TPAMiYサマーセッション2011開催/TPAMiY Summer Session 2011

The disaster caused by the Great East Japan Earthquake on March 11, 2011 and the accident of the nuclear plant drastically changed our environment. Contradictions of the contemporary society that had already existed have become explicitly visible, and performing arts professionals need information and ideas more than ever to survive. To discuss “post 3/11,” which can also be said to be the times of networking, we hold “TPAMiY Summer Session” in August as a project in association with Performing Arts Meeting in Yokohama (TPAM in Yokohama / TPAMiY) that was held in February 2011.

Dates: August 5 (Fri) – 7 (Sun), 2011
Venue: Yokohama Creativecity Center 3F
Admission: 3-Day Ticket ¥1,000 / 1-Day Ticket ¥500 (Reservation required)
Organized by: PARC – Japan Center, Pacific Basin Arts Communication
Supported by: Yokohama Mother Port Area Rejuvenation Project
Endorsed by: City of Yokohama Culture and Tourism Bureau
Yokohama Triennale 2011 Tie-Up Program
Related event (Reservation required): Circumstance “as if it were the last time (a subtlemob)”

*In Japanese, without simultaneous interpretation. It might be possible to have a non-professional volunteer English interpreter whisper next to you upon request. Please ask us in advance.
*Some of the sessions will be broadcast on YouTube with English subtitles.

2011年3月11日に発生した東日本大地震による震災と原子力発電所の事故によって私たちを取り巻く環境は一変しました。すでに抱えていた現代社会の矛盾が顕在化するなか、舞台芸術の現場で働く私たちが今後を生き抜くための情報やアイディアを共有しつつ、ネットワークの時代とも言える「3・11以降」を議論するため、2011年2月に実施した「国際舞台芸術ミーティング in 横浜」(TPAMiY)の関連事業として、この8月にTPAMiY Summer Sessionを開催します。

参加費:3日券 1,000円/1日券 500円(要予約・定員制)
主催・企画・制作:PARC – 国際舞台芸術交流センター

August 5 (Fri)

16:00 – 18:00
Session 1
“What Intermediary Organizations Have Been Doing since the Great East Japan Earthquake”

Moderator: Yuhei Sakata (Arts Vision Network 311)
Participants (planned): Yasuko Ogiwara (Association for Corporate Support of the Arts), Sadayuki Higuchi (Arts NPO Link), Bunji Yokomichi (The Japan Foundation) and others

Private organizations and Public institutions have been working on various activities for the reconstruction of the stricken areas. This session is for learning about the current activities and discussing future plans with Yuhei Sakata from an intermediary organization that has launched a program for supporting reconstruction in the field of the arts as the moderator.

19:00 – 21:00
Session 2
“I Think What I’m Doing is Theatre”

Speaker: Kyohei Sakaguchi (Writer / Artist), Ryuta Ushiro (Chim↑Pom)

A talk by Kyohei Sakaguchi, a writer / artist who has published such books as TOKYO Zero-Yen House Zero-Yen Life and Urban Hunting Life Starting from Zero. His works had already been with cautious points of view on the society before the earthquake, and right after the earthquake, he opened “ZERO CENTER” as a guidance bureau for earthquake refugees. This session introduces his out-frame “art” that he sees as “theatre.”

Chim↑Pom’s exhibition REAL TIMES in response to the accident of the nuclear plant, which can be said to be in-frame in contrast to Kyohei Sakaguchi’s activity, also drew a lot of attention. Both of them immediately responded to the unprecedented accident as artists. Having Ryuta Ushro as another speaker in this session, we discuss how people who engage in art and expression can respond to the unprecedented situation.

August 6 (Sat)

13:00 – 15:00
Session 3
“On the Technical Aspects of Performing Arts”

Speakers: Takayuki Fujimoto (Independent Director / Lighting Designer), Mahito Horiuchi (Technical Director, KAAT Kanagawa Arts Theatre), Yutaka Endo (Luftzug)

Technical staff studies and examines possible forms of creativity in performing arts in the society with potential “rolling blackouts” and possibility of electricity shortage especially in this summer and discusses future directions.

15:30 – 17:30
Session 4
“Demonstration as Expression”

Speakers: Akio Miyazawa (Playwright / Director / Novelist), Itaru Mita (Critic)
Moderator: Keisuke Sakurai (Musician / Dance Critic / Organizer, Azumabashi Dance Xing)

Demonstrations for society without nuclear plants have been going on across Japan, and especially “Sound Demo,” which established a very different style from traditional demonstration, has been gathering a large number of people transcending ideological differences. This session is an attempt to discuss demonstration as an expressive form.

Comment from the moderator Keisuke Sakurai
After the earthquake and nuclear plant accident, everyone is talking about things like “What art can do now” everywhere. I tried to ask this question to myself, and wanted to answer like, “Well, no! That’s impossible!! I think the best thing to do is to volunteer as an individual irrelevantly to art,” but what I have done in public in these three months are just screaming and dancing in “No nukes” demonstrations. However, those things were very important to me, and I think it’s possible to call it “expression.”
I also wondered if it’s possible to think of the form for demanding and self-expression called “demonstration” in the same way we think of media / expression tools such as music, fine art or theatre. For example, I found something new that was not in the traditional demonstration in “Sound Demo” and thought that it was worth considering as a question of “expression.”
I met Miyazawa-san and Mita-san in demonstrations and walked together. I remember that Mita-san was a leading figure of “Sound Demo” against the war on Iraq. Miyazawa-san was the most active twitterer about the nuclear plant accident and demonstrations on my TL.
That’s why I want to hear from them.

August 7 (Sun)

11:00 – 13:00
Session 5
Discussion: “Network that Performing Arts Presenters Need”

Coordination: Nevula Extra Support; Japan Center, Pacific Basin Arts Communication

Globally in the global economic crisis and domestically in the situation where establishment of a bill called “Theater Law” and an arts council has been discussed, networks on an individual level are being formed in Japan to make activities sustainable, to share information and intellectual property or to advocate. The fact that the responses to the earthquake disaster of Japanese performing arts professionals were split up made us aware of the necessity of new networking that should enable us to withstand an overall crisis. This session invites people who are leading networks of performing arts to discuss necessity and objectives of networking and establishment of a networking organization that should connect us internationally.

15:00 – 17:00
Session 6
“What is an ‘Accident’ of a Nuclear Plant?”

Speakers: Masashi Goto (Part-Time Instructor, Shibaura Institute of Technology, etc. / Doctor of Engineering), Hidenaga Otori (Theatre Critic)
Moderator: Hiromi Maruoka (Japan Center, Pacific Basin Arts Communication)

Since “3/11,” the accident of the Fukushima Daiichi Nuclear Power Plant of the Tokyo Electric Power Company (TEPCO) has been tearing Japan apart. We invite the ex-designer of nuclear reactor containment vessel Masashi Goto, who has been analyzing the still ongoing accident on the Ustream channel of Citizens’ Nuclear Information Center, and the theatre critic Hidenaga Otori, who studied control engineering at Tokyo Institute of Technology and has been questioning the announcements and reports by the government and TEPCO and the attitude of media with a “diagonal gaze” involving cultural and theatre critique, to discuss the fundamental problems of the “accident.”

Related Event
Circumstance “as if it were the last time (a subtlemob)”
*Visit this website for details and reservation

Date: August 6 (Sat), somewhere in Yokohama City
Addmission: Free
Organized by: British Council, Steep Slope Studio, ST Spot
Co-organized by: City of Yokohama
Yokohama Triennale 2011 Tie-Up Program

How to make reservation

Email the following information to us:
1) Name
2) Organization
3) Phone number
4) Email address
5) 3-day ticket or 1-day ticket (specify the date for 1-day ticket)
And pay at the door.

*1-day ticket (¥500) cannot be appropriated to other days than the specified day.
*3-day ticket (¥1,000) availability is limited (50 sets).
*The capacity of this event is 150 per session. We cannot accept reservation if the capacity is filled.
*We do not offer professional simultaneous interpretation in this event, but it might be possible to have a volunteer English interpreter whisper next to you. Please ask us in advance.8月5日(金)


モデレーター:坂田雄平(Arts Vision Network 311 事務局長)
参加予定:荻原康子(企業メセナ協議会事務局次長/プログラム・ディレクター)、樋口貞幸(NPO法人アートNPOリンク事務局長)、横道文司(国際交流基金 文化事業部 舞台芸術チーム長)他



スピーカー:坂口恭平(作家/アーティスト)、卯城竜太(Chim↑Pom [チン↑ポム])

『TOKYO 0円ハウス 0円生活』『ゼロから始める都市型狩猟採集生活』などの著者であり、作家/アーティストの坂口恭平氏によるトーク。地震前から社会に対する危機意識を持って芸術活動を展開。震災直後に、熊本県に被災者避難相談所として「ZERO CENTER」を開設、「新政府」を立ち上げる。アウトフレームで行なうその「芸術」はすなわち「演劇」だという、その「作品」の全貌を紹介します。

原発事故を受けて発表したChim↑Pomの「REAL TIMES」展。アウトフレームで作品展開している坂口氏に対していわばインフレームで発表されていた本催事も多くの話題を呼びました。両者の共通点は未曾有の事故に対して即時に表現者として応答したことです。本セッションに卯城氏を迎え、この未曾有の事態に私たちが表現に関わるものとしてどう応答可能なのかを探ります。

ss2011_kyoheisakaguchi坂口恭平:1978年、熊本県生まれ。早稲田大学理工学部建築学科卒業。在学中より、「生きていくための建築」とは程遠い現代建築に疑問を持ち、「生きるため」の建築、空間を模索し活動。震災後、熊本県に被災者避難と新しい暮らしを目的とした「ZERO CENTER」を開設。著書に『TOKYO 0円ハウス0円生活』、『ゼロから始める都市型狩猟採集生活』など。

ss2011_chimpomChim↑Pom [チン↑ポム]:2005年、エリイ、卯城竜太、林靖高、水野俊紀、岡田将孝、稲岡求で結成したアート集団。2006年に開催された初個展『スーパー☆ラット』で注目を集める。現代社会に全力で介入した作品を数多く発表し、第29回サンパウロ・ビエンナーレへの参加や、2010年に開催された「アジア・アート・アワード」で日本代表に選ばれるなど、海外からの注目度も高い。2008年10月、広島市内上空にChim↑Pom が「ピカッ」の3文字を描いた騒動を検証した書籍『なぜ広島の空をピカッとさせてはいけないのか』を2009年3月に刊行。また2010年に初の作品集『Chim↑Pom』が刊行された(河出書房新社)。












ss2011_itarumita三田格:61年、LA生。最近の共著に『ゼロ年代の音楽 ビッチフォーク編』『すばらしいフィッシュマンズの本』、最近の編書に『DOMMUNE公式ガイドブック』『ゲゲゲの娘、レレレの娘、らららの娘』『アンビエントミュージック:1969-2009』『生卵』、最近のライナーノーツにプライマル・スクリーム『スクリーマデリカ ボックス・セット』DJヘル『カミング・ホーム』、最近のCD制作にホワイ・シープ?『エンパシー』『赤塚不二夫トリビュート・アルバム 41歳の春だから』など。レギュラーはエレキング「チクチクビー、チクチクビー」、朝日新聞「FOR YOUR COLLECTION」、 ヴィンセントラジオ「夢見るアメリカン・エアーワイフ」など。


 震災・原発事故の後、あちこちで「今、アートに何が出来るか」みたいな話がされてる。これを、自分のこととして考えてみたところ、「んーーーん、ダメ! 無理!! 表現者としてとかじゃなく1個人として普通にボランティアするのがいちばん正しいような気がする」と答えを出しかかったが、でも、この3ヶ月、自分が人前で行為したのって原発やめろ!のデモ行って叫んだり踊ったりしたことぐらいだけど、それが自分にとってすごく大事なことだったわけで、それをまあ<表現>と言ってもいいような気もするのだった。
 そして、人々が意志表示=示威行為するための空間としての「デモ」という形式を、音楽や美術や演劇といったメディア=表現ツールと同じように考えてみるとどうだろうか、とも思った。そのなかでも例えば「サウンドデモ」というスタイルには従来のデモにはなかった新たな可能性が感じられ、そうしたことも言わば <表現>の問題として考えるに値すると思われた。








ss2011_masashigoto後藤政志:芝浦工業大学、早稲田大学-東京都市大学大学院共同原子力専攻、國學院大学非常勤講師。工学博士。設計工学、構造設計、産業技術論。元船舶・海洋構造物設計技師。論文『海洋構造物の事故と安全性』(金属学論文)、『21世紀の全技術』他。 柴田宏行(ペンネーム)元プラント設計技術者。原子力技術批判。共著『老朽化する原発』(原発老朽化問題研究会)。池田論(ペンネーム)事故論、産業技術史。元民間企業の技術者。共著『転換期の技術者たち―企業内からの提言』(勁草書房)。

ss2011_hidenagaotori鴻英良:1948年生まれ。2002~2004年まで国際演劇祭ラオコオン(カンプナーゲル、ハンブルグ)の芸術監督も務める。著書に『二十世紀劇場 ― 歴史としての芸術と世界』(朝日新聞社)、『野田秀樹 ― 赤鬼の挑戦』(青土社、野田秀樹との共著)、訳書にタデウシュ・カントール『芸術家よ、くたばれ!』(作品社)、タルコフスキー『映像のポエジア ― 刻印された時間』(キネマ旬報社)、『イリヤ・カバコフ自伝』(みすず書房)など。

Circumstance “as if it were the last time (a subtlemob)”



日時:8月6日(土)18:30- 横浜市内某所