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

chelfitsch x Teppei Kaneuji


Can theater create a world in which people and things exist in an infinitely flat relationship? Toshiki Okada and Teppei Kaneuji's theme for this work is a fundamental rethinking of the idea of ""how to depict human beings,"" which has been the basis of all art forms, from art and novels to music and film, not to mention theater. In this article, I will show you the strange and humorous performance of the former, which is filled with many discoveries, and the ""Eraser Mountain"" of the theater version, which reconstructs all the elements that make up a theater space, such as people, objects, time, space, and language, and the ""Eraser Forest"" of the museum version, which integrates live performance and ""video theater.

Basic information of the work

Screening time
155 minutes
1,800yen(tax include) Viewing Period 240hours / 10days
1,800 yen (tax included) / month
30,000 yen (tax included) / year * Other benefits are available
Delivery deadline
There is no plan to end the distribution.

Accessibility of this work

  • Audio guide
  • Sign language
  • Barrier-free subtitles
  • Subtitles
  • Multilingual
  • Dubbing
  • Artist’s original barrier-free version
  • Non-verbal

About Accessibility

Accessibility of this work

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

Recommended environment

Headphones and earphones recommended


Subtitles were created by Chelfitsch based on the performance script.

Message from artist / creator

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)

Artist Profile


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.

Toshiki Okada

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.​ ​

Teppei Kaneuji

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.






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


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


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


【Related Project】




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

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