First, the moderator explains the custom of calling Murofushi by his real name, “Kitani-san,” and then attempts to recount memories through the reflections of those who worked closely with him.

The eldest participant, Inō, recalls how, during a period of social upheaval, he was inspired by avant-garde expression and, in 1974, joined Dairakudakan—a troupe that Murofushi had also helped found together with Maro Akaji and others. While supporting Murofushi in a production role, Inō looks back on his own development through sometimes grueling experiences, such as flooding damage during outdoor performances and cabaret tours, all framed through his relationship with Murofushi.

This is followed by comments from former members of the butoh group Sebi, who danced with Murofushi from the late 1970s to the early 1980s. They discuss the highly improvisational nature of rehearsals, the intensive butoh training camps held at Hokuryū Gorge in Fukui Prefecture—which served as both a theater and rehearsal space at the time—and the process of choreographing for Ariadone no Kai. They also offer their respective perspectives on the transition from large-scale, intricately staged productions to extremely minimal solo performances.

Finally, they reflect anew on his immeasurable human appeal, his originality, and his powerful influence, looking back on the creative site of his truly unique form of physical expression.

Translation by ChatGPT

(Full details are available on the Japanese page.)