AKASHI-short film

19780402_658538887683776_8056317750636712031_o昨年の11月下旬に撮影があった吉田真由美さん作・監督・主演のショート・フィルム「AKASHI」ーあかし。私はおばあちゃんの役で出演しましたが、今年の春から色々な賞をいただき、またエア・カナダのフライトでも見ていただけるのですが、ニューヨークでの各フェスティバルにも招かれています。今、一番注目なのが、NBCユニバーサルのショートフィルム・フェスティバル。4600作の中から16作が選ばれて、NYで上映されます。嬉しいやら、ビックリやら。そして、楽しみです。ありがとうございます!

Last year in a late fall, I worked for the short film with Mayumi Yoshida who is the writer/director/actor for “AKASHI”.

This film got a very good success and received some awards and you can even watch on the flight Air Canada. Now, this film’s been invited some short film festivals in New York. One of them is the NBC-Universal short film festival. AKASHI has been chosen one of 16 from 4200!

We are so pleased and happy to get there.

Thank you so much for your support!

Yayoi

 

NBCU Short Film Festival

NBC Announces Semi-Finalists For 12th Annual NBCUniversal Short Film Festival

“OKUNI” , 1600s’ Fashion Maniac !

「歌舞伎の母として知られる出雲の阿国はファッションマニアだった!」

fashionmaniac_s
How about getting fashion and style inspirations from a historical fashion icon who lived in Japan more than 400 years ago? Her name is Okuni -was an extraordinary dancer and later known as “the Mother of Kabuki”.

This lady Okuni from Izumo, Japan started her career as a dancer at shrines. Then she began performing new styles of dancing. Her passion and uniqueness made herself so popular that she draw large crowds wherever she performed.

Her uniqueness was not only about her dance style. Her costumes were always innovative,too.  It’s said that she had even worn Christian cross on a necklace just as an element of her eccentric fashion sense.

Today's Kabuki -Image of Cinema Kabuki event
Today’s Kabuki

Today’s Kabuki dance is performed by male only. (Photo image is from Cinema Kabuki event, in Vancouver on Feb 19th (sun) 2017 .)But who started it in 1600s was a female who was a fashion maniac! Isn’t this very interesting? Yayoi Hirano was also fascinated by Okuni’s unprecedented life so much that she has spent years to develop this one of a kind show “OKUNI”with over 50 costumes and items for alone stage of 70 minutes performance.

デザイン、ファッションを学ぶ人にはぜひご覧いただきたい舞台です。

————————————————————————

Vancouver International Dance Festival 2017
“OKUNI” – Mother of Kabuki
3月1日~10日@Studio1398(グランビルアイランド内)
* Info & Ticket *
http://vidf.ca/performance/yayoi/

Our new project

YTM will be producing a  new stage  project about the life and times of the woman who started Kabuki. Although Kabuki is now a male dance form in Japan, a female, Okuni, is recognized as founder. Okuni started as a Miko dancer (Shrine dancer) later studying other dance forms. As her popularity grew she was also known to wear a cross and Portuguese influenced costumes, very unique and daring for the early 1600’s.

A time of changing era’s in Japan from  Toyotomi to Tokugawa,  the capital had shifted from Kyoto to Tokyo. Okuni was very popular in Kyoto, but had also been invited to dance in Tokugawa’s Edo castle.

Around 1615, she disappeared with no exact historical record of any details.

One historical fact gives a bit of a clue. In 1614, a famous Daimyo Ukon Takayama was banished from Japan and sent to Manila with his followers, because he was a Christian.

Is there any connection?

It is worth noting that female Kabuki was banned by the government in 1629 followed by a ban for young men in 1652. In 1653, the government allowed only adult men to perform; to this day only males are officially performing  Kabuki.

The show will be on Granville Island at Studio 1398 from March 1st to 10th 2017.

 

来年3月に予定している公演は、「お国歌舞伎ー1600」~歌舞伎の誕生 です。

この公演は、歌舞伎の創始者である、出雲のお国を取り上げています。お国が活躍したのは、豊臣から徳川に移行する時代から、徳川の初期です。出雲大社の巫女だったお国が、京都に出てきて、巫女舞から独自の踊りで一世風靡する。どんな人生だったのでしょうか?その頃、人気が出てきていた、ポルトガルの衣装を着けて、キリスト教の十字架を付けて舞っていた、という版画が残っています。

江戸初期の京都の生活はどんなものだったのか、お国が何故、一世風靡したのか。どんな踊りを踊っていたのか、そして、1615年に突然、歴史から消えてしまったのは、何故なのか。

ちなみに、1614年にキリシタン大名として有名な、高山右近が仲間と共に国を追われ、マニラに追放されます。

また、女歌舞伎は、1629年に禁止され、若衆歌舞伎は1652年に禁止。野郎歌舞伎として、男性だけで演じられる現在の歌舞伎のスタイルが確立したのは、1653年でした。

 

公演は、グランビル・アイランドのスタジオ1398で、3月1日から10日まで。詳細はまた!

“KIMONO de Party” photographs are now available

[columns] [span4]

KIMONO de Party photo

[/span4][span8]

“KIMONO de Party” photographs taken by Yukiko Onley are now available.

Here is the link to view photographs Yukiko Onley took at “KIMONO de Party” .
http://gallery.me.com/yukikoonley#100339

・How to recieve high-resolution-files

Step 1 : Choose a photo(s)
Contact with Yukiko and tell the number of the photo you like to have.

Step 2 : Make a payment
The first photo is included in $15 you paid. Any extra photo is $5 each.
Please send cheque to the address below.
Yukiko Onley 2075 Alberta St. Vancouver BC. V5Y 1C4
If you don’t have cheque, you can either come to pay me or I can come to you to receive your payment.

Step 3 : Recieve a photo(s)
Yukiko will e-mail you a high-resolution-file(s).

If you have any questions about photographs / payment, or for more details, please contact with Yukiko Onley directly.
Yukiko Onley Contact info

Yukiko Onleyさん撮影 “KIMONO de Party” 写真

下記 写真がアップされているリンクです。
http://gallery.me.com/yukikoonley#100339

●高画質ファイルの受け取り方
ステップ 1 : 写真の選択
気に入った写真の番号をYukiko Onleyさんにお知らせください。

ステップ2 : 支払い
写真は、一点のみお支払いいただいた$15に含まれています。それ以外は一点につき$5です。
お支払いは、下記アドレスへチェックを送付ください。チェックがない場合や現金の場合は、直接届けていただくか、Yukikoさんが受け取りにいくこともできます。
Yukiko Onley 2075 Alberta St. Vancouver BC. V5Y 1C4

ステップ3 : データの受け取り
Yukikoさんより、Eメールで高画質データファイルを送ります。

写真や支払いについての質問や詳細は、直接Yukiko Onleyさんにご連絡ください。
Yukiko Onleyさん 連絡先

[/span8][/columns]

 

Volunteer Needed

We are looking for volunteers for promotions, hair& make-up artists, and dressers etc
Sakura Days Japan Fair on April 2nd and 3rd at VanDusen Botanical Garden
Identity Ancestoral Memory on May 12th to 14th at Arts Club Venue Stage in Granville Island
These are perfect opportunities not only for the people who love theatres, arts, or Japanese Culture but also someone who is interested in seeing new people to have a great experience all together.
If you are interested, Please Cantact us.

SHINJU – 2008 –

[columns] [span4]

[/span4][span8]

Shinju Project Description

SHINJU is a fully realized 75 minute dance/theatre production. It has very traditional Kabuki elements as well as some very unique elements. The actors/dancers are dressed in beautiful and colorful Japanese kimono costumes.  Their faces are completely painted white with red and blue accented eyes and lips.  Kuroko (invisible performer dressed in black) move about the stage seamlessly helping actors get changed on stage, striking and moving props. Actors/dancers perform Kabuki style dance routines. However, SHINJU also has some very unique elements. Live music is played through out the show, which is consistent with traditional Kabuki, but the sound is truly a fusion of  western and eastern musical instruments and celebrate this unique musical mixture. Sara Davis Buechner plays selected music from Bach to accompany the two main characters duets. Wendy Bross Stuart plays Koto, a 13 string Japanese instrument and the Shamisen, a 3 string Japanese guitar. Minoru Kofu Yamamoto plays Shakuhachi, a bamboo flute.  They both improvise as the dancers moved about the stage miming.

 

Review from “the Bulletin”

At : Performance Works Vancouver,  Oct 30 to Nov.2 2008

I found myself drawn in from the beginning, when Yayoi and the exquisite Manami Hara applied their perfect makeup without a mirror, (impressive in itself!)  transforming and becoming their characters. Much of the movement was simple- such as the first time the lovers cross paths, circling the stage in smaller and smaller circles until they pass, pause, lean back slightly, then continue their orbits – yet able to communicate such complex feelings.  Though the performance style was based on Kabuki, there were other influences at play- including a brief and delightful leap into classical ballet- and I was struck by the similarities with, say, Commedia d’el Arte, and the universality of some of the archetypes.

We laughed. We cried. We hoped for the lovers’ success.

All of the performers were strong. Thomas Conlin Jones depiction of the aunt was a particular stand out, and Peter Hall seems to have found a true home here in this style.  But it was Manami Hara and Yayoi who carried the story, and especially the deep pathos and amazing physicality of Yayoi that brought us all to tears in the end.

( by Paula Jardine)

Classic tale, modern twist
SHINJU: Tragic love story adapted from 18th century kabuki

BY STUART DERDEYN/ PROVINCE
Set in 1703 in Osaka, Japan, Shinju is a tale of tragic love. Set amidst class conflicts and life’s cruel twists, the love between Toku and Ohatsu includes a “til death do us bring together” climax
that is certain to remind many of one Bard’s Romeo and Juliet.
In fact, the popular 18th-century kabuki theatre piece was based on a true story written by Monzaemon Chikamatsu.
Now adapted to a modern context by Yayoi Theatre Movement as a dance and movement piece by Yayoi Hirano and Manami Hara, the story morphs into a different kind of theatrical work entirely from its traditional classic kabuki. Featuring Yayoi, Hara, Peter Hall and Tomoko Hanawa, the show also boasts musical ccompaniment ranging from J.S. Bach to unique new traditional ompositions played by ace pianist Sara davis Buechner, Wendy Bross tuart and Minoru Yamamoto.
It’s yet another development for a play that actually started its life as a bunraku, or puppet, piece.
“The original writer adapted it into a theatrical work from a puppet show””says Manami Hara. “It was adapted to multiple film reatments as well.”
“Owing to the similarity to Romeo and Juliet, it is a very universal story that can easily be understood as a kabuki and movement piece to non-Japanese audiences,” says Yayoi Hirano. “That we are women performing it is not as much of a surprise, because this has been done many times before, even in the original form.”
Since relocating to Vancouver, Yayoi Theatre Movement has performed a number of challenging and awardwinning avant-garde works based upon traditional Japanese classics. She still loves to tell the original stories, but likes to incorporate a good deal of new conceptual matter into her pieces.
“We started working on this about two years ago,” says Hirano. “This is not a very long time when you think about the original score and having to order the custom wigs for the various characters and so on.”
While Hirano is a world-acclaimed,Japanese-schooled artist, Hara is a graduate of Langara’s Studio 58. Was it an eye-opener for the two actors to work together coming at it from two different training disciplines?
“From my point of view, I have no knowledge of how the Japanese artist acquires their skills,” says Hara. “So this means that Yayoi is my guru and I am a student in this trying to figure out the Japanese art. Very rewarding.”
“Japanese movement is a specific skill of continuous motion hard for the Western artist to understand at times,”
says Hirano. “You have to know in your body about when to pause.”
“You have to understand what those pauses mean, too,” says Hara.
So try to imagine Romeo and Juliet told with white-faced kabuki actors. They are moving along to live music from the WEAM (Western European art music) canon that often relies on you grasping the storyline through study of the motion and the aid of occasional chorus. That’s the concept behind Shinju. Sort of.

“There is also the element of some improvisation during the show,” says Hirano. “If the actors do something slightly different, the musicians need to follow along with us.”
Expect to be taken on a journey spanning ages and arts.

[/span8][/columns]

 

Mothers – 2007 –

[columns] [span4]

[/span4][span8]

With the wide spread use of computers and video games, interpersonal relationships have changed and become perhaps weaker and less significant in today’s society.
The most fundamental of all relationships is the connection between a mother and a child.
This project, “Mothers”, with four contributing artists will consist of four different stories based on Japanese, Jewish, Canadian First Nations and Chinese legends. The aim is to look at how mankind can live through exploration of these stories noting their similarities and differences.

Yayoi Hirano, the project’s initiator, has previously created/produced, directed and performed mime & dance performances drawn from Japanese legends using traditional Noh and Kabuki style.

In 2005, she performed “Celebration of Life: Four Seasons”, which told four different-aged women’s stories from historical Noh scripts. (Yayoi, a breast cancer survivor, initiated this performance as a fundraiser for the BC Cancer Foundation and the VGH&UBC Hospital Foundation raising over $8,000.) Yayoi used visual images in this performance as a new trial, and now in the next project she would like to explore the potential/effective use of images on screen further in depth.

In addition, through performing stories of four different ethnic groups in one play, a message Yayoi would like to send to the world from Vancouver, an ethnically diverse city, is the importance of understanding, respecting and learning from other cultures.

Audience review
“your performance last night was marvellous, as was Wendy’s music and the performances of the other young dancers you collaborated with. it was all quite spell-binding — and so creative in many different ways. the 3 pieces, each very different from the others, worked together beautifully. your performance as the mother from Sumidagawa was very poignant — such beautiful movement & voice. Bridget & i both hope that lots of people will come out to see it.
with many congratulations from both of us” ~Daphne ~

“YES indeed. MQ and I and Fred and Pauline went last night — really loved the final piece, amazing and wonderful and moving. The expressiveness of the body makes for expressiveness in the apparantly inert mask — that is as much the mask-maker’s skill as the mimeist’s (mimic’s?). The whole evening well- well- well-worth seeing / doing. Thanks for telling us about it.” ~Peter Quartermain ~

“Congratulations!
I very much enjoyed your performance on Thursday. It was funny, cute, and moving. Junko-chan couldn’t stop crying after ‘Sumida gawa’.”

“I had the chance to see your play mothers few weeks ago. I was astonished by the beauty and the simplicity of this work. The work was outstanding in terms of the little props were used and how the idea was conveyed with little tools. The music was outstanding as well.”

“You were simply magnificent last evening. I enjoyed all of the dances
immensely, and particularly the last one, which affected me deeply. Totemo
kondou shimashita.”

“Thank you for a very impressive evening of theatre. It was magnificent & imaginative, well directed & performed with precision & inspiration.
You did real well & the company is great. I very much liked the puppetry & mask work. I sat in the front row & was quite close to the kodo & piano & the music was beautiful. Thank you so much & thanks too to your company.
Again many thanks.” ~Txi ~

[/span8][/columns]

STORIES – 2006, 2007 –

[columns] [span4]

[/span4][span8]

Stories

Based on a Jacques Ibert composition, “Stories” consists of ten short stories. Yayoi’s choreographic interpretation helps to bring each piece to an immediate visual reality. The stories characters themselves are realized in the faces of tendifferentJapanese Noh-style masks Yayoi has carved, but their personalities are even more vividly fleshed out in her body movements and rhythmic translation of the music’s mood.

Yayoi’s approach to build characters goes beyond the actual title of each piece, the mood of the music and Ibert’s actual diary being a significant influence. For example in “The abandoned Palace”, a half young half old mask shows how the ghost in the Palace used to be. On the other hand, in “The old beggar” she expresses in three minutes an old female beggar’s physical and deep emotional situation

About Jacques Ibert

Defining the style of the unjustly neglected French composer Jacques Ibert is not a simple matter. There is something of the Neo-Classicism of Poulenc or Stravinsky to him, and his understated yet keen coloration brings to mind the succinctly riant oil canvases of Raoul Dufy. Yet this collection of ten sparely evocative piano pieces also invites comparison to earlier important programmatic collections, notably Emmanuel Chabrier’s ten Pieces Pittoresques (1881) and Claude Debussy’s two books of Preludes (1910 – 13). The similarity to the latter is immediately apparent from the way in which Ibert’s titles are printed in the score — at the end of each piece rather than at the head of the title page. Debussy invented this practice in his Preludes as a way of inviting the performer to conjure up his or her own poetic imagery before being influenced by the

composer’s vision.

About the MusicAbout the Music

 

Titles :

La meneuse de tortues d’or (Leader of the golden turtles)
Le petit ane blanc (Little white donkey)
Le vieux mendiant (The old beggar)
A giddy girl
Dans la maison triste (In the sorrowful house)
Le palais abandonne (The abandoned palace)
Bajo la mesa (Beneath the table)
La cage de cristal (The crystal cage)
La marchande d’eau fraiche (Merchant of cool water)
Le cortege de Balkis (Procession of Queen Balkis)

Ibert wrote little for the piano, depite being thoroughly at home with the instrument. His small output is nonetheless consistently on a high level, as exemplified by these miniature masterpieces. Gerard Michel defines Ibert’s use of the title Histoires as being a kind of narration to children. The texture of the pieces is at times thin, and technically some can be played by a young person. But the musical style itself demands familiarity with debonair, urbane Gallic sophistication. Some of the titles are deliberately obscure: La meneuse de tortues d’or, Bajo la mesa, La marchande d’eau fraiche, Le cortege de Balkis — all snapshots of travel to exotic locales like Tunisia and Algeria, complete with unusual encounters with the locals. The other pieces are closer to home, images of remembered people and haunting places.

[/span8][/columns]