17-20 February 2016
72-13, Singapore
Renowned Japanese theatre maker, Junnosuke creates Re/Play Dance Edit with eight Singaporean and Japanese contemporary dancer-choreographers. It explores the intent and meaning of re-production through bodily repetition of physical movement. The very foundation and meaning of dance is undermined, theatre as a format is subverted!

International Co-production

Junnosuke Tada first directed Re/Play in 2011 with his theater group, Tokyo Deathlock. It explores the intent and meaning of re-production through bodily repetition of physical movement. As a re-making of a theatrical production, this version replaces the actors with eight Singaporean and Japanese leading contemporary dancer-choreographers.
Using pop music, the performers dance until they collapse in exhaustion – and then they get up and do it again, each choreographer-dancer taking a turn at their own approach to the project. In their collaboration with Tada’s direction, the very foundation and meaning of dance is undermined, theater as a format is subverted, and a truly fresh perspective on dance and performance emerges.
This is the first international collaboration in co-production with TheatreWorks/72-13 and Offsite Dance Project. The collaboration between Japan and Southeast Asian artists will be continued in Asian countries.

Activity 2015-2016
Workshop & Audition: April 27, 28, 29, 2015
Performance: 17, 18, 19, 20 February 2016
Venue: 72-13 [address: Mohammad Sultan Road Singapore 239007]

Production Credit
Direction: Junnosuke Tada
Choreographers and performers: Mario Chan, Jaenny Chandra, Elzabeth Loh, Sheriden Newman, Mohamad Sufri b Juwahir, Ma Yanling, Kitamari, Tatsunori Imamura
Technical Director: Lang Craighill
Lighting Designer:Ryoya Fudetani
Video Documentation: Hikaru Fujii
Interpreter: Ritsuko Saito
Web design: Kazuya Kato
Producer: Tay Tong, Matsue Okazaki
Co-production: TheatreWorks(Singapore), Offsite Dance Project(Japan)
Supported by Japan Foundation Asia Center

Artist Bio

Junnosuke Tada
Born in 1976, Tada formed his company “Tokyo Deathlock,” in 2001. His direction focuses on the concept that “manifestation equals phenomenon” and that this manifestation includes a performer’s body, the audience, and the space. With his way of unconventional approach to the framework of established theater, each of his projects generates intriguing discussion both within Japan and abroad. He has been the artistic director of Kirari Fujimi Cultural Centre of Fujimi City since 2010.
In 2013 he became the first foreign director to win the Awards for Best Direction in Dong-A Theatre Awards, the most prestigious theatre awards in Korea, for an adaptation of The Seagull by Anton Chekhov, a Korean-Japanese co-production.
Born in 1983, Started dancing under the direction of dancer Masami Yurabe. Started working solo upon entering university in 2002. Kitamari formed her company “KIKIKIKIKIKI” in 2003. In 2008 she received the Audience Award of the Toyota Choreography Award and the grand prize in the Yokohama Solo X Duo Competition. In recent years, she has been performing as a dancer in works by Mika Kurosawa, Kinoshita Kabuki, and others. Kitamari continually crosses boundaries by directing, choreographing and dancing in a range of performances, as well as producing projects that expand the possibilities for performing arts and are vital to the contemporary dance scene.

Director Message - Junnosuke Tada

The 2011 great earthquake of northeastern Japan became the underpinning of “Re/Play,” a piece that was created by my theater company, Tokyo Deathlock. Based on themes such as “unrepeatable” and “interruption,” actors continued their movements without interference from each other. This resulted in the destruction of images created by pop music to create a work that expressed time and life ironically through relentless repetition. In the following year, 2012, a version of the piece was made with eight dancers in Kyoto. Actors mostly represent humans on stage – you could basically say theater is an expression of humanity. On the other hand, a dancer’s material is the body itself, so they express a range of things from concrete to abstract. I asked the dancers to work with the concept of “dance/not dance,” creating a gradation between “not dancing = human” and “dancing = body” in order to create chaos with the increasing varieties of physicality. From this confusion arose a truer expression of the world. In 2014, a different group of dancers recreated the piece in Yokohama. Through juxtaposing their widely varying physiques, perspectives on dance, and choreography, the performance destroyed the framework for the audience’s perception by rebuilding discovery through confusion in disruption. I again recognized that the more variation there were in dancers, the more impact the piece would have. I am looking forward to being able to see this scenario with Japanese and Southeast Asian physicality — the Asian physicality — in the next creation in Singapore. Each dancer will make their own performance based on their own “dance/not dance” and “movement/choreography.” I will not be giving any direction concerning choreography. My role will be to direct the structure by which the dances created by each individual dancer coexist with each other. I hope that it will be a place that the participating dancers as well as the audience will be able to rethink, investigate, and develop their perspective on dance.

Contact Information

Offsite Dance Project
10-1-202 Ikebukuro, Naka-ku, Yokohama, Japan 231-0834

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