“Eraser Mountain” streaming ver. “Eraser Mountain is watching”

Japanese and English subtitles show the name of the speaker (role name) and the lines. No music or sound information is displayed.

 

About accessibility of this work
* Three barrier-free videos are available. Please switch tabs to see.
・ Japanese subtitles: Subtitles that express the spoken words or the words spoken with the speaker’s name.

・ English subtitles: English subtitles that represent the spoken words or the words spoken with the speaker’s name.

・ Original: Original version of the work video

Headphones and earphones recommended

Subtitles were created by Chelfitsch based on the performance script.

The word “barrier-free” means “barrier-free”, not just physical disability. There are various “obstacles” to theater, such as physical hurdles to go to the theater and psychological hurdles to understand the work. This time, I seriously thought about how to get rid of them and deliver the essence of the work properly. We hope that you can enjoy the “barrier-free” form that chelfitsch aims for from various places. (chelfitsch)

The theater company chelfitsch was founded in 1997 by Toshiki Okada, who writes and directs all of its productions. Applauded for its distinctive methodology, which applies the relationship between quirky speech and physical movements, it attracts keen attention, both inside and outside Japan, as a troupe in the vanguard of contemporary theater. Its slovenly, “noisy” physicality, which seems to exaggerate ordinary gestures at times and seems not to do so at others, was even likened to dance. The company made its debut abroad in 2007, when it performed “Five Days in March” at the Kunstenfestivaldesarts, which is regarded as one of the most important festivals on the European performing arts scene, in Brussels, Belgium. It has since performed works in a total of more than 90 cities in Asia, Europe, and North America. In 2011, “Hot Pepper, Air Conditioner, and the Farewell Speech” received the critics’ award from the Association québécoise des critiques de théâtre in Montreal, Canada. In more recent years, the troupe has performed in works whose production rested on international collaboration with the world’s major festivals and theaters around the world, specifically: “Current Location” (2012), “Ground and Floor” (2013), “Super Premium Soft Double Vanilla Rich” (2014), “Time’s Journey Through a Room” (2016), and “Five Days in March – Re-creation” (2017). It continues to constantly update its methodology, which revolves around the relationship between speech and body, and explore new avenues of expression unbound by conventional dramaturgy. In 2018, it produced and exhibited/performed “Beach, Eyelids, and Curtains: chelfitsch’s EIZO-Theater” at the Contemporary Art Museum Kumamoto. This piece uses projected images (“eizo”) to bring theatrical space into being. In 2019-2020, it collaborated with the artist Teppei Kaneuji and produced “Eraser Mountain” at KYOTO EXPERIMENT 2019 and “Eraser Forest” at 21st Century Museum of Contemporary Art, Kanazawa. It performed a single artistic concept in two different types of space and used the way of “EIZO-Theater” as well.

Born in Yokohama in 1973. Playwright / Director. He formed the theater company chelfitsch in 1997. Since then he has written and directed all of the company’s productions, practicing a distinctive methodology for creating plays, and has come to be known for his use of hyper-colloquial Japanese and unique choreography. In 2005, his play “Five Days in March” won the prestigious 49th Kishida Kunio Drama Award. He participated in Toyota Choreography Award 2005 with “Air Conditioner (Cooler)” (2005), garnering much attention. His collection of short stories titled “The End of the Special Time We Were Allowed” was published in February 2007 and awarded the Oe Kenzaburo Prize. He has been on the judging panel for the Kishida Kunio Drama Award since 2012. In 2013, his first book on theatrology was published by Kawade Shobo Shinsha. From 2016, he directed works in a repertory program at Münchner Kammerspiele, one of the foremost public theaters in Germany, for four consecutive seasons. “The Vacuum Cleaner” has been selected as one of the “ten remarkable productions” by Theatertreffen 2020, the German theater festival. In 2020, he won the 27th Yomiuri Theater Awards Selection Committee Special Prize with his Thai artists-collaboration piece “Pratthana – A Portrait of Possession,” which is an adaptation of a novel by Thai author Uthis Haemamool.​ ​

Born 1978 in Kyoto and lives and works in Kyoto. In 2001, while attending Kyoto City University of Arts, he studied at Royal College of Art (London) as an exchange student. He graduated with MA in sculpture from Kyoto City University of Arts, where he currently works as the lecturer. He collects everyday objects to create sculptures facilitating collage-like methodology, seeking new way of sculptural expression, using various medium such as painting, film and photography. His works has been shown in various domestic and international venues including solo exhibitions “Melting City / Empty Forest” (Yokohama Museum of Art, 2009), “Towering Something (Ullens Center for Contemporary Art, 2013), “Cubed Liquid, Metallic Memory” (Kyoto Art Center, 2014) and “Teppei Kaneuji's ‘ZONES’” (Marugame Genichiro-Inokuma Museum of Contemporary Art, 2016). His works has been used for the covers of numerous books, while he has created stage arts for various plays such as “We Can't Understand Each Other Like Household Appliances” (Produced by Owl Spot) and KAAT Kids Program 2015 “Yummy and Fun Play ‘Wakatta-san’s Cookies.” He also created theatrical piece “TOWER (theater)” from his own film piece.

Playwright / Director: Toshiki Okada

 

Scenography: Teppei Kaneuji

 

Cast: Izumi Aoyagi, Mari Ando, Yuri Itabashi, Takuya Harada, Makoto Yazawa, Leon Kou Yonekawa

 

 

 

Costume: Kyoko Fujitani (FAIFAI)

 

Lighting Director: Masayoshi Takada (RYU)

 

Sound Planner: Raku Nakahara (LUFTZUG)

 

Video Director: Shimpei Yamada

 

Technical Director: Koro Suzuki

 

Stage Manager: Chikage Yuyama

 

Assistant Director: Nagara Wada

 

English Translation: Aya Ogawa

 

 

 

Producer: Tamiko Ouki

 

Associate Producer: Miyuki Tanaka

 

Production Manager: Megumi Mizuno

 

Production Assistant: Nanami Endo

 

 

 

(Performance in Tokyo)

 

Stage Manager: Daijiro Kawakami

 

Stage Manager Assistant: Yuzuko Matsushima

 

Lighting Operator: Kosuke Ashidano

 

Sound Operator: Yukiko Ueshima

 

Video Operator: Yuki Higuchi

 

Subtitle Operator: Mizuki Tazawa

 

Hair and Makeup for Shooting: Rumi Hirose

 

 

[Extra Audio Guide Rental]

 

Recorded Voice: Shingo Ota

 

Audio Planner: Raku Nakahara (LUFTZUG)

 

Audio Operator: Masahide Ando

 

Recording: Toshihiko Kasai

 

Production Manager: Nagara Wada

 

In co-operation with: Koji Okano, Mieko Nakagawa

 

 

[Live Streaming]

 

Video Direction: Shimpei Yamada

 

Technical Coordinator: DrillBros (Hongo Takashi + Yuya Ito)

 

Technical Support: Akio Okamoto (NeyAnton G.K.)

 

Shooting: Ryohei Tomita, Ryo Mikami, Shunsuke Watanabe

 

Technical Staffs: Shigenori Aizawa, Masanori Oto, Eiji Kikuchi, Takashi

Harada, Daizo Mori, Moena Yamashita

 

Audio Planner: Raku Nakahara (LUFTZUG)

 

Audio Operator: Toshihiko Kasai

 

Production Manager: Hikaru Tsuchiya (SCOOL)

 

Equipment: HEARTS Inc., NeyAnton G.K.

 

In co-operation with: Palabra inc.

 

 

 

[Accessibility]

 

Producer: Mai Hyodo

 

Production Assistant: Mei Hayashi

 

Sign Language Interpreter: Tomomi Komatsu (NPO Theater

Accessibility Network)

 

In co-operation with: NPO Kotoba no Michiannai

 

 

 

Graphic: Teppei Kaneuji

 

Publicity Design: Werkbund

 

Special Website Design: HAUS

 

Photography: Yurika Kono

 

Stage Set: Ryo Sakamoto

 

 

 

Publicity: Haruka Murakami

 

Publicity Writing: Kenta Yamazaki

 

 

 

Ticketing coordinator: Yuka Yatsu

 

Production Desk: Hitomi Sato

 

Production desk assistant: Fumino Okawa, Moemi Seki

 

Reception Staff: Kei Aoki, Cocoro Inuyama, Minako Iwai, Suzuka Iwakami, Noriko Oguro, Kanon Onodera, Kento Onodera, Manami

Kurahashi, Yuika Kurita, Yuko Kokubun, Hiroko Saito, Chihiro Suzuki, Natsumi Tsurukai, Moe Nagasaka, Taeko Nishi, Naiki Miyamoto, Saki Miwa, Yuka Morita, Kenta Yamazaki​ ​​

 

 

 

Planning and Production Management by precog co., LTD.

 

Executive Producer: Akane Nakamura

 

Executive Officer/Publicity & Branding Director: Kao Kanamori

 

Senior Producer: Kumi Hiraoka

 

 

 

Artist Division

 

Chief Producer: Tamiko Ouki

 

Producer: Megumi Mizuno

 

Project Manager: Hitomi Sato

 

Project Assistant: Nanami Endo, Ayano Okawa, Tomo Setou, Chen Ay-wen

 

 

 

Barrier-free communication Division

 

Chief Producer: Mai Hyodo

 

Producer: Shiori Shinoda

 

Ticketing Coordinator/Project Manager : Yuka Yatsu

 

Project Manager: Yuika Kurita, Yuko Kokubun, Megumi Seki, Yoko

Nishiyama, Saki Hibino

 

Publicity & Marketing: Asumi Kitahori, Miki Tainaka

 

Project Assistant: Noriko Oguro, Kento Onodera, Azusa Kobayashi, Aoi Hasegawa, Mei Hayashi, Taeko Nishi, Moe Minoura

 

 

 

Administration Division

 

Chief Administrator: Yuka Morita

 

Administrative Desk: Saki Miwa

 

Desk Assistant: Minako Iwai, Junko Kanai, Maki Kawano, Hiroko Saito

 

 

 

Production: chelfitsch

 

Co-produced by

 

[Eraser Mountain] Kyoto Experiment, Wiener Festwochen, Festival d’Automne à Paris, Künstlerhaus Mousonturm Frankfurt

 

[Eraser Forest] 21st Century Museum of Contemporary Art, Kanazawa

In co-operation with: CONNELING STUDY/YAMABUKI FACTORY, Steep

Slope Studio, Kyoto City University of Arts

 

Kyoto Art Center Artists-in-Studios program

 

This project consists of two versions, Eraser Mountain (premiere: October 2019 / Kyoto Experiment) and Eraser Forest (premiere: February 2020 / 21st Century Museum of Contemporary Art, Kanazawa)

 

 

 

Presented by chelfitsch, precog co., LTD.

Co-presented by Toshima Mirai Cultural Foundation (OWLSPOT Theatre)

 

Supported by Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture) (For the performance)

 

Supported by the Agency for Cultural Affairs , Government of Japan through the Japan Arts Council

 

 

Presented by chelfitsch　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

 

Supported by the Agency for Cultural Affairs, Government of Japan in the fiscal 2020

​

THEATRE for ALL

Presented by the Agency for Cultural Affairs, Government of Japan, precog co., LTD, chelfitsch

​

​

 

【Related Project】

 

CONNELING STUDY

 

Director: Takashi Usui, Akane Nakamura

 

Production Manager: Yuika Kurita

 

 

 

Presented by precog co., LTD., YAMABUKI FACTORY, chelfitsch

 

Supported by The Saison Foundation, National Institution For Youth Education, Children’s Dream Fund

“Eraser Mountain” Official Website