work
It is something like a garden 70minutes. 2011 premiere at Itami Ai Hall.
Old disused objects keep coming out from the floor. There is a sender who is telling information about objects through gestures and words, and a receiver who is assisting the sender’s attempt. They share an episode for each object. Their reproduced conversations are incomplete, as if they are fairies that have come to the earth for their first time. An arrow is programmed from the sender to the receiver. They create a network among each other by connecting from an object to another object. It is a thick communication unfolded by using unnecessary, thrown away objects.
Old disused objects keep coming out from the floor. There is a sender who is telling information about objects through gestures and words, and a receiver who is assisting the sender’s attempt. They share an episode for each object. Their reproduced conversations are incomplete, as if they are fairies that have come to the earth for their first time. An arrow is programmed from the sender to the receiver. They create a network among each other by connecting from an object to another object. It is a thick communication unfolded by using unnecessary, thrown away objects.
It is something like a garden
Daikouzui 2010 premiere at ST Spot Yokohama.
Fifteen video monitors are hanged from the ceiling above the audience. The image of the surface of water verges into texture of soil and wall. The conversation between the choreographer and a hill myna, and a voice of a radio DJ coming from those monitors. The audience makes their own links between the fragmented images from above and the dance like a gestural conversation between people who are verbally un-communicable. 3 dancers. 60 minutes.
Fifteen video monitors are hanged from the ceiling above the audience. The image of the surface of water verges into texture of soil and wall. The conversation between the choreographer and a hill myna, and a voice of a radio DJ coming from those monitors. The audience makes their own links between the fragmented images from above and the dance like a gestural conversation between people who are verbally un-communicable. 3 dancers. 60 minutes.
Daikouzui
Yokohama Stay 30minutes. 2002 premiere at ST Spot Yokohama.
A lonely resident project asked by no one. Writing “Dance” in a weekly apartment in Yokohama, he doesn’t know how to create a dance piece, but time is just ticking away. About a daily life and a fantasy of a man on the edge of a cliff. 1 dancer and 1 MC.
A lonely resident project asked by no one. Writing “Dance” in a weekly apartment in Yokohama, he doesn’t know how to create a dance piece, but time is just ticking away. About a daily life and a fantasy of a man on the edge of a cliff. 1 dancer and 1 MC.
Yokohama Stay
It is written there 90 minutes. 2002 premiere at Itami Ai Hall.
The audience are given hundred-page books, and turn over the pages with a countdown. Texts, pictures, and interviews in the book are translated choreography that synchronize the dance on the stage, so that this piece is a collaboration between the book and the dance. 4 dancers and 1 host.
The audience are given hundred-page books, and turn over the pages with a countdown. Texts, pictures, and interviews in the book are translated choreography that synchronize the dance on the stage, so that this piece is a collaboration between the book and the dance. 4 dancers and 1 host.
It is written there
Animal Theater 60 minutes. 2007 premier at Kyoto Art Center.
Yamashita choreographs to "Music of Zoorasia", a video work in that Makoto Nomura, a composer, improvises the music with various animals. Yamashita questions what a principle is crucial when the performing arts hang between completion and collapse. An attempt to set the performers free and restricted as if animals in a spectacle. 1 pianist, 1 accordionist, 3 dancers.
Yamashita choreographs to "Music of Zoorasia", a video work in that Makoto Nomura, a composer, improvises the music with various animals. Yamashita questions what a principle is crucial when the performing arts hang between completion and collapse. An attempt to set the performers free and restricted as if animals in a spectacle. 1 pianist, 1 accordionist, 3 dancers.
Animal Theater
The Sailors 60 minutes. 2005 premiere at Yokohama BankART NYK Hall.
It is performed on a big raft on the stage, that can be rocked and turned under the weight of dancers on it. As well as to build up an own choreographic method, Yamashita tries to retrieve human nature. A challenge to create a dance in an unstable setting, premised on impossibility to reproduce and repeat it. The experiments about choreographing freedom and restriction in this piece leads to his next one, "Animal Theater". 4 dancers.
It is performed on a big raft on the stage, that can be rocked and turned under the weight of dancers on it. As well as to build up an own choreographic method, Yamashita tries to retrieve human nature. A challenge to create a dance in an unstable setting, premised on impossibility to reproduce and repeat it. The experiments about choreographing freedom and restriction in this piece leads to his next one, "Animal Theater". 4 dancers.
The Sailors
Invisible man 60 minutes. 2003 premiere at Itami Ai Hall.
A man standing in front of the microphone is describing every movements of the dancers. The spoken text may be about dancers' movements or arbitrary delusion of him. The dynamics between words and body changing their distance takes the audience to another dimension. 7 dancers and 1 host.
A man standing in front of the microphone is describing every movements of the dancers. The spoken text may be about dancers' movements or arbitrary delusion of him. The dynamics between words and body changing their distance takes the audience to another dimension. 7 dancers and 1 host.
Invisible man
Shibibibi 15 minutes. 2002 premiere at Higashiyama Dance Festival.
A duet with Emi Naya. From the experiment with contact improvisation, Yamashita and Naya try to find movements that interest them and to compose a choreography with those movements.
A duet with Emi Naya. From the experiment with contact improvisation, Yamashita and Naya try to find movements that interest them and to compose a choreography with those movements.
Shibibibi
It is just me coughing 50 minutes. 2004 premiere at studio 21 in kyoto university of art and design.
An approach to write a dance. The script to the performance is composed of symbols and phrases instructing "inhale/exhale" and other actions of the dancer, including quotations from freestyle Haiku by Hosai Ozaki. It is screened on the back wall like a subtitle, while the dancer perform his tasks with his body entirely relaxed but keeping the designated breath.
An approach to write a dance. The script to the performance is composed of symbols and phrases instructing "inhale/exhale" and other actions of the dancer, including quotations from freestyle Haiku by Hosai Ozaki. It is screened on the back wall like a subtitle, while the dancer perform his tasks with his body entirely relaxed but keeping the designated breath.
It is just me coughing
Sound in the air 70 minutes. 1999 premiere at Space Isan Tofukuji.
Scene Ⅰ: A dance like candle flame performed to "the Pathetic Symphony" composed by Tchaikovsky played with toy instruments. Scene Ⅱ: Danced and sung with different guests. Scene Ⅲ: A dance in cloudlike and niveous costumes, choreographed to the sample from the daily environment.
Scene Ⅰ: A dance like candle flame performed to "the Pathetic Symphony" composed by Tchaikovsky played with toy instruments. Scene Ⅱ: Danced and sung with different guests. Scene Ⅲ: A dance in cloudlike and niveous costumes, choreographed to the sample from the daily environment.
Sound in the air
The poetry reading 90 minutes. 1994 premiere at Gallery Maronie Kyoto.
While each performer reads his favorite book in turn, incidents in the space including subtle movements of the performers are picked up and choreographed simultaneously. In this piece, his first creation, Yamashita installed bookshelves full of books on the entire wall of a gallery and prepared costumes for the audience.
While each performer reads his favorite book in turn, incidents in the space including subtle movements of the performers are picked up and choreographed simultaneously. In this piece, his first creation, Yamashita installed bookshelves full of books on the entire wall of a gallery and prepared costumes for the audience.
The poetry reading
workshop
Copyu 60 minutes. 2005 a piece created with workshop participants for the coaching project at Kyoto Art Center.
An attempt to balance creating the effective ensemble with making the best of characteristics of the performers. Even synchronized movements as well as random ones create some moments that slip out of the synchronization, as 12 performers dance focusing on their breath to synchronize with that of each other. The coherence of that kind of moments create a controlled chaos.
An attempt to balance creating the effective ensemble with making the best of characteristics of the performers. Even synchronized movements as well as random ones create some moments that slip out of the synchronization, as 12 performers dance focusing on their breath to synchronize with that of each other. The coherence of that kind of moments create a controlled chaos.
Copyu
A word in the ear 80 minutes. 2003.
After a two-month workshop about "making dance", each of 13 participants with different background devises his own method to create a dance, which are developed to the whole piece. The result is both theatrical and performative and questions what dance can be.
After a two-month workshop about "making dance", each of 13 participants with different background devises his own method to create a dance, which are developed to the whole piece. The result is both theatrical and performative and questions what dance can be.
A word in the ear
