Solo performance
Concept, Visuals, Video, Choreography, Performance by Miho Tsujii
People send one thousand paper cranes to Hiroshima from all over the world in prayers to this day.
I was struck by this unceasing gesture.
Humans are at one in the simple gesture around one-thousand paper cranes.
In this piece, a woman starts to tell a story as she folds a giant paper crane. What scars did the ”war” leave to people? Have they healed over time? Or have they spread in the deep layers of people’s minds through family threads? The performance unfolds poetic half-questioning communications with the audience. When the woman blows a deep breath into the crane, what liberates into the sky?
This piece was conceived out of the impacts of WWII in the artist’s own experiences, carried over from her grandfather through her father and herself. She also found a similarity between a German grandfather she lived with while growing up in Germany and her own grandfather in Japan in the silence and the pain trapped in them and their generational psychological after effects. The need to embrace the wounds on the perpetrator’s side of war inspired the creation of the Angel of History, as did her decade-long support of the survivors of Japan’s military sexual slavery euphemistically called comfort women, one of whom became her own non-biological grandmother, as the Angel of History also sheds light on the silence in women’s experiences in war. The artist’s first person narrative dissolves the binary conception of victims vs. perpetrator of war, without which wounds and seeds of war would not heal.
Angeles Novus is titled after Paul Klee’s self-portrait of his survival of the front line in WWI. This performance re-interprets Walter Benjamin text on Angeles Novus from feminist perspectives contextualizing the angel of history as a female figure to shed new perspectives.
Every time the artist performs the piece, she finds that the audience starts to share their stories from all angles. The power of empathy and release can dismantle the lines between victim/perpetrator binary framing and between generations, cultures, etc. Perhaps cranes start to fly as the weight lifts through the folding and unfolding of the paper.
Every time the artist performs the piece, she finds that the audience starts to share their stories from all angles. The power of empathy and release can dismantle the lines between victim/perpetrator binary framing and between generations and cultural historical contexts.. Will cranes start to fly as the weight lifts through the folding and unfolding of the paper?
ソロ作品
コンセプト・美術・映像・振付・出演／辻井美穂
広島へは世界各国から折鶴が送り続けられます。
その人々の心に胸を打たれました。
人の心は、遥か遠く彼方から折り鶴に託され、ひとつになる。
巨大な鶴を折りながら語リ始める女。観客と対話をしながら作品は創られていきます。 『戦争』は人間にどんな傷跡を残したのでしょうか？その傷は果たして時間と共に癒されたのでしょうか、それとも深く心の奥底に拡がり続けたのでしょうか？織り上げた鶴に息を吹き込む瞬間、何かが空に抜けるのでしょうか？
この作品は自分の祖父から父へ、そして自分へ引き継がれる戦争の影響から生まれました。作者自身がドイツ人家庭のなかで過ごした時期にドイツ人のおじいさんが、同じく兵士体験をもつ自分の日本の祖父と同様の「加害国」特有の沈黙と痛みを抱えていることに気づいたことも、この作品をつくるきっかけとなりました。
一方で、女性から女性へと伝う戦時にまつわる沈黙と声。それを請け負う天使をこの作品では演じます。
第一次世界大戦での自らの兵士体験を意識してパウル・クレーが描いた自画像『Angelus Novus』。そこにヴァルター・ベンヤミンが破壊をじっと見つめる「歴史の天使」を見出しました。本作では天使を女性に置き換え、新たな解釈を描きます。
本作の公演の先々で毎回、観客が自然と自分の話を語り始めます。そのやりとりは被害国・加害国・世代の垣根をまたいで共感を招き、場が和やかになる感を覚えます。折り鶴が舞い、心が軽くなるのでしょうか。
Concept, Visuals, Video, Choreography, Performance by Miho Tsujii
People send one thousand paper cranes to Hiroshima from all over the world in prayers to this day.
I was struck by this unceasing gesture.
Humans are at one in the simple gesture around one-thousand paper cranes.
In this piece, a woman starts to tell a story as she folds a giant paper crane. What scars did the ”war” leave to people? Have they healed over time? Or have they spread in the deep layers of people’s minds through family threads? The performance unfolds poetic half-questioning communications with the audience. When the woman blows a deep breath into the crane, what liberates into the sky?
This piece was conceived out of the impacts of WWII in the artist’s own experiences, carried over from her grandfather through her father and herself. She also found a similarity between a German grandfather she lived with while growing up in Germany and her own grandfather in Japan in the silence and the pain trapped in them and their generational psychological after effects. The need to embrace the wounds on the perpetrator’s side of war inspired the creation of the Angel of History, as did her decade-long support of the survivors of Japan’s military sexual slavery euphemistically called comfort women, one of whom became her own non-biological grandmother, as the Angel of History also sheds light on the silence in women’s experiences in war. The artist’s first person narrative dissolves the binary conception of victims vs. perpetrator of war, without which wounds and seeds of war would not heal.
Angeles Novus is titled after Paul Klee’s self-portrait of his survival of the front line in WWI. This performance re-interprets Walter Benjamin text on Angeles Novus from feminist perspectives contextualizing the angel of history as a female figure to shed new perspectives.
Every time the artist performs the piece, she finds that the audience starts to share their stories from all angles. The power of empathy and release can dismantle the lines between victim/perpetrator binary framing and between generations, cultures, etc. Perhaps cranes start to fly as the weight lifts through the folding and unfolding of the paper.
Every time the artist performs the piece, she finds that the audience starts to share their stories from all angles. The power of empathy and release can dismantle the lines between victim/perpetrator binary framing and between generations and cultural historical contexts.. Will cranes start to fly as the weight lifts through the folding and unfolding of the paper?
ソロ作品
コンセプト・美術・映像・振付・出演／辻井美穂
広島へは世界各国から折鶴が送り続けられます。
その人々の心に胸を打たれました。
人の心は、遥か遠く彼方から折り鶴に託され、ひとつになる。
巨大な鶴を折りながら語リ始める女。観客と対話をしながら作品は創られていきます。 『戦争』は人間にどんな傷跡を残したのでしょうか？その傷は果たして時間と共に癒されたのでしょうか、それとも深く心の奥底に拡がり続けたのでしょうか？織り上げた鶴に息を吹き込む瞬間、何かが空に抜けるのでしょうか？
この作品は自分の祖父から父へ、そして自分へ引き継がれる戦争の影響から生まれました。作者自身がドイツ人家庭のなかで過ごした時期にドイツ人のおじいさんが、同じく兵士体験をもつ自分の日本の祖父と同様の「加害国」特有の沈黙と痛みを抱えていることに気づいたことも、この作品をつくるきっかけとなりました。
一方で、女性から女性へと伝う戦時にまつわる沈黙と声。それを請け負う天使をこの作品では演じます。
第一次世界大戦での自らの兵士体験を意識してパウル・クレーが描いた自画像『Angelus Novus』。そこにヴァルター・ベンヤミンが破壊をじっと見つめる「歴史の天使」を見出しました。本作では天使を女性に置き換え、新たな解釈を描きます。
本作の公演の先々で毎回、観客が自然と自分の話を語り始めます。そのやりとりは被害国・加害国・世代の垣根をまたいで共感を招き、場が和やかになる感を覚えます。折り鶴が舞い、心が軽くなるのでしょうか。
公演歴（ワークショップ＆トークも開催）：
Mies van der Rohe Haus／ベルリン／2018
シェア奥沢／東京／2015
One Art Space ／ニューヨーク市／2014
Arts Connect International／ボストン／2014
ジェームズマディソン大学／バージニア州／2014 他
Performance/workshop/talk:：
Mies van der Rohe Haus／Berlin／2018
Share Okusawa／Tokyo／2015
One Art Space ／New York／2014
Arts Connect International／Boston／2014
James Madison University／Virginia／2014 and more
