渡辺瑞帆

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渡辺瑞帆

セノグラファー・建築家。あらゆる設計行為を通して場を劇化させることを志向している。合同会社ガラージュ代表/劇団青年団演出部/豊岡演劇祭コーディネーター/一般社団法人豊岡アートアクション理事。

https://garagearchitects.com/

プロジェクト

日本の舞台空間の起源は道だという説がある。歌舞伎が生まれたのは河川敷だった。そして、日本には広場がない(そう名付けられた場所は数あれど)。今、表現ができる共有空間はどこにあるのだろうか。どんなオープンな場所にもふ少なからず使用には条件があり、人が集まる場所であるほど厳しくなる。使用者への期待と規制は表裏一体だ。

今回、森美術館という場所にインストールされた『道』を足がかりに、表現者が使い倒せる場所を刹那にでも作ることができないだろうか。その中で、私は地方で舞台芸術に関わる一運営者として、土地や人とのご縁と地続きに、街なかで行われる大道芸や、演劇やダンスの稽古やパフォーマンスを呼び込んでいきたいと考えている。

 

 

Mizuho Watanabe

Mizuho Watanabe is a scenographer and architect. She aspires to transform sites into theatrical space through all sorts of design activity. She is the representative of Garage LLC, a member of the directorial department of the theatrical group Seinendan, coordinator of the Toyooka Theater Festival, and director of the Toyooka Art Action (a general incorporated association).

Project

Some think that the origins of performing arts space in Japan lie in roads. Kabuki theater was born on dry river beds. It may also be noted that Japanese cities do not have plazas or squares (although these nouns are attached to the names of many places).

These days, where are the open spaces that can be used for expression and practice of techniques while in contact with others? Not a few conditions are attached to the use of any open space, and they become even stricter in the case of places where people gather. Regulations always accompany anticipations for the users of such space.

As a manager involved in performing arts outside big cities, I would like to really enjoy myself with others who will play with us as we skillfully ride the vehicle of Mori Art Museum down the road set up by the Michi Project. For starters, I think we may be able to get acts by street performers as well as drama and dance practices and performances to take place along the road. From there, I hope to reach an agreement with the museum to turn it into a place we can make full use of.