Kasane no Irome - Piling up Colors Uyilo Lokufakwa Kobugcisa ngu-Nakamura Kazunobu

Uyilo olubizwa ngokuba yi-Kasane no Irome - Piling up Colors Uyilo Lokufakwa Kobugcisa olwenziwe ngu-Nakamura Kazunobu ngumwini obekekileyo webhaso elinobukhazikhazi le-2020 Ibhaso Legolide le-A' Design Award Kudidi Lokhuphiswano lwe-Uyilo loBugcisa beQonga, iSitayile kunye neMiboniso.

IgolideUbugcisa beQonga· 2020

Kasane no Irome - Piling up Colors Uyilo Lokufakwa Kobugcisa

ngu Nakamura Kazunobu

Umxhasi: Egiku Japanese-Dance Products

Umwini we-Ibhaso Legolide le-A' Design Award Kudidi Lwe-Ubugcisa beQonga

91,774

Umwini Webhaso Oqinisekisiweyo

Qinisekisa Isimo Sebhaso se-#91802

Jonga kwi-A' Design Award Uxwebhu Lweendaba Ibheji Yembasa

Imibala

Uyilo

Malunga ne-Kasane no Irome - Piling up Colors Uyilo Lokufakwa Kobugcisa

Uyilo lokufakwa komdaniso waseJapan. AmaJapan ebesoloko efaka imibala ukusuka kwakudala ukuze achaze izinto ezingcwele. Kwakhona, ukufaka iphepha ngeesilhouettes ezisetyenzisiweyo njengento emele ubunzulu obungcwele. U-Nakamura Kazunobu uyile indawo etshintsha imeko-bume ngokuthi iguqukele kwimibala eyahlukeneyo enesikwere "sokubeka phezulu" njengemoto. Iiphaneli ezibhabha emoyeni ezikwi-air dancers zimboza isibhakabhaka ngaphezulu kwesithuba senqanaba kwaye zibonisa imbonakalo yokukhanya okudlula kwisithuba esingenakubonwa ngaphandle kwepaneli.

Ukuqatshelwa

Malunga ne-Ibhaso Legolide le-A' Design Award

Kasane no Irome - Piling up Colors Uyilo Lokufakwa Kobugcisa ngumphumeleli weIbhaso Legolide le-A' Design Award, ukuqatshelwa okuhlonitshwayo kakhulu okunikwa imiyilo yeklasi yokuqala, ephawulekayo nentle. Abaphumeleleyo beGolide ziimveliso ezintsha kakhulu, ezinombono ongaphaya nezikhazimlayo ezibonisa ubuchule, ubulumko nobuchule babayili bazo. Kasane no Irome - Piling up Colors Uyilo Lokufakwa Kobugcisa iyathenjwa ukuba ibe yimveliso edunyiswe kakhulu, ebeka umkhwa nekumgangatho wesikhumbuzo enikela ixabiso elingazange libonwe. Lo myilo uphumeleleyo weIbhaso Legolide le-A' Design Award yiprojekthi emangalisayo nehlonelwayo eluncedo kakhulu kwaye inyusa imida yobugcisa, inzululwazi, uyilo kunye nobuchwephesha. Kasane no Irome - Piling up Colors Uyilo Lokufakwa Kobugcisa idala iimvakalelo ezinzulu zonqweno, ivusa umdla, ikhuthaza ukuyila kwaye iyasikhwebela.

Emva Koyilo

Ikhithi Yeendaba

Iziqinisekiso, amalungu eqela kunye neenkcukacha zobugcisa ezinikezelwe ngumyili.

Iimpawu Ezizodwa: One Japanese Dance of Japanese traditional arts.
For a long time this dance, which has been preserved and emphasizes silence rather than dynamism, has long been out of touch with the modern atmosphere.
We grope for new Japanese dance, and this is a design of the stage art which aimed at the ideal form of Contemporary Japanese dance.
Unlike traditional Japanese dance two-dimensional stage art, three-dimensional design that takes advantage of the entire stage space.
We aimed to produce a worldview of new Japanese Dance of modern interpretation by those.
Panels flying in the air centering on the dancers cover the sky above the stage space and depict the appearance of light passing through the space that can not be seen without the panels.
Panels that correspond to light.
A space that draws light strikingly, in concert with Dancer, develops Japanese Dance.
We created a contemporary Japanese Dance of a mysterious world.
Imilinganiselo nePakishini: 158㎡
Ubuchwepheshe Bokuvelisa: Three-dimensional stage design using the whole stage space.
With 3D modeling technology, the panels floating in the air were placed around the dancers as if they were blown up by the wind.
Although the panels overlap intricately, the plurality of strings that hang each panel are calculated so as not to cross each other.
We also calculated the movements of the dancers and adjusted the position of the panels to avoid the dancers.
The panel was made of a frame made of a thin 9 mm square steel square pipe and a mesh of ultra thin transparent threads made of resin in a double layer.
We made the panels so that the mesh was not homogeneous, and made the transmission slightly different, creating a subtle difference in the way light is reflected within a single panel.
This allows the panel to receive a moderate amount of light, and the panel will appear and disappear.
We were able to realize three-dimensional stage art design closely linked to the dancers, resonating with the light.
Umngeni Woyilo: We experimented a number of times to create a panel that would receive just the right amount of light and disappear just the right amount.
We also tried many times to create a more beautiful arrangement of the panels so that they would not interfere with the dancers' movements.
The result of such an experiment was realized in this installation.
It was very difficult for me to propose this design to the people of Japanese dance, who have different values, and to get them to accept it.
This installation design was an opportunity for Japanese dance to make a leap from the traditional performing arts of an island nation that has no connection with the world to one of the world's dance genres.
Uphando: Originally, Japanese dance aspired to an abstract and simple expression, stripped of its superfluous elements.
That idea must be evolved and sublimated into a modern expression that fits the times.
Integration with digital technology.
It's not a collaboration with soft digital, such as media art.
By utilizing digital technology in the design of the hardware part of the stage space, we drew out the new appeal of Japanese dance.
The dancers' movements and associated forms were made possible for the first time by invisible digital technology.
Digital technology is expanding the potential for expression that was originally inherent in the traditional arts of Japanese dance.
This stage was taken away as an article in the mass media such as newspapers.
The stage was estimated worldwide, and the World Dance Festival "Festival d'Avignon 2019”　also perform in the festival.
It's expected also to do a dance performance in "Festival d' Avignon 2020 " this year.
Inkuthazo: Japanese have been piling up colors from olden times to express nature and feelings.
In traditional Japanese women's costumes, they have shown layers of cloth of various colors, and by showing the overlap, they have expressed sacred depth.
Also, in Japan, layering paper or cloth with square silhouettes has been used as a thing representing sacred depth.
A row of square paper decorated at the entrance of a Japanese shrine is one such example.
In this work of dancing a woman's life, I designed a space that changes the atmosphere by changing to various colors with such rectangular "overlap" as a motif.
It looks like a fog. It can be seen at one time, not seen at one time, transformed into various forms.
It, together with the tone of the mysterious Koto, represents a magnificent life full of change in a woman.
Ubude Beprojekthi: 12/Jun/2019 open Sakuragaokacho,Shibuya-ku,Tokyo Japan
Ukuhamba Komsebenzi: Japanese have been piling up colors from olden times to express sacred thing.
Also, piling up paper with square silhouettes has been used as a thing representing sacred depth.
I designed a space that changes the atmosphere by changing to various colors with such square "piling up" as a motif.
Panels flying in the air centering on the dancers cover the sky above the stage space and depict the appearance of light passing through the space that can not be seen without the panels.
A space that draws light strikingly, develops Japanese Dance.
Amalungu Eqela: Environment Design : Kazunobu Nakamura,
Produce & Dancer : Egiku Hanayagi,
Koto player : Etsuko kawaguchi,
Lighting-design : Theaterbrain/Masao Igarashi,
Production : Tashibu to Fukushima,
Stage director : Noriyuki Shirato
Amagunya Emifanekiso: Photograph : Atsushi Ishida