un univers existentialiste où la mémoire semble incapable de restituer les clés de la connaissance. 1969, c’est l’année de la consécration de l’épopée de l’espace. On est sur la lune et bien au-delà de cette planète tant convoitée. La Terre est derrière nous, loin de nous. Il ne reste rien du passé sauf quelques miettes de souvenirs épars que les protagonistes s’entêtent à réorganiser comme des pièces de Lego. Mais sommes-nous sur Terre ou dans l’espace ? C’est l’un des paradoxes de cette pièce où les comédiens se mélangent avec le public à la recherche d’un Sud perdu. Mais faut-il chercher le Sud ? Y a-t-il un Sud ? A défaut d’une réponse, chacun devra trouver son propre Sud, une métaphore d’une grande puissance sur le sens de la vie, de la vérité absolue… A Space Odyssey est une pièce théâtrale moderne interprétée par des monstres d’acteurs. Auteur : A.D. Ajouté le : 25-10-2015

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カルタゴ演劇祭参加作品
『A space Odyssey? Oddity!』
宇宙と地球の間で 10月22日木曜、エル・テアトロのキャレ・ダールには、あふれかえるほどの観客が押し寄 せていた。その夜の演目は、村井雄の演出、高.o.k.a.崎拓郎、G.K.Masayuki、大窪寧々、 小濱昭博が出演する、日本のカンパニー、開幕ペナントレース(KPR)の公演だ。 この作品に詰めかけた大勢の群衆は、カルタゴ演劇祭の観客が、数々の豊かな実験にあふ れた日本の演劇に強い好奇心を持っていることを示している。 すでに冒頭から作品の実験的なトーンは提示された。シュールな空気、テキストの英語字 幕と不可解な映像を同時に写しだすテレビモニター。偶然に集まった3人の宇宙飛行士た ちは、宇宙と地球との間に宙づりになりながら、孤独と通信不能、そして疑念の余地のな い喪失に直面している。その瞬間の意味は主人公たちの混乱した身ぶりを通してしか認識 できないが、これは『出口なし』のシチュエーションだ。文明は失われた。登場人物たち は実存主義の宇宙に投げ込まれ、記憶は “認識するための糸口” を復元できないように見え る。 1969年、それは宇宙の叙事詩が捧げられた年だ。我々は月にいて、はるか彼方からこの惑 星を渇望している。地球は我々の後ろに、遠くにある。過去は存在しない。ただ、主人公 たちが必死になって組み上げようとするレゴのピースのような断片的な記憶のかけらがあ るだけだ。 だが、いったい我々は地上にいるのだろうか?それとも宇宙にいるのだろうか?それは、 俳優が観客と一緒になって失われた“南”を探す、この作品のパラドックスのひとつだ。し かし、南を探す必要があるのか?南というのは存在するのだろうか? 答えはなく、それ ぞれが“自分の南“、つまり生の意味、絶対的真理の意味における大いなる力のメタファー を見つけなければならない……
『A space d’odyssey』、それは恐るべき俳優たちによって演じられる現代演劇作品である 。
2015年10月23日(金)
(訳:中島香菜)

Tuniscope

The Nation by パウィット・マハサリナンド

SPECIAL TO THE NATION May 5, 2016 1:00 am
No easy way out
An absurdist Japanese performance is both enjoyable and comprehensible
THANKS TO ITS welcome diversity in programming, Thong Lor Art Space is a great place
to visit on a regular basis. Just like the vibe from the restaurants, bars and nightspots for which this neighbourhood is famous, TLAS keeps its lights on, its curtains up and its vibrancy throbbing all year round. Last month, Thong Lor Art Space hosted “Suk-ka-sak-ka-raj”, an interdisciplinary performance in which cellist Yui Cello shared the stage with an actress/illustration drawer, a ghost writer, a physical theatre artist, a contemporary dancer, independent musicians, a sound designer and a documentary filmmaker. Although they didn’t have time to work across fields, the fact that artists from so many disciplines could be seen in one work was a rare treat in this country. Now, it’s the contemporary Japanese performance “1969: A Space Odyssey? Oddity!” by Kaimaku Pennant Race (KPR), making its Southeast Asian premiere. From the title, which was drawn from Stanley Kubrick’s masterpiece “2001: A Space Odyssey” and David Bowie’s song “Space Oddity” released in 1969, and the fact that the show was at Avignon OFF Festival, audience members were expecting either a dance performance or non-verbal comedy with plenty of music. We were all caught by surprise. Three performers in white unitards, namely Takuro Takasaki, GK Masayuki and Yuri Morita occupied the stage while playwright and director Yu Murai, in street clothes and with a globe attached to his hat, remained downstage watching in front of his sound effects control board. Occasionally during the show, Murai poured milk from a jar and drank it from his glass. Towards the end we could see a spaceman miniature at the bottom of the jar. Among many scenes dwelling on absurd situations, there was one in which two performers argued about a new pair and a worn-out pair of white shoes. In another – compulsory audience participation is enforced by keeping the full house lights on – all three of them, wanting to cross the border, walked into the audience stand and asked us, in Thai and English, which direction was south. We pointed them in various directions. The show was heavily text-based and yet, thanks to the English and Thai surtitles on the four monitors placed on four corners of the stage and visible to all in the audience stand at all times, we could all understand what they were talking about. I noticed that Japanese audience members or Japanese-speaking Thais laughed more than us, so this was perhaps another case of slightly lost in translation. The whole experience brought back a fond memory of watching Samuel Beckett’s absurdist drama masterpiece “Waiting for Godot”, which, brought me many more smiles and laughter when I was in my early 30s than it did when I was in my late teens. “1969: A Space Odyssey? Oddity!” pleasantly reminded me that I was born and raised in the space exploration era, when there was neither Internet nor smartphones. I recalled how excited I was to watch “Star Wars” and “Star Trek” at the cinema. I also remember how my Grade 7 classmates were impressed with my class presentation on the space shuttle, using a toy my cousin brother brought for me from the US. But I don’t think the purpose of this show was to remind me that I am now middle-aged. In fact, while in no way political, it made me realise that in much the same way as space exploration during the past half century hasn’t progressed very much and man’s landing on the moon remains the most exciting moment, our country has been led by one military prime minister after another, with several coups in-between. Of course, we have Internet and smartphones now, but our democracy hasn’t progressed that much. Could the new constitution be a way out or would it be 1932 eternally? MORE SHOWS – “1969: A Space Odyssey? Oddity!” by Kaimaku Pennant Race runs until Sunday at Thong Lor Art Space, a five-minute walk from BTS: Thong Lor. Shows are at 7.30 nightly with a 3pm matinee on Sunday. It’s in Japanese with Thai and English surtitles. Tickets are Bt500 (Bt450 in advance, Bt350 for students). Call (095) 924 4555 or go to Line ID “@lvj7157z”. – June will have Pattarasuda Anuman Rajadhon’s staging of Josh Ginsburg’s “Stick Figures”, with Thai- and English-speaking casts alternating. For more details, Facebook.com/ThongLorArtSpace.

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2016年05月05日
簡単な出口はなし
日本から来た無条理系のパフォーマンスは、楽しく、そしてちゃんと理解できる内容だ。 そのプログラミングの間口の広さのおかげで、トン・ロー・アート・スペースは、常連と して訪れたい、素晴らしい場所だ。 このエリアを有名にしている、多くのレストランやバーやナイトスポットのにぎわい同様 、TLASにはいつも灯が点り、カーテンが上がり、年間を通じて活動が途絶えることがな い。 先月、トン・ロー・アート・スペースは『サッ・カ・サッ・カ・ラージ』というクロス・ ジャンル的なパフォーマンスを迎えたが、チェリストのユイ・チェロの共演者は、女優/イ ラストレイションの描き手、ゴースト・ライター、フィジカル・シアターのアーティスト 、コンテンポラリーのダンサー、インディーズ系のミュージシャンたち、サウンド・ディ ザイナー、ドキュメンタリー映画の作家だった。 フィールドを越えて共同作業をするだけの時間はなかったが、これほどさまざまなジャン ルのアーティストが一つの作品で見られるだけでも、この国では珍しいもてなしだった。 さていよいよ、コンテンポラリーな日本からのパフォーマンス、『1969: A Space Odysey? Oddity!!』、開幕ペナントレース(KPR)の東南アジア・デビュー戦だ。 タイトルは、スタンリー・キュブリックの傑作『2001年  宇宙の旅』とデイヴィッド・ボ ウイーの歌『スペイス・オディティ』(共に1969年リリース)から取られたものだし、アヴ ィニョン・オフ演劇祭で上演されたことから、観客は、ダンス・パフォーマンスか、非言 語コメディーの音楽たっぷりのものを予想しただろう。 僕たちはみんなびっくりさせられた。 3人のパフォーマーは白の全身タイツ。名前は高崎拓郎、GK.Masayuki、森田祐吏。彼ら が舞台を占め、作家で演出家の村井雄は、普段着のまま、帽子に地球をつけて、舞台前寄 り、音響効果のコントロール・ボードを前に見守り続ける。 開演中、時々、村井はジャーから牛乳をついで、グラスから飲んだ。 終りに近づくと、ジャーの底に、ミニチュアの宇宙飛行士が見えてきた。 無条理な設定のたくさんのシーンの中に、二人のパフォーマーが、白い靴の新品とボロボ ロをめぐって議論する場面がある。 別の場では、客席の照明を明るくして、即興的に観客参加を強要する場面もあり、3人は 揃って越境を望んで、観客席に乗り込み、タイ語と英語で、南はどっちだ、と僕たちに訊 ねまくった。 僕たちは、いろいろな方向を指さした。 ショウはがっちりとテキストに基づいたものだったが、英語とタイ語の字幕が、舞台の四 隅に置かれて、どの席からも見えるように配慮されたモニターに写し出されるので、彼ら が何を話しているか、すべて理解できる。 日本人や、日本語のわかるタイ人の観客は、僕たちよりよく笑っていたから、もしかした ら、この舞台も、軽く“Lost in Translation”だったのかも知れない。 この観劇体験全体が、サミュール・ベケットの無条理演劇の傑作『ゴドーを待ちながら』 を見た時の愉しい記憶を甦らせてくれるものだが、それは、30代はじめに見た際、10代の 終りに見た時より、はるかにたくさんの微笑みと笑いを僕にもたらした。 『1969:A Space Odyssey? Oddity!』は、自分が宇宙探検時代に生れ育ったことを愉しく思 い出させてくれた、インターネットもスマートフォンもなかった頃を。 そして思い出した、『スター・ウォーズ』や『スター・トレック』を映画館で見ては興奮 したことを。 さらに思い出した、7年生の時、クラスメイトたちがとても感心してくれたことを、従兄 弟のアメリカ土産の玩具を駆使した、僕のスペイス・シャトルについての研究発表に。   しかし、このショウの目的は、僕に自分は既に中年だと思い出させることではないだろう 。 実は、全く政治色がないにも関わらず、このショウは気づかせてくれた、過去半世紀の宇 宙開発はあまり進んでおらず、人類初の月面着陸にまさる感動がないように、僕たちの国 は、いくつかのクーデターを挟みながら、次々と、一人の軍人宰相たちに導かれているこ とを。 もちろん、今はインターネットやスマートフォンもあるが、僕たちの国のデモクラシーは 大して進歩していないのだ。新しい憲法は出口となってくれるのか、それともここは永遠 に1932年のまま出口なしなのか。
​​(訳:青井陽治)

The Nation by パウィット・マハサリナンド

Nytheatre.com

FringeNYC Festival Review Joe Beaudin August 26, 2009 Kaimaku Pennant Race's show Romeo and Toilet-straight from Tokyo-is billed as having a style emphasizing the "explosion of energy spread out" and "uniting Japanese animated cartoon culture and Japanese physical characteristics." It is also described as a "Challenge" of Romeo and Juliet. While the first is extremely true of the production and a credit to their work, I found it troublesome identifying the connection to Romeo and Juliet and struggled mightily to figure out just what the meaning behind Romeo and Toilet was. Romeo and Toilet is an hour-long blend of colorful vignettes. It relies heavily of the physicality and movements of its performers and very little on dialogue (it is actually almost ten minutes before there is any dialogue spoken). Many of the scenes created by the six-person all-male ensemble are very familiar. Men finding different uses for the toilet (not at all in a crude way). A line of men trying cross a tightrope and falling to their deaths one-by-one. A bunch of women giving birth. A bunch of babies in a room, with pacifiers, trying to communicate with one another. They all have a certain humanity to them and are quite hilarious by themselves. The show seemed to have little to do with Romeo and Juliet itself, though, aside from a few mentions of the names here and there; and, overall, as a cohesive unit, I wracked my brain throughout- trying to dig up some common thread. However, I did care dearly about finding that thread and that is a tribute to the skill and passion of the ensemble and the direction of Yu Murai. Yu Murai has built his cast into one cohesive unit of independently moving parts. Their synchronicity in movement and energy is extremely impressive. Relying heavily on physicality and sculpting images (two men sit crouched as a "toilet" for minutes, numerous times throughout the show), their control over their bodies is amazing. The power and passion they bring to enlivening Romeo and Toilet is incomparable. They have formed a perfectly balanced ensemble and their passion makes you care. Funazo Hasegawa's sound and Yuuji Sekiguchi's lighting work so well with the actors that the elements are almost the seventh and eighth members of the cast. Romeo and Toilet seems to go in every direction, but if it is anything, it is extremely focused. The performance style they've developed is interesting and engaging. Perhaps, the idea is to let go of the search for meaning, and let the show affect you as it will. Perhaps another watcher will find that common thread where I did not. The tagline of the show is "performance is destructive power" and where I, perhaps, lacked understanding, Romeo and Toilet does not lack that power.

Nytheatre.com

by Michael Mraz

CurtainUp

Romeo and Toilet Anyone apprehensive about seeing a Japanese company's adaptation of the Shakespeare mainstay needn't worry. This physical theater (never degenerating into slapstick) largely without text is a romp combining military precision drills with bathroom humor as the title suggests, all in animé style that links the seemingly unrelated short scenes. To start, an inspector polishes up the troops standing on their heads. The inevitable privy time has two white body suited players as tank and bowl set to receive first a #1, then a #2. Next come two vomiters, whom the bowl (the squatting half of the animate washroom fixtures) magnificently slams with the falling seat (made of arms linked in a wide oval). A later strobe-enhanced interlude is mild compared to the samurai-inspired mayhem that precedes it. The only overt reference to the star-crossed lovers of Verona is an over-the-top weeping fest to accompany a reading, presumably of the death scene. There is little discernable English to be heard apart from a guru's "No Problem" response to various physical overtures by pairs of players. The six compact men of Kaimaku Pennant race company under Yu Murai's direction are well trained and go about their antics with conviction. However their inscrutable facial expressions combined with martial arts ferocity for shouts and swipes make for a puzzling if ultimately entertaining time. At HERE -Mainstage. 1 hour. [Lipfert]

CurtainUp

by David Lipfert

New theater corps

According to Lincoln Center's new LCT3 project at its slogan, it takes "New Audiences for New Artists." It also takes new critics, hence the establishment of Theater Talk's New Theater Corps in 2005, a way for up-and-coming theater writers and eager new theatergoers to get exposure to the ever-growing theater scene in New York City. Writers for the New Theater Corps are given the opportunity to immerse themselves in the off-off and off-Broadway theater scene, learning and giving back high-quality reviews at the same time. Driven by a passion and love of the arts, the New Theater Corps aims to identify, support, and grow the arts community, one show and one person at a time. Tuesday, September 01, 2009 Fringe/Romeo and Toilet Reviewed by Nicole C. Lee What do you get when you take a classic Shakespearean tale, Romeo and Juliet, and mix it with Japanese interpretive dance and...a toilet? We're never exactly sure in this 60-minute performance entitled Romeo and Toilet, presented by Kaimaku Pennant race. Written and directed by Yu Murai, six male actors engage in intense, physical actions that never seem to compliment or build a clear plot. While the names Romeo and Juliet are often thrown around, as well as some other lines in both English and Japanese, there is virtually no comprehensible speech or dialogue. In one scene, the characters engage in an intense argument that is little more than muffled speech because each man has a pacifier in his mouth. The performance relies heavily on choreography involving such stunts as imitating horseback riding with only the actors' bodies. The music is perhaps the best part of the show. Featuring a mix of alternative rock 'n' roll and jazz, it is reminiscent of a Quentin Tarantino film or a Japanese cartoon. And while the work put into the show and the physical demand on the performers is laudable, I doubt an even cursory knowledge of Japanese will illuminate this show for you. FringeNYC 2009: Romeo and Toilet (60 minutes, no intermission) HERE Arts Center - Mainstage Theater (145 6th Avenue) Tickets: $15 (www.fringenyc.org) Performances: concluded August 29 Posted by Nicole C Lee at 9/01/2009 05:25:00 PM Labels: Fringe Festival, Nicole Lee

New theater corps

by Nicole C. Lee
artyshuee-logo

コンセプチュアルな『マクベス』読解と、小ネタによる笑いがもたらす幅

本作は『マクベス』を自らのフィールドに引き寄せて遊びながらも、実質60分ほどの上演時間であらすじをしっかりと観客に理解させる。
その上で、権力と名誉に突き動かされた人間のあくなき欲望を浮かび上がらせた。 シェイクスピア劇の新演出や本歌取りした作品は星の数ほどあり、
今後も産まれ続けることだろう。それによってシェイクスピア劇の上演史は厚みを増し、古典としての権威が高まってゆく。
timeputnewyork

Time Out New York

The name of this show is the first hint that this dance-theater piece probably won't be a strictly faithful version of Shakespeare's tragedy-and it isn't. The Japanese dance company Kaimaku Pennant Race offers a barely recognizable Bard, refracted through the lenses of Japanese sensibilities and anime culture. Those looking for romantic grandeur will perhaps be disappointed. But others will be rewarded with a fantastic combination of ingenious movement, surreal story lines and dynamic, startlingly disciplined performers. The troupe's rendition of a warrior on horseback, accompanied by his guardsmen, is thrilling; its mob of babies is silly brilliance; and its take on water swirling through a toilet-maybe you thought the title was a bluff?-would make Dali chuckle.- Elizabeth Barr, editorial director.

Time Out New York

by Michael Mraz
new-york-times-logo-EE0F194CA3-seeklogo.com

The New York Times

At the Fringe: 'Romeo and Toilet' BY ERIK PIEPENBURG AUGUST 27, 2009 1:35 PM The show categories in the Fringe Festival are pretty self-explanatory: drama, comedy, solo, clown, vaudeville, magic. But I'm not sure if "performance art," as it's listed in the program guide, quite sums up "Romeo and Toilet," an hour-long exercise in dancing, marching, clowning and screaming by the Tokyo-based Kaimaku Pennant race. Here's how the company describes its work on its Web site: "Our performance has the style that emphasizes the explosion of energy spread out of actors' body trying up to their limitation with much of body liquid." Well, yes. At last night's show the actors performed dance numbers with military-like precision, shouted at each other at close range, slapped each other's faces, simulated bodily functions using a human toilet and made a human caterpillar. The story of Shakespeare's tragedy was there somewhere, although all I know for sure is that Juliet was not a person but a Chupa Chup. Still not sure what to think? The company is keeping a video diary on YouTube, where you can watch rehearsal clips and hear what the performers have to say about being in New York. "Romeo and Toilet" will be performed Thursday, Aug. 27 at 8:30 p.m.; Friday, Aug. 28 at 9:15 p.m.; and Saturday, Aug. 29 at 4:45 p.m.

New York Times

by Erik Piepenburg
キャプション

「奇跡のうんこ」をひねり出すために

シェイクスピア生誕450年の2014年は、様々な劇場で関連公演が上演された。あうるすぽっとで開催された「シェイクスピアフェスティバル2014」でも、演劇・ダンス・演芸のジャンルから15団体のシェイクスピア関連の舞台があった。そんな中、どのフェスティバルにも関係せずに、ひっそりとシェイクスピア作品を上演したのが、開幕ペナントレース。
キャプション

小林賢太郎が惚れ込む「自由」すぎる天才演出家・村井雄の正体

ガタイのいい男たちが汗臭く繰り広げるパフォーマンスで、日本のみならず海外で高い評価を得ている劇団「開幕ペナントレース」をご存知だろうか?
今回、彼らは数多くの若い才能を発掘してきた『世田谷区芸術アワード“飛翔”舞台芸術部門』を受賞し、
2月に記念公演をシアタートラムで行なうことになった。