Kasane no Irome - Piling up Colors Moralo Oa Ho Kenya Art ka Nakamura Kazunobu

Moralo oa Kasane no Irome - Piling up Colors Moralo Oa Ho Kenya Art ka Nakamura Kazunobu ke mohlodi oa khau e hlomphehang haholo ya 2020 Moputso oa Khauta oa A' Design Award Mokhahleong oa Tlhodisano oa Moralo wa Bonono ba Dipapadi, Sethala, Setaele le Sebaka sa Pontsho.

KhautaBonono ba Dipapadi· 2020

Kasane no Irome - Piling up Colors Moralo Oa Ho Kenya Art

ka Nakamura Kazunobu

Moreki: Egiku Japanese-Dance Products

Mohlodi oa Moputso oa Khauta oa A' Design Award Mokhahleong oa Bonono ba Dipapadi

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Mohlodi oa Khau ea Netefaditsweng

Netefatsa Boemo ba Khau bakeng sa #91802

Sheba ho A' Design Award Tokollo ya Boraditaba Baeche ya Moputso

Mebala

Moralo

Mabapi le Kasane no Irome - Piling up Colors Moralo Oa Ho Kenya Art

Moralo oa ho kenya oa Dance Dance ea Japane. Majapane a ntse a bokella mebala ho tloha mehleng ea khale ho bua lintho tse halalelang. Hape, ho hatisa pampiri ka li-silhouette tse sekwere e kile ea sebelisoa e le ntho e emelang botebo bo halalelang. Nakamura Kazunobu o qapile sebaka se fetolang boemo ba leholimo ka ho fetoha mebala e fapaneng e nang le "piling up" e kholo joalo ka motif. Liphanele tse fofang moeeng tse kenang ka har'a bataki li koahela sepakapaka ka holim'a sebaka sa sethala mme li bontša ponahalo ea leseli le fetang sepakapakeng se ke keng sa bonoa ntle le liphanele.

Kamohelo

Mabapi le Moputso oa Khauta oa A' Design Award

Kasane no Irome - Piling up Colors Moralo Oa Ho Kenya Art ke mohapi oa Moputso oa Khauta oa A' Design Award, kananelo e hlomphehang haholo e fuoang meralo ea maemo a pele, e ntle ka ho makatsa le e ikhethang. Bahapi ba Khauta ke lintho tse hlahisitsoeng tse nang le mehopolo e mecha haholo, tse shebileng pele le tse khanyang ka ho foufatsa, tse bontšang botsebi, bohlale le bokhoni ba baqapi ba tsona. Kasane no Irome - Piling up Colors Moralo Oa Ho Kenya Art e lebelletsoe ho ba mohopolo o babatsoang haholo, o thehang mekhoa e mecha le o moholo, o tlisang boleng bo sa kang ba bonoa. Moralo ona o hapileng Moputso oa Khauta oa A' Design Award ke mosebetsi o tsosang maikutlo, o hlomphehang, o tlisang molemo o moholo le o sutumelletsang meeli ea bonono, mahlale, moralo le theknoloji. Kasane no Irome - Piling up Colors Moralo Oa Ho Kenya Art e hlahisa maikutlo a matla a takatso, e tsosa tjantjello, e khothalletsa boqapi mme e re khahlisa.

Ka Mora Moralo

Sete ya Boraditaba

Litlhaku, ditho tsa sehlopha le lintlha tsa botekgeniki tse fanoeng ke moetsi wa moralo.

Boleng bo Ikhethang: One Japanese Dance of Japanese traditional arts.
For a long time this dance, which has been preserved and emphasizes silence rather than dynamism, has long been out of touch with the modern atmosphere.
We grope for new Japanese dance, and this is a design of the stage art which aimed at the ideal form of Contemporary Japanese dance.
Unlike traditional Japanese dance two-dimensional stage art, three-dimensional design that takes advantage of the entire stage space.
We aimed to produce a worldview of new Japanese Dance of modern interpretation by those.
Panels flying in the air centering on the dancers cover the sky above the stage space and depict the appearance of light passing through the space that can not be seen without the panels.
Panels that correspond to light.
A space that draws light strikingly, in concert with Dancer, develops Japanese Dance.
We created a contemporary Japanese Dance of a mysterious world.
Boholo le Phuthelo: 158㎡
Theknoloji ya Tlhahiso: Three-dimensional stage design using the whole stage space.
With 3D modeling technology, the panels floating in the air were placed around the dancers as if they were blown up by the wind.
Although the panels overlap intricately, the plurality of strings that hang each panel are calculated so as not to cross each other.
We also calculated the movements of the dancers and adjusted the position of the panels to avoid the dancers.
The panel was made of a frame made of a thin 9 mm square steel square pipe and a mesh of ultra thin transparent threads made of resin in a double layer.
We made the panels so that the mesh was not homogeneous, and made the transmission slightly different, creating a subtle difference in the way light is reflected within a single panel.
This allows the panel to receive a moderate amount of light, and the panel will appear and disappear.
We were able to realize three-dimensional stage art design closely linked to the dancers, resonating with the light.
Phephetso ya Moralo: We experimented a number of times to create a panel that would receive just the right amount of light and disappear just the right amount.
We also tried many times to create a more beautiful arrangement of the panels so that they would not interfere with the dancers' movements.
The result of such an experiment was realized in this installation.
It was very difficult for me to propose this design to the people of Japanese dance, who have different values, and to get them to accept it.
This installation design was an opportunity for Japanese dance to make a leap from the traditional performing arts of an island nation that has no connection with the world to one of the world's dance genres.
Dipatlisiso: Originally, Japanese dance aspired to an abstract and simple expression, stripped of its superfluous elements.
That idea must be evolved and sublimated into a modern expression that fits the times.
Integration with digital technology.
It's not a collaboration with soft digital, such as media art.
By utilizing digital technology in the design of the hardware part of the stage space, we drew out the new appeal of Japanese dance.
The dancers' movements and associated forms were made possible for the first time by invisible digital technology.
Digital technology is expanding the potential for expression that was originally inherent in the traditional arts of Japanese dance.
This stage was taken away as an article in the mass media such as newspapers.
The stage was estimated worldwide, and the World Dance Festival "Festival d'Avignon 2019”　also perform in the festival.
It's expected also to do a dance performance in "Festival d' Avignon 2020 " this year.
Kgothaletso: Japanese have been piling up colors from olden times to express nature and feelings.
In traditional Japanese women's costumes, they have shown layers of cloth of various colors, and by showing the overlap, they have expressed sacred depth.
Also, in Japan, layering paper or cloth with square silhouettes has been used as a thing representing sacred depth.
A row of square paper decorated at the entrance of a Japanese shrine is one such example.
In this work of dancing a woman's life, I designed a space that changes the atmosphere by changing to various colors with such rectangular "overlap" as a motif.
It looks like a fog. It can be seen at one time, not seen at one time, transformed into various forms.
It, together with the tone of the mysterious Koto, represents a magnificent life full of change in a woman.
Nako ya Projeke: 12/Jun/2019 open Sakuragaokacho,Shibuya-ku,Tokyo Japan
Tsamaiso ya Mosebetsi: Japanese have been piling up colors from olden times to express sacred thing.
Also, piling up paper with square silhouettes has been used as a thing representing sacred depth.
I designed a space that changes the atmosphere by changing to various colors with such square "piling up" as a motif.
Panels flying in the air centering on the dancers cover the sky above the stage space and depict the appearance of light passing through the space that can not be seen without the panels.
A space that draws light strikingly, develops Japanese Dance.
Litho tsa Sehlopha: Environment Design : Kazunobu Nakamura,
Produce & Dancer : Egiku Hanayagi,
Koto player : Etsuko kawaguchi,
Lighting-design : Theaterbrain/Masao Igarashi,
Production : Tashibu to Fukushima,
Stage director : Noriyuki Shirato
Litlotla tsa Setshwantsho: Photograph : Atsushi Ishida