Solo from “The Lost Commission
<\/span><\/strong> Choreography\uff1aWilliam Forsythe
Performed by Yoko Ando<\/p>\nMOVING SHADOW” by Yoko Ando, created with Kenji Miyazawa’s “Spring and Shura” as a motif, is a new work that was born after about a year and a half of creation with two young dancers who were discovered through audition. Along with this work, Ando’s solo, which reconstructs part of Forsythe’s masterpiece “The Lost Commission,” will be performed in succession.<\/p>\n
<\/p>\n
<\/span>The Dying Swan
<\/span><\/strong> Mikhail Fokin original, revised by Hana Sakai
cello: Udai Shike<\/p>\n <\/p>\n
The Dying Swan: The Truth Behind Its Death
<\/span><\/strong> Direction and Choreography: Toshiki Okada
Arrangement and Cello: Udai Shike<\/p>\nThe Dying Swan” based on Fokin’s original story has been danced by ballet dancers all over the world. In this performance, Hana Sakai, one of Japan’s leading dancers, will perform a newly interpreted version of the play, which she worked on with playwright Toshiki Okada. By approaching the cause of the swan’s death, the ballet style is deconstructed, opening up a new dimension in contemporary performing arts.<\/p>\n
<\/span><\/p>\nSolo from “BLACK BIRD
<\/span><\/strong> Choreography: Ily Kylian<\/p>\n <\/p>\n
BLACK ROOM
<\/span><\/strong> Choreography\/Dance: Nakamura Benefit
Costume: Kushino Shinya<\/span><\/p>\nNakamura’s new work “BLACK ROOM” and Kilian’s choreography for Nakamura.<\/span> Nakamura’s new work “BLACK ROOM” and a solo scene from “BLACK BIRD” choreographed by Kilian for Nakamura.<\/span> The solo scene from “BLACK BIRD” choreographed by Kilian for Nakamura will be performed.<\/span> Please come and see these two works together, a series that evokes a new life born from the darkness.<\/span><\/p>\n <\/p>\n
NEVER THOUGHT IT WOULD
<\/span><\/span><\/strong> Choreography\/Dance: Ryu Suzuki
Dramaturg: Aoto Niwa \/ Art: Kenjiro Miyano \/ Lighting: Ruto Takebe \/ Costume: Shinya Watanabe<\/p>\nPina Bausch said: “Dance, dance, otherwise we are lost. Dance, dance, otherwise we are lost. Dance, dance, otherwise we are lost. But I lost myself a long time ago, and all I have left to do is to keep dancing as hard as I can.<\/p>\n
\nWhen will we ever learn?” <\/span><\/strong><\/span><\/p>\nChoreography\/Dance\uff1aRyu Suzuki
Cast\uff1aRinako Iida, Mariko Kakizaki, Ken Nakagawa<\/p>\n
They and I. How does dance appear as a cry of denunciation in this asymmetrical relationship? In this asymmetrical relationship, how does dance appear as a cry of denunciation?
I challenge creation while exploring expressions that do not presuppose the dialogic expression demanded by reason.<\/p>\n
Proxy” (Japanese title: “Proxy”)
<\/span><\/strong><\/span> Choreography\uff1a Ryu Suzuki
Performers\uff1aKotoha Ito, Yura Sugiura, Daisho Suzuki, Himari Soejima, Genki Matsuyama, Reo Yamada
Puppet Design and Production\uff1aOdette Picaud<\/p>\nWe are the ones who can finally say what we want to say after losing our bodies.
Perhaps the existence of ghosts, like the irresponsible avatars of modern social networking sites,
was a way to vent our envy by hiding our existence behind them? <\/span><\/p>\n
Hashimoto Romance x Yae Yamamichi “Etan Guma” (ENIGMA)
<\/strong><\/span> Direction\/Choreography\uff1aRomance Hashimoto
<\/span> Lyrics\/Composition\uff1aYamamichiyae
Performers\uff1aMoe Abe, Reimi Murai (OrganWorks), Marin Yamada, Taro Yamamichi (Joruri), Yoko Mochizuki (musical accompaniment), Rochika Tosha (musical accompaniment), Rina Hasegawa (musical accompaniment), Yuka Geida (flute), Yae Yamamichi (futozao shamisen)
Documentary photography:Yulia Skogoreva
Costume support:Yuka Satomi<\/p>\nThe first collaboration project between Romance Hashimoto, who has attracted attention for his highly contemporary works combining pop culture and contemporary art techniques, and Yae Yamamichi, a composer and futozao shamisen player who collages classical Japanese texts such as waka, noh, and joruri (traditional Japanese puppet theater) in a unique way and revives them in the present as new gidayu-bushi and hogaku-bayashi (traditional Japanese musical instrument) pieces. The first collaboration project by the composer and futozao shamisen player Yae Yamamichi.<\/p>\n
<\/p>\n
\u25a0Staff<\/b>
Producer\uff1aEri Karatsu(Aichi Arts Center\/Dance Base Yokohama)
Production Manager\uff1aYoshinori Sekoguchi(Aichi Arts Center)
Stage Manager\uff1aAiko Oguro
Lighting\uff1aMasakazu Ito
Sound\uff1aNorimasa Ushikawa
Managing Director\uff1aHiromitsu Katsumi(Dance Base Yokohama) Yokohama)
Production: Nozomi Tanaka(Dance Base Yokohama)<\/p>\n
<\/p>\n
Related Programs at DaBY<\/b> *Details will be announced at a later date.<\/span><\/p>\nDance with Sound: New Work in Progress (Planning: Miyuki Tanaka \/ Performer: Masako Yasumoto and others)
<\/b><\/span> Date: December 13(Monday)
Venue: Dance Base Yokohama<\/p>\nThe project is a development of “Work in Progress of Dance Seen through Sound,” a project by curator Miyuki Tanaka that aims to dissolve the boundary between the visible and invisible, and to question the meaning of watching dance with others. The work-in-progress will be presented.
Work in Progress” is a project that was developed with KAAT Kanagawa Arts Theatre over three years from 2017 to 2019, in which visually impaired people and sighted people can watch dance together using text inspired by “audio guides,” which use sound to assist visually impaired people with visual information. The project was developed in conjunction with the Kanagawa Arts Theatre over three years from 2019 to 2019.<\/p>\n
DaBY Residence Choreographer Saori Haras New work “P wave
<\/b><\/span> Date: December 19 (Sun) 15:00
Venue: Dance Base Yokohama<\/p>\nSaori Harasaori has been creating works from a cognitive psychology perspective, which examines how humans read information from the environment and objects to determine their own behavior. This work on the theme of perception and cognition focuses on human social behavior under emergency conditions. The work is a further development of the work-in-progress performance “Zekkei” that was staged at the same venue in November 2020. The work will be performed as<\/p>","protected":false},"template":"","meta":{"_acf_changed":false,"_links_to":"","_links_to_target":""},"display_wings_news":[],"class_list":["post-9499","info","type-info","status-publish","hentry","info_type-news"],"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-04-16 04:40:55","action":"category","newStatus":"draft","terms":[],"taxonomy":"info_type","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/dancebase.yokohama\/en\/wp-json\/wp\/v2\/info\/9499","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dancebase.yokohama\/en\/wp-json\/wp\/v2\/info"}],"about":[{"href":"https:\/\/dancebase.yokohama\/en\/wp-json\/wp\/v2\/types\/info"}],"wp:attachment":[{"href":"https:\/\/dancebase.yokohama\/en\/wp-json\/wp\/v2\/media?parent=9499"}],"wp:term":[{"taxonomy":"display_wings_news","embeddable":true,"href":"https:\/\/dancebase.yokohama\/en\/wp-json\/wp\/v2\/display_wings_news?post=9499"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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