Call for Performers

Ensemble: Dance Piece No. 4 is the fourth dance piece created through Physical Catharsis, a choreographic mechanism that Ayaka Ono Akira Nakazawa Spacenotblank has been researching, developing, and presenting since 2019.
“Ensemble” means harmony. In this dance piece, however, we regard that value as a form of “unseeability.” Taking as its foundation the structure of group dance, in which individuality does not disappear but is embedded within collectivity, the piece seeks to create a new form of “choreography.”
It disperses, diffuses, and scatters the personal presence that naturally emerges through the process of Physical Catharsis, together with the choreography that is automatically generated by it. It persistently attempts to reproduce “bodies” whose residue within group dance remains uncertain: bodies that may or may not remain there at all. This is the kind of performance that the piece aims to construct.
What the audience witnesses is a chain of choreography that transcends, or perhaps abandons, meaning. It is a composition of bodies unfolding through an inexplicable chord progression; a partial pleasure that arises when such bodies emerge ritualistically through a group; and the live deviations and exhaustion that can be glimpsed in each performer.

Physical Catharsis is a mechanism that could be described as indifferent to “synchronizing.” By using this mechanism, the piece moves against the grain, back toward the aesthetics of synchronization maintained by the structure of “ensemble.” The numerous frictions that occur at the points where the attitudes of performers, choreography, mechanism, performance, and audience intersect are programmed to appear as both harmony and discord.
This dance piece is a collaboration between Tokyo Metropolitan Theatre and Ayaka Ono Akira Nakazawa Spacenotblank, undertaken in pursuit of expressions that can exist only through dance, and toward the creation of an experience that can be encountered only through dance.
Physical Catharsis is a mechanism that could be described as indifferent to “synchronizing.” By using this mechanism, the piece moves against the grain, back toward the aesthetics of synchronization maintained by the structure of “ensemble.” The numerous frictions that occur at the points where the attitudes of performers, choreography, mechanism, performance, and audience intersect are programmed to appear as both harmony and discord.
This dance piece is a collaboration between Tokyo Metropolitan Theatre and Ayaka Ono Akira Nakazawa Spacenotblank, undertaken in pursuit of expressions that can exist only through dance, and toward the creation of an experience that can be encountered only through dance.