- Joined
- Mar 1, 2014
3 group photos from rehearsals from Yuma's ig account:
Kassouya ads all over Kamiya-chō-higashi station in Hiroshima:
Gendai media published another interview including comments by Dai and Yuma Suzuki and a few photos from the ongoing rehearsals:
Here is a partial machine translation of the parts referring to Yuma and her approach to creating the choreographies for the show (the rest of the article deals with topics already touched upon in previous interviews):
Kassouya ads all over Kamiya-chō-higashi station in Hiroshima:
Gendai media published another interview including comments by Dai and Yuma Suzuki and a few photos from the ongoing rehearsals:
Here is a partial machine translation of the parts referring to Yuma and her approach to creating the choreographies for the show (the rest of the article deals with topics already touched upon in previous interviews):
Yuma: "At first, we didn't know what position we were aiming for in the world of ice shows with what we were creating when Daisuke asked me to do it, and we didn't have much time to rehearse, so we were running like crazy. However, after the performance, we went to various shows together and realized that we had created something very unique/specific. I have had a different career path from skating, and it is a great pleasure for me to have been able to create a rare place called ‘Kassouya’ with Daisuke.
Of the various dances I have done, I feel that contemporary dance in particular has a high affinity with skating. Also, the dark worldview that Daisuke-san seeks has something in common with the worldview I have been creating in my plays. Skating does not have a front on the stage, but I have also performed in, for example, a wrestling ring, where we could be seen from all sides by the audience. I have also worked as an assistant to my teacher, Mayumi Natsu, and taught Morning Musume [a J-pop girlgroup]. I think my experience of teaching dance to Morning Musume as an assistant to Mayumi Natsu, has helped me in choreographing formations and teaching young skaters who are trying to dance seriously for the first time in Kassouya."
Yuma Suzuki is a choreographer/dancer from the Shiki Theatre Company (previously) and Ongakuza, and the head of Tokyo Panorama Theatre, which provides entertainment through dance and theatre.
[...]
Yuma Suzuki, who started skating after the last Kassouya performances, has improved considerably, and at this year's joint practice she was on the ice with the group, moving and giving instructions. Takahashi is also surprised at her progress.
Daisuke: "She started practising skating in secret, and was getting really good when we found out about it. Last year, she used to give us instructions from the rink side with a microphone from the platform, but this year she is on the ice with us, so it's easier to consult with her and communication has become so much easier. Last year, when we put the choreography on the ice, it was difficult for both of us to understand why it couldn't be done on skates, so it's great that she understands skating techniques now. But there is a part of me that doesn't want her to come to our side too much (laughs). It's fresh and interesting to have a floor dancer choreograph the show..."
Yuma Suzuki, who may have given many insights to the skaters, also received various stimuli from them. Yuma says.
Yuma: "I was shy at first, so I started learning to skate secretly, but now I'm really into it (laughs). I only had a good eye for skating through practice at Kassouya, so when I actually tried it, I realised how difficult it was and I gained a newfound respect for skaters. On the contrary, it was because I didn't know about it before that I was able to say difficult things to everyone and be reckless.
I originally started skating because I wanted to understand skating, or rather, because my choreography had movements that couldn't be done on skates, and I wanted to know what it felt like to skate. And I wanted to know what kind of scenery and sensations skaters were feeling, and I wanted to know their view of the world and their sense of speed, even if it was just a part of it. When I actually did it, I realised that this is what Daisuke was talking about. With that realisation, I think I will be able to improve the choreography and add more ideas about what we can do now that I've done it myself, for the return performance in Hiroshima."
Takahashi-san once said, "For the ensemble skaters, it's a very valuable experience to be taught Yuma-san's narrative expression." In fact, how did Yuma-san treat the skaters in Kassouya and with what awareness did she teach them the choreography?
Yuma: "When I go out in front of people to play a role in a play, I have a clear idea of who I am, why I'm here and what I'm trying to say. I live the life of the role. I think this is the same for skaters when they perform a few minutes of their own program. So I thought it might be something that could be passed on to them, so I threw them a narrative expression. Inwardly I was nervous about how they would take it.
Then they started to get into the role more than I expected. That was very impressive. Of course, they were a bit confused at first, but by giving them specific hints, they changed. Oh, does she have this kind of expression? Was he this cool? I was so impressed that even Daisuke rediscovered himself, as did I. Originally, even in my own theatre company's performances, I would come up with choreography that minimised the dancers‘ and actors’ lines and used physical expression to communicate to the viewers. I found out when I did it myself that skating is more sensual than dance, as if you can get into the unconscious just by the movement of skating quickly. So I think that skaters' physical expression can be conveyed in a much richer way."
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of Kazuki Kushida in the "explosion".
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While everyone gets their moments to stand out, this is first and foremost a 75 minute long high-energy ensemble piece, in which everyone is equally important regardless of competitive results and name recognition.
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Hopefully there are more performances to follow in other locations!
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️. Thanks to Haruna and Rina from the choreography team for your hard work.
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