舞台作品の場合、初演後の再演を実現させるためのハードルはかなり高い。映画は編集が一旦終わると、DVDさえあれば物理的にはどこの国でもいつでも上映可能だ。そして観るほうも気軽。欧米では多くのダンス映画専門のフェスティバルが存在する。日本では唯一Dance and Media JAPANが、先駆者としてダンス映画祭を継続して開催してきているが、まだまだ欧米に比べダンス映画を観る人も、つくろうとする人も少ない。






プログラム・ディレクター 水野立子

For the project AIR, this was the first undertaking of dance film production in Matsuyama.

In the case of a staged piece, it is quite a challenge to realize a second performance after the first one. For a film, once the editing has reached a stopping point it can be shown anytime and in any country as long as there is a physical DVD. It is also easy for the viewer. In Europe and America there are many festivals for dance films. In Japan, Dance and Media Japan is the sole forerunner continuing to hold its dance film festival, but there are still fewer dance films and fewer people who think to make them in comparison with Europe and America.


A dance film is neither a film recording of the dance nor is it a documentary. Once the abstract dance has been directed for film and a story is added into that, the way of watching this thing called dance completely changes. However, dance films have a wide range and a plurality of expression methods. These include films that establish dance at their center, that emphasize the story, that place weight on the film direction, and that place emphasis on the location. Unlike the stage, it has the strong point of being able to completely create the space, place, and time. One similarity is that, like a theatrical piece there is not necessarily one correct answer, and the audience have the freedom to enjoy it with their own imaginative interpretation.


In this next stage, the proposed piece by Nathan and Max, which was selected from general submissions in Australia after it broke away from its competing applications, is a dance film made with Natsumi Soseki’s novel Botchan as depicted as a modern dark comedy. Dancers who are from or who are active in Matsuyama are participating in this piece like going on the warpath. They have to perform not only dance but also roles with a lot of spoken lines. Beginning with the selection of the filming locations and until the scheduling, there is no end to the cross-cultural battle between Australia and Japan. How can we transcend the barriers that emerge in the mixing of dance, acting, and filming? Together with the voice calling “Action! Rolling!” that one moment is burned into film. I want this first dance film in Matsuyama to cross over and into the world with its empathy and stimulus.

20 Sep 2017
Ritsuko Mizuno/Program Director