Description

2013年に東京で行われた室伏鴻のワークショップ「瞬間の学校」の生徒たちのために振付けた「墓場で踊られる熱狂的なダンス」をアカデミーシアターにおいて再演。またオデオンシアターにおいて、室伏鴻の新作「Ritournetlle」をフェスティバルの最後を飾る三日間上演した。室伏鴻にとってゆかりの深い、インプルスタンツ及びオデオンシアターに於いての最後の公演となった。
リサーチクラスのテーマは、次年度パリLa Villetteでクリエーションの予定だった「真夜中のニジンスキー　Nijinski a minuit」のリサーチを兼ね「無数のニジンスキー」とした。
(K.W)

Les Innombrables Nijinski

if you want to dance: “Nijinski”
if you want to dance: “Midnight”
and if you want to dance: “the body of Zero degree”….

What is the pure experience of the <outside>?
Is it possible to dance the < outside>?
< Outside>, means outside of all dance techniques and thus the first experience of something new.

“The attraction is for Blanchot undoubtedly what for Sade is desire, for Nietzsche the power, for Artaud the materiality of thought, for Bataille the transgression: the pure, mere experience of the outside.” (Foucault, La pensée du dehors)

My body is no longer just one, but innumerable. In the Midnight, at the moment of Zero O’Clock, numerous embracing and composite bodies, will conceive innumerable Nijinskys!

Why do I still deal with Nijinsky and Mallarmé in the 21st century? In fact, my dance career started with Nijinsky’s Faun in Japan.
I am also very attached to the poem “Minuit” of Mallarmé … I see some similarities with the “Midnight Song” by Nietzsche in it. But I put my thoughts behind. I detach myself from my own intention and while detaching I find myself confronted with plural dancers’ bodies – directly.
The direct contact with bodies is the key to “Minuit”.

Ko Murobushi（For Recearch Class at ImPulsTanz2014）