Sakasama - reverse world
Improvisation Land 21.5
Yumi Umiumare + HK Dance - Daniel Yeung Music - Edmund Leung As part of th I-Dance(Hong Kong) 2009 festival in Hong Kong, Yumi is performed a solo work Sakasama: the reverse world. The two worlds of Life and Death are described as two shores; one is ethe near shoref (the world of the living), and the other is 'ethe far shore' (the world of after-death). A river flows between them. 'The far shore' is a reversed world: it is the reverse of the world of the living and everything is upside down. Umiumare explores the juxtaposition of her presence in Australia, experimenting with the neutrality of emotion and color, and to manipulate rhythms. 5th Dec 2009 : Programme 5 03.12 (Thu) Black Box Theatre, Jockey Club Creative Arts Centre, Honk Kong I-Dance (Hong Kong) 2009
Burning Daylight with Marrugeku
Broome 29 -31 October : Goolarri Outdoor Venue Perth 4-7 November : Perth Institute of Contemporary Arts Sydney 12-15 November : Performance Space Melbourne 19-22 November : Arts House Hobart 26-28 November : Salamanca Arts Centre
Creative Team: Director: Rachael Swain, Choreographers: Serge Aime Coulibaly & Dalisa Pigram, Designer: Joey Ruigrok van der Werven, Cinematographer: Warwick Thornton, Dramaturg: David Pledger, Costume Designer: Stephen Curtis, Lighting Designer: Geoff Cobham, Musical Director: Matthew Fargher, songs by : Amanda Brown Performers: Trevor Jamieson, Dalisa Pigram, Kathy Cogill, Owen Maher, Sermsah Bin Saad, Antonia Djiagween & Yumi Umiumare Musicians: Dazastah, Lorrae Coffin & Justin Gray
エントランス ENTRANCE
うみうまれのソロダンス代表作。２００９年にメルボルン、モルトハウス劇場でプレミア公演、以後アデレード、キャンベラ、シドニー、クイーンズランドで公演ツアーをした。舞踏、キャバレエ、トランスダンスにコンテンポラリーダンスという４つの影響されたアートフォームをもとに集大成されたマルチメディアとダンスの融合した作品。
うみうまれのソロダンス代表作。２００９年にメルボルン、モルトハウス劇場でプレミア公演、以後アデレード、キャンベラ、シドニー、クイーンズランドで公演ツアーをした。舞踏、キャバレエ、トランスダンスにコンテンポラリーダンスという４つの影響されたアートフォームをもとに集大成されたマルチメディアとダンスの融合した作品となっている。メルボルン在住日本人ヴィジュアルアーティスト、太田奈穂美の繊細な舞台美術に、シドニー在住インドネシアンアーティスト、バンバン・ヌチャヤディのハイテク映像が加わり 視覚的にも色彩豊かな作品で、新聞批評、雑誌などで好評を得た。
批評抜粋
“舞踏と演劇が摩訶不思議に出くわしたような作品だ。（中略）エントランスは非常に魅力的な夢の物語が、音楽、セリフ、視覚的イメージや動きの素晴らしい融合によって、素晴らしく解きほぐされて行くようだ。” The Age 新聞
“エントランスは私たちのハート,ボディと心を開いてくれ、人間の本質的なスピリットを変容してくれるかのようだ。” Canberra Times
公演記録
TimePlace
2012年Performance Space シドニー
2011年The Street Theatre キャンベラ
2010年NORPA (Lismore) リズモア クイーンズランド
2009年OzAsia フェスティバル アデレード
プレミア公演、Malthouse Theatre メルボルン
En Trance World Premier Presented by Malthouse Theatre August 28 – September 13
CREATED AND PERFORMED BY YUMI UMIUMARE From her many performances of The Burlesque Hour around the globe, to Acclaimed Butoh Cabaret DasShoku Hora!!, Yumi Umiumare’s electrifying performance style is in demand the world over. In this bold work, premiered and had a sell out season at Malthouse theatre, Umiumare is set to detonate her extraordinary vision from the international to the other-worldy as she thrusts us into the twisted corridors of the un-living. At times brutally visceral, the performance is counterbalanced with the purity of digital painting produced live with her collaborating artists, Bambang Nurcahyadi and Naomi Ota.
EnTrance extends even further Umiumare’s diverse dance vocabulary, plummeting into the cracks where the spirit and the body are propelled into another existence. Umiumare takes us from unsettling moments of physical extremity to magical images of reflective serenity
「バーレスク・アワー」を始め数々の舞台作品で世界中を駆け巡り、活躍を続けているメルボルン在住のパフォーミング・アーティスト、ゆみ・うみうまれによ るソロ作品「ＥｎＴｒａｎｃｅ」。２００９年８月のメルボルン初演ではチケット完売の大盛況を博す。メルボルン在住ヴィジュアル・アーティストの太田奈緒 美によるインスタレーションと、シドニー在住インドネシア人メディア・アーティストBAMBANG NURCAHYADIによるデジタル映像を背景に、うみうまれの舞踏、語り、コメディ、またその独特で不思議な踊りが織り込まれてゆく。
The Burlesque Hour LEGENDS! Presented by Finucane and Smith June 25th – August 2nd MelbourneThe Burlesque Hour LEGENDS! Presented by Finucane and Smith June 25th – August 2nd Melbourne
Every fortnight a new LEGEND. Don’t you miss out.
From London cult cabaret legend Ursula Martinez, star of the Olivier Award winning La Clique, purveyor of the infamous hanky strip; to three time Helpmann and Green Room winner, Australia’s darkest singing angel, Paul Capsis, “in possession of a voice that sounds like an act of God” (Scotsman); to Miss Toni Lamond The Legend of Australian Variety, Order of Australia, Keys to the City of Melbourne, and declared by the Sydney Morning Herald as “The Ultimate Showgirl”, The Burlesque Hour mixes it up with the very very best stars of the stratosphere. Add to that internationally acclaimed Mistress of Grand Guignol Moira Finucane, Japanese electric shock butoh dancer Yumi Umiumare; the elegant iconoclast Maude Davey; smouldering circus siren Azaria Universe; the growing kitten-exploitation legend of wild dancers Kitten K.O and you have BURLESQUE HOUR … LEGENDS
Butoh residential workshop 2008
With Yumi UmiumareButoh Workshop The aim of this workshop on the Dee River, Yarra Valley was to develop body awareness and expression through a response to landscape. The lush landscape in Yarra Valley allows participants to move between bush land, hills, open fields and river, opening up the senses to color, texture, sound and form. Over the weekend, Yumi will introduce various methods of Butoh, Body Awareness and Consciousness of Well-being with various Japanese techniques. Butoh - Originating in Japan out of the turbulent protest culture of the early 1960's, Butoh has a literal translation of BU - dance TOH - stomping. Earlier named Ankoku Butoh (the Dance of Darkness), it is one of the major developments in contemporary dance in the latter half of the twentieth century.
"Butoh belongs to life and death. It is a realization of the distance between a human being and the unknown. It also represents man’s struggle to overcome the distance between himself and the material world. Butoh dancers’ bodies are like a cup filled to overflowing, one which cannot take one more drop of liquid – the body enters a state of perfect balance." USHIO AMAGATSU, Sankaijuku
ディス・オリエンタル DIS-ORIENTAL
ダンス・ソロ小作品。オリエンタル（Oriental)でありながら、方向がわからなくなって混乱する(ディスオリエントーDisorient)ことをタイトルでもじり、自らの移民生活をメタファーに創った作品。 日常品を使って非日常である現実を表現した動きは、コミカルで抽象的
ダンス・ソロ小作品。オリエンタル（Oriental)でありながら、方向がわからなくなって混乱する(ディスオリエントーDisorient)ことをタイトルでもじり、自らの移民生活をメタファーに創った作品。
日常品を使って非日常である現実を表現した動きは、コミカルで抽象的。舞台作品はシドニー、メルボルン、アデレードで公演され、ダンスフィルムとしてはイギリスのチャンネル４との提携で制作された。（２００４−２００７年）
批評抜粋
“舞踏と日本的な伝統を背景に持つうみうまれの信じられないぐらい強烈なソロでは、個人的で家庭的な細かい動きにでも、のすご い意味を持っているかのように客の集中力を引き込んでゆく。（中略）目の前に映るものは、心理的かつ感情的なことを熟考して積み重ねた動きやオブジェクト であり、その確たるものに裏付けられた中での変容ぶりに、私たちは釘付けにされるのである。”
シドニーモーニングヘラルド２００４年
パフォーマンス,映像公演歴
TimePlace
2007年OzAsia フェスティバル （アデレードフェスティバルセンター）
2006 年春のダンスプログラム、 メルボルンダンスハウスにてシーズン公演
2004 年プレミア公演
Once upon time at midnight ある真夜中に
Once Upon a Midnight is a Japanese/Australian rock musical. The script is bilingual, featuring seven Japanese performers and seven Australian performers. It follows the adventures of Kelsey Clarke and the warrior doll Nozomi as they journey to the Underground to liberate the monster world from the mysterious Angelica.
Once Upon a Midnight is a Japanese/Australian rock musical. The script is bilingual, featuring seven Japanese performers and seven Australian performers. It follows the adventures of Kelsey Clarke and the warrior doll Nozomi as they journey to the Underground to liberate the monster world from the mysterious Angelica.
The show was first performed at the Kijimuna Festival in Okinawa, Japan, and later appeared as a headline act at the OzAsia Festival in Adelaide, South Australia. It was a collaboration between the Kijimuna Festival, Flinders University Drama Centre and Adelaide Festival Centre.
Synopsis
Kelsey Clarke is very afraid. She is afraid of germs, she is afraid of traffic…even the toaster makes her feel very afraid.
Deep in the Underground, the monsters are afraid too. Angelica, the Blue Fairy, has flown into their world. No longer will the monsters be allowed to terrify unsuspecting children, no longer can they drink blood and dance the night away.
Powerless to confront Angelica, the Tengu — Lord of the Underground — has no choice but to find the world’s most frightened child and teach her to confront her fear. For timid Kelsey, this means putting on her best cardigan and plunging headlong into the monster kingdom — from murky swamps to haunted Ghost Roads!
With an enchanted doll and a vegetarian vampire to guide her, Kelsey touches her darker side. But is becoming her own nightmare any better than cowering alone under blankets? Can Kelsey summon the courage to find her true self, face her demons and stand against the magical Angelica? Or will the sun rise forever on a future where only the fearful survive?
Production credits
Publicity photo: Yoshiki, Ryan and Tweetles
Director: Catherine Fitzgerald
Choreography: Yumi Umiumare
Assistant Director: Momoko Iwaki
Costume Design: Oka Kazuyo
Dramaturg: Julie Holledge
Set Design: Naomi Steel
Design consultant: Mary Moore
Stills Photographer: Tomoaki Kudaka
Music consultant: Stuart Day
Sword Fight Choreographer: Tuyoshi China
Lighting Designer (Japan): Yoshimi Sakamoto
Lighting Designer (Australia): Fred Schultz
Stage Manager (Australia): Maj Green
Production Manager (Australia): Andrew Bailey
Set Construction (Australia): Glen Finch
Book Translation (to Japanese): Ken Yamamura with Yumi Umiumare Lyrics Translation (to Japanese): Ken Yamamura, Yumi Umiumare, Keiko Yamaguchi, and Mai Kakimoto
Produced by Hisashi Shimoyama, Artistic Director of the Kijimuna Festival, and Professor Julie Holledge, Flinders University Drama Centre.
Dis-oriental
Using everyday objects as metaphors of ‘loss’, while also collecting residential memories defined by a psycho-emotional space, Yumi takes on the notion of ‘oriental’ in the context of moving and living in “foreign” spaces. The work explores the cracks and spaces between disorientation / destruction & attraction / familiarities.
Winner of ReelDance International Dance On Screen Festival (2008)
Using everyday objects as metaphors of ‘loss’, while also collecting residential memories defined by a psycho-emotional space, Yumi takes on the notion of ‘oriental’ in the context of moving and living in “foreign” spaces. The work explores the cracks and spaces between disorientation / destruction & attraction / familiarities.
Inspired by Japanese architect Shigeru Ban’s emergency cardboard tubing house, Yumi explores the notion that a house, usually an object of permanence, could be specifically designed to provide momentary comfort.
Choreographed and Performed by Yumi Umiumare
Sound Design: Cat Hope
Lighting Design: Richard Vabre
Produced by Hirano Production
This work premiered at Performance Space as a part of Rakini Devi’s project, Women in Transit in 2004.
PERFORMANCE HISTORY
2007 SeptemberTheatre, Adelaide Festival Centre, OzAsia Festival
2006 OctoberSpring Dance program at Dancehouse
2004 July as a premier season of Woman in Transit
Film Project
Choreographed and Performed by Yumi Umiumare
Director Sean O'Brien
Writers Sean O'Brien Yumi Umiumare
Sound designer Darrin Verhagen
Producer Beth Frey
Production Company
Australian Broadcasting Corporation Arts Council of England Australia Council for the Arts Channel Four International Circe Films Pty Ltd
REVIEWS
“….Yumi Umiumare does incredibly intense solo in which her Japanese heritage and butoh dance background provide an irresistible focus for small actions on personal or domestic themes that hint at larger concerns……The transformations is riveting, powered by the knowledge that visual is built on layers of psychological and emotional considerations.”
Sydney Morning Herald 2004
Photo by Heidrun Lohr
DasSHOKU Hora!!
DasSHOKU suru is a Japanese term meaning to bleach, to strip off colour. Hora! in Japanese means Look Out! In DasSHOKU Hora!!, the third in the DasSHOKU series, Yumi and the DasSHOKU team strip back the candy-coloured surface of Japanese culture and tickle its hoary underbelly.
DasSHOKU suru is a Japanese term meaning to bleach, to strip off colour. Hora! in Japanese means Look Out! In DasSHOKU Hora!!, the third in the DasSHOKU series, Yumi and the DasSHOKU team strip back the candy-coloured surface of Japanese culture and tickle its hoary underbelly.
Yamamba, an ancient mountain hag who cannibalises those who stray too close, gives birth to twins the scientist and the businessman. Together they exploit a shallow world hooked on instant gratification and collective denial of the dark within.Yamamba mutates into Ganguro girl, the blonde, tanned Japanese icon of Shibuya subculture. At dawn she arises from her nocturnal trance dance to become Muijina, the kimono girl with no face. Then, pretty in pink as Hello Kitty! girl in the enjokosai ‘rescue relationship’ lounge she sells her panties to wrinkled lovers.
Creator / Performer Yumi Umiumare
Co-Creator/Performer Matt Crosby and Ben Roogan
Dramaturg Moira Finucane & Jackie Smith
Set Design Mary Moore
Costume Design ESS HOSHIKA LABORATORY
Sound Design Tatsuyoshi Kawabata
Lighting Design Dori Bicchierai
PERFORMANCE HISTORY
2006 May – June – Season at The Studio @ Sydney Opera House
2006 February – 2005 Green Room nomination
2005 November – World Premiere @ the Tower Theatre, Malthouse, Melbourne
TECHNICAL SPECIFICATIONS
Please click here for technical specification and download the document
REVIEWS
“Wild extremes in fearless performance shock, fascinate”
THE AGE
“It is a bizarre mixture of butoh, grotesquerie and highly physical acting..”
Herald Sun
“.. Frenzied and stimulating, DasSHOKU Hora!! is at times both comic and confronting, but always compelling.”
Melbourne Stage on line
“Watching Umiumare dance butoh is like watching a stainless steel mannequin ram a knife into a toaster.”
Vibewire on line
Online Reviews/Previews
“Butoh’s difficult, non-naturalistic exploration of extremely physical emotionality is put into relief through the inventive and playful ironies of the cabaret tradition, and in the instance of DasSHOKU Hora!, the result is both frightening and energising.”
RealTime 71 February / March 06
“Umiumare is a thrilling and compelling performer”
melbournestage.com.au
“Cultural anthropology with sound production you can feel in your belly and visuals that will never leave you.”
vibewire.net
“Which way reality from here?”
theage.com.au
“a sight for the wicked”
theprogram.net.au
“Crazy crazy nights”
Atmosphere Harmonics for Lone Voice
The Burlesque Hour
From the frenetic house of Finucane & Smith - internationally acclaimed Queen of Cabaret Bizarre Moira Finucane and Patrick White Award winner Jackie Smith - the work that has created an international storm of sell out critical acclaim and won 6 Australian theatre awards for its provocative and astonishing images of gender, sexuality, power and desire.
From the frenetic house of Finucane & Smith – internationally acclaimed Queen of Cabaret Bizarre Moira Finucane and Patrick White Award winner Jackie Smith – the work that has created an international storm of sell out critical acclaim and won 6 Australian theatre awards for its provocative and astonishing images of gender, sexuality, power and desire.
The Burlesque Hour… SIZZLES! With a mind-cracking mixture of the old, the new, the unexpected, in the world’s most astonishing, most sizzling salon of showgirls with very sharp teeth!
Artistic & Performance Directors! Moira Finucane and Jackie Smith
Creators of the Burlesques! Moira Finucane and Jackie Smith
Azaria Universe
Yumi Umiumare
(Kitty’s World and Hebi Onna created in collaboration with Finucane and Smith)
Deluxe Designers! Sensational Set by Adrienne Chisholm
Luxe Lights by Marko Respondeck
Curvaceous and Crazy Costumes by David Anderson
Sonic Seamstress Darrin Verhagen
HOT ON THE HEELS OF A WORLD TOUR, THE SMASH HIT OF FESTIVALS EVERYWHERE RETURNED TO MELBOURNE FOR 4 SIZZLING SUMMER NIGHTS!
More information : http://www.moirafinucane.com/shows.html
Legendary iconoclast Maude Davey with her infamous and fabled strawberry act; Moscow circus trained circus and burlesque star Azaria Universe; Japanese butoh dancer and shock cabaret artiste Yumi Umiumare and guest artiste Clare Bartholomew’s Pierre – Magician and Love Machine!
Creating a frenzy amongst critics and audiences around the world, from Tokyo to Trieste, London to Ljubljana, Edinburgh to Croatia to the Opera House and beyond; The Burlesque Hour mixes vaudeville and variety, circus and sideshow, striptease and cartoon strip, boho and butoh, music hall, monologue and mayhem in a wild ride that hijacks Burlesque, explodes expectations, and delights and disturbs long after the carnival is over.
SELECTED REVIEWS
“Dramatic, original, effective, breathtaking … beyond genre: the cabaret variety set on fire, definitively”
Vecer News, Slovenia
“I thought I would have nightmare after seeing this show but it was a fantastically indecent and breath-taking night!! In this political time, this indecent and crazy event was so perfect to have at the old warehouse in Yokohama, where it was as if “evil place” in a famous action movie popped up for one night only”
Wander Distance Magazine Yokohama
“Intensive and hairsplitting physicality… it opens up a whole new world, a world of the surreal”
Dnevnik News, Slovenia
“Sexually emancipated, hilarious and kerosene fuelled… gender bending, bodice ripping, stereotype trashing, neo-circus cabaret madness”
Metro UK
“Every single artiste is wickedly entertaining, yet hugely different… saucier than your Edinburgh chippy … grotesquely addictive … with more than a tablespoonful of gothic sex appeal…”
Three Weeks UK
“Unmissable…The minds that inspired it are as sexy as the bodies that perform it… comic, erotic, dynamic, acrobatic… The Burlesque Hour is a night to remember and will retain its power to delight and disturb long after the carnival is over”
The Sunday Age
“From the sublime to the subversive, the hot to the hilarious… outrageous and unforgettable”
The Times, London
“… it was a fantastically indecent and breath-taking night!! Big applause!!”
Wander Distance Yokohama, Japan
“Prepare to be shocked and overwhelmed. Expect no less. Experience so much more. The Burlesque Hour is not for the faint-hearted, the queasy or the conservative. But even these types have to appreciate the entertaining spectacle for what it is. It’s difficult not to. These showgirls are polished and prepared to dazzle, from their go-go dancing routines right through to mad moments of nudity. Jaw dropping, feisty, seductive, dynamic. I suggest you grab a drink, sit back and allow yourself to be thrilled. Unmissable.”
Edinburgh Guide 2005
“The Burlesque Hour is a series of set pieces-lip-synching mimes, dances and commando acts- by an unholy trinity of fatale feministas : Moira Finucane, Yumi Umiumare and Azaria Universe.
Umiumare has a crazy sense of humour and an absolute devotion to her distinctive style of Butoh cabaret.”
Chris Boyd – Herald Sun, 19 July 2004
“The Burlesque Hour is succession of delights; short pieces devised and performed with enormous wit, style, intelligence and originality… ”
“…Umiumare is also funny as a schoolgirl stripper shedding multiple pairs of knickers, and starkly impressive, revealing and ascetic black costume beneath a rich kimono…”
Bill Perrett – The Sunday Age,18, July 2004
“Pain and pleasure in the art of the tease”
“The Burlesque Hour …, involves pungent commentary on gender, power, violence and desire.”
“Yumi Umiumare ..takes the pop culture icon Hello Kitty and makes a notion of demonstrating the evil flipside of this cute, demure creature which happens to lack a mouth..”
Thuy On The Australian, 19 July 2004
“Moira Finucane, Azaria Universe and Yumi Umiumare deliver powerful performance, drawing on contemporary popular song from the schmaltzy sob of love-gone-wrong, to hard-core thrash..” “Umiumare always pushes the limit when she perform…her most profound act was a sustained solo cloaked in orientalism, her body concealed then tantalisingly revealed..”
Hilary Crampton – The Age, 19 July 2004
Tokyo DasSHOKU Girl
Tokyo DasSHOKU Girl touches on the shadowy life of Japan which many would never encounter. DasSHOKU (to bleach) strips off the colour of the superficial to reveal the reality behind the happy face of consumerism, bleaching away the commonly held views of Japanese women as kawai, or cute, polite and submissive.
Tokyo DasSHOKU Girl touches on the shadowy life of Japan which many would never encounter. DasSHOKU (to bleach) strips off the colour of the superficial to reveal the reality behind the happy face of consumerism, bleaching away the commonly held views of Japanese women as kawai, or cute, polite and submissive. In Tokyo DasSHOKU Girl Yumi pays homage to the roots of Butoh as an anarchic dangerous and at the same time beautiful dance form.
Choreography and Directed by Yumi Umiunare
Collaboration with Matt Crosby and Ben Rogan
Music Mixed by Tatsuyoshi Kawabata
Costume by Hoshika Oshimi and Yumi Umiumare
Lighting Design/ Operation by Dori Dragon Bicchierai
PERFORMANCE HISTORY
March 2004 – National Multicultural Festival, Canberra
July-August 2003 – Kultour, Fremantle, Adelaide, Tasmania, Lismore (funded by the Australia Council)
May 2001 – Adelaide Cabaret Festival
February 2000 – Gasworks (return Season)
October 1999 – Czech House, Melbourne Fringe Festival
1995 – Melbourne
REVIEW
“….Umiumare’s inventiveness and physical discipline were in evidence in the way she could almost redesign her physique to embody her different characters.”.
THE AGE 1999 (Hilary Crampton)
“….Tokyo DasSHOKU Girl is a tequila slammer – it is a shocking, sprawling, comedic assult of a cabaret. Umiumare and off-siders Ben Rogan and Matt Crosby unearth some of Japan’s most extreme culture, from cults and the vending of school-girls’ panties to karaoke. ….(it) is daring and exceedingly entertaining.”.
THE AGE 2000 (Fiona Scott-Norman)
In-compatibility
In-compatibility is a powerful new dance performance which creates a unique devotional space that is a synthesis of Asian shamanistic trance-dance, Butoh and contemporary western traditions. This pushes the boundaries of Yap and Umiumare's ongoing investigation into the separate but interdependent natures of yin and yang - of moments compatibility and incompatibility.
Melbourne based internationally acclaimed dancers/ choreographers Tony Yap and Yumi Umiumare, are launching their company “-“. and premiere a season of their new work, in-compatibility at this year’s Melbourne Festival 2003.
In-compatibility is a powerful new dance performance which creates a unique devotional space that is a synthesis of Asian shamanistic trance-dance, Butoh and contemporary western traditions. This pushes the boundaries of Yap and Umiumare’s ongoing investigation into the separate but interdependent natures of yin and yang – of moments compatibility and incompatibility.
This arresting new work features an original live musical score composed and performed by this years Green Room awards winners Madeleine Flynn and Tim Humphrey, with a visual realization by acclaimed stage designer Michael Pearce.
Yap and Umiumare bring in three other performers to upset and stretch the boundaries of their well established duo working relationship in ongoing How could you even begin to understand series.
Yap and Umiumare are leading lights in the Butoh dance community, frequently invited to participate in international festivals and conferences. Last year they featured at the Beyond Butoh Program at the JADE Festival in Tokyo, where their performance was greeted with great enthusiasm from critics and audience.
The premiere of this piece will further challenge the dance community’s perception of what is beyond Butoh.
Choreography Yumi Umiumare & Tony Yap
Performers Yumi Umiumare, Tony Yap, Tom Davies, Nic Hempel, Meredith Elton
Composition / Music Tim Humphrey composer/musician & Madeleine Flynn
Set & costume design Michael Pearce
PERFORMANCE TIMELINE
2003 October – Presented by Multicultural Arts Victoria in association with Melbourne International Arts Festival
REVIEWS
“In a stunningly compelling performance, they shift from one meditative state to another, the dynamics changing from quiet composure to frenzied ecstasy”.
THE AGE, MELBOURNE
いのり IN-VISIBLE
１９９６年の阪神大震災後、の鎮魂の踊りとして創作された作品で、宝塚市阪神大震災５周年メモリアル・イベントとメルボルン・ダンスハウス公演（２０００年）、またデンマーク、コペンハーゲン、ポスト舞踏フェスティバルにも招聘された。作品にはアンソニー・ペルケンによるシンプルな舞台美術が効果的に盛り込まれている。
１９９６年の阪神大震災後、の鎮魂の踊りとして創作された作品で、宝塚市阪神大震災５周年メモリアル・イベントとメルボルン・ダンスハウス公演（２０００年）、またデンマーク、コペンハーゲン、ポスト舞踏フェスティバルにも招聘された。作品にはアンソニー・ペルケンによるシンプルな舞台美術が効果的に盛り込まれている。
批評抜粋
“ゆみうみうまれは舞台上で動物になっていたのではなく、まるで不思議に歪んだ人間のようになっていた。キット・ジョンソンと同様（同じ日に踊ったデンマークのダンサー）彼女達はその究極の肉体を消し去り、それを舞踏パワーに変容してゆくことのできる力がある。いや、もしくは地面ですら消し去る力かもしれない。” （コペンハーゲン インフォメーションマガジン）
パフォーマンス,映像公演歴
TimePlace
2003年Traces ポスト舞踏フェスティバル、コペンハーゲン、デンマークに招聘されソロ公演
2000年メルボルンダンスハウスにてシーズン公演
DasSHOKU Cultivation!!
Dancing between two contrasting cultures (Osaka and Melbourne), Umiumare tactically manipulated two languages and smoothly proceeded with the whole show. The balance of the contexts and the sense of timing in each scene change was incredible.
Performers
Performers (from Australia)
Matt Crosby
Yumi Umiumare
(from Japan – Theatre GUMBO)
Kayo Tamura Kenichi Mabuchi Yuko Nishimura Seiichi Oda
In Collaboration with Theatre Gumbo & Matt Crosby Osaka, Japan (Arts Victoria Cultural Exchange program)
DasSHOKU Cultivation!!
PERFORMANCE HISTORY
2003 July Sun Hall Osaka
Reviews
脱・ＳＨＯＫＵ・色 カルチベーション！！
批評
Umiumare は、この相対する地域文化の間で身を翻しつつ、ふたつの言語を操りながら巧みに作品を進行していった。諸要素のバランスと場面を切り替えるタイミング、観客を作品世界に巻き込む戦略はすばらしく、客席も大いに盛り上がった。
…. 脱色」プロジェクトは、 Yumi Umiumare の活動と移動にともない改訂されていくだろう。その改訂版の一つが大阪で制作・上演されたことの意義は、実は少なくない。
カルチャーポケット vol 25 カルチャーポケット 2003 年月
“.Dancing between two contrasting cultures (Osaka and Melbourne), Umiumare tactically manipulated two languages and smoothly proceeded with the whole show. The balance of the contexts and the sense of timing in each scene change was incredible. Her strategy to include the audiences was great and I could sense the audience being extremely livened up.
…DasSHOKU Project would evolve with Yumi Umiumare’s activities and movement. It is very significant event to have this DasSHOKU Project produced and performed in Osaka.”
Culture Pocket vol 25 Naoko Kogo Oct 2003
