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Hyper Popular Art “STAND PLAY”



In Tokyo, which is changing before the 2020 Tokyo Olympics. Witness the lottery ticket booths, boat races, underground station plazas, under elevated railway tracks, and construction sites. Eerie laughter appearing on the streets.
The urban unconscious is revealed on stage in a recreation of a stadium designed from the structural model of the New National Stadium.

OLTA's project "Hyper Popular Art “STAND PLAY"" which has been in development since 2017, investigates the phenomena that provoke laughter encountered in everyday life and reveals the unconscious bodily movements that arise in urban life and the random situations brought about by artificially temporary street objects.
By collecting and re-enacting fragments of records, sketches, and conversations of scenes and words in the omnipresent "victory and defeat and frenzy" of the city, the project will reconstruct a contemporaneous physicality.
Selected for "KIPPU," a U35 creation support program by Rohm Theater Kyoto and Kyoto Art Center, and performed at Rohm Theater Kyoto North Hall.

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

Original version (No accessibility) and 3 barrier-free videos are available. Please switch tabs to view.

  • BF subtitles (JP) *BF=Barrier-free
  • Sign language(JP)
  • Artist’s original barrier-free version (English Subtitles): English subtitles appear in speech bubbles that emerge from illustrations of characters speaking their lines.


Like the hat tricks we see in sporting events, if we shift our gaze, can we find another kind of stand-up in the city? The stand-up players in the city enjoy the entertainment provided by the consumer society and show “tasteful people” movements, so to speak, that are a little out of step with the social system. People come and go in unison at traffic light displays, families relax in parks, and theatergoers gaze at the stage with a slightly straightened back and light tension. We are unknowingly acting within the norms shaped by the city. However, the stand-up players in the city continue to “stand” in the midst of a standardized group, and their bodies begin to emit noise. On stage, the performers now re-enact the daily lines and movements of these stand-up players. It is a “Hyper Popular Art” that exists mysteriously and naturally in the space between performance and theater.
From the review by Yoko Nose (Curator, Toyota Municipal Museum of Art)

Message from artist / creator

I spent about 40 minutes every day in Kyoto going from the inn to the rehearsal hall and back with the performers, wearing the sign on my chest and back, as a sandwich man. It was just at the time when Corona-related matters overseas and Olympic-related matters were being reported in the news every day. I remember thinking that I would see a foreign tourist with a bag full of masks with both hands, and the next week I could see the city changing, as it was getting harder to find masks for sale. At the beginning of the year, during a publicity performance in Osaka with TAKAHASHI ‘Takakhan’ Seiji, I was stopped by a man who misread a sign hanging from my neck that read “OOBASHI” as “Daikichi,” and asked me for advice on how to advertise. He gave me some advice on how to advertise. Another advised us on how to use the Shinsegae International Theatre, saying, “Don’t focus too much on what is in front of you. We took notes of these conversations on our phones and incorporated them into the script. The rakugo story told in the play is “Gokei,” about a man who falls in love with a lottery. Through the story, the rakugo storyteller tries to capture the unique human desire in a funny way from the perspective of an object, a plastic tea bottle.

Artist Profile



A six-member artist collective formed in 2009. Members are Toru Inoue, Kazuhide Kawamura, Takafumi Saito, Yoshiro Hasegawa, Meg Ninja, and Jang-Chi. In the form of performance, they question the act of creation, and by extension, the fundamental desires and sensations of human beings, by using their own bodies. Recent activities include “Nippon Ideology (tentative)” (YPAM direction, KAAT The Kanagawa Arts Theatre, 2022), “The House of Cultivation: Uncertain Generation” (ARCUS Project, 2022), “Aomori EARTH 2019: A Place to Cultivate Life -Agriculture Opens the Future of Art” (Aomori Museum of Art, 2019) “Busan Biennale 2016” (F1963, 2016), and others.

Mayumi ARAI

Born in 1988, Arai completed his doctorate at Tokyo University of the Arts Graduate School of Fine Arts in 2021. He has collaborated on various productions in Japan and abroad, and since 2015, he and Swiss-born director/artist Nina Willimann have been working and presenting their work mainly in Taiwan and Switzerland as Willimann/Arai. Using video, performance, and other methods, they have been working to expose the complex and ever-changing relationships between the self and others in society. In recent years, he has been developing these relationships into the connections between non-humans and humans, such as national parks, pests, and parasitic fungi, and continues to practice them.

TAKAHASHI ‘Takakhan’ Seiji

Temporarily rent or request a place, invite others, and gather. We do not plan any outputs, but only simple conditions for participation. In this way, we can protect each other’s dignity, and we can express our creativity in ways we had not thought possible. We spend time together, including creativity. Spending is creating. Unemployed in Residence,” “Kyoto Recreation Center at Kyoto Art Center,” and “‘Spare Time and Work’ Exhibition at Spare Time/Center/Home/AIR” are representative works. Most recently, he founded the space and organization “Sukosu Center” in Higashi Kujo, Minami-ku, Kyoto (approved for disability welfare service business in November 2022). In addition, he formed a research collective “Care Manebu” and is currently working on its activities.


Born in 1983. Graduated from Tokyo University of the Arts Graduate School of Film and New Media in 2016. He has been working to question the fragility of images through the experience of “seeing”. 038 “A Pile of Coins” (NTT InterCommunication Center [ICC], Tokyo, 2019), “OPEN SITE 2018-2019 ‘Break Time No.6′” (Tokyo Arts and Space, Tokyo, 2019). Such as.


Born 1988 in Yono City, Saitama, Japan. 2012 graduated from Tama Art University, Faculty of Fine Arts, Department of Painting. Illustrator with a good heart. His illustrations are mainly used in exhibitions, publications, advertisements, and music works. Recent major presentations include music videos for Mami Kakudo’s “Dance,” art direction for Shohei Amimori’s “Pata Music,” and graphic design for Taichi Sunayama and Akinori Hamada’s exhibition “Mirror and Balance. On his days off, he distributes beer in the park.


Concept, Script, Costumes, Stage & Art Direction: OLTA
Director: Jang-Chi
Actors: Mayumi ARAI, Toru INOUE, Kazuhide KAWAMURA, Takafumi SAITO, TAKAHASHI ‘Takakhan’ Seiji, Akiko TAMAKI, Yoshiro HASEGAWA, MEGUNINJA, Yu YAMAMOTO
Lighting: Takayuki Fujimoto
Sound Design,Illustration: Masashi KATO
Sound: Masashi KATO
CG Design: Yoshiro HASEGAWA
Illustration:Takafumi SAITO
Movie: Ludo TAKEBE
Producer: Eriko KAMIMURA
Flyer Design & Illustration: Yu YAMAMOTO
Costumes Assistant: Shie MANAMINO
Technical System(Movie): Mitsuru TOKISATO
Subtitle operation: Yuka YAMATO
Photo:Yuichiro TAMURA

Organizer: ROHM Theatre Kyoto
Cosponsored: Kyoto Art Center
Association: Tokyo University of the Arts Graduate School of Film and New Media,RAM Association Residence cooperation: Higashiyama Artists Placement Service,Joshoan

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