ohashi profile

■DA-M

In 1986, after eight years of organizing a theater, director Hiroshi Ohashi along with some actors of this group established Theater D-AM. The name DA-M has no particular meaning but it is an unknown code for the audience and the performers. It is the motivation of DA-M to ask what DA-M is. DA-M acquired the theater space “Proto-Theater” and organizes body/mind training year round. They are energetically creating experimental work in collaborating with artists of diverse disciplines throughout the world. They consistently refuse to enact an existing text and create a stage experience that reaches beyond the limits of language. Their works are composed with fragmented movement, voices and words made by the body in the here and now. Proto-Theater has been utilized for various workshops and solo and
collaborative performances, and its creative environment has also contributed to interactivity between unknown art fields. Since 1995 DA-M began to perform outside of Proto-Theater in various theater spaces and at international theater festivals. Through deepening their method of improvisational body movement, they create stages filled with uncertain life that exists beyond meaning and that does not belong to the consumer system of the big city. Critics have praised their theatrical creativity that moves towards the unknown while mixing the primitive with the modern. As a major participant of the Asia Meets Asia International Theater Festival since 1997, DA-M has contributed to the developing interactivity between Asian theaters.
1986 “HARE HORE FURARA” at TOGA International Theater Festival.
1986 “Sanctuary,” Japanese and American co-production.
1989?1992 “Composition” Vol. 1 ? 12.
1992? 1995 “Experimental Theater Series” Vol. 1 ? 22.
1994?1995 “Dreams” Vol. 1 ? 3.
1995 “That is not my dream” at Sendai Theater Festival.
1996 “Lesson ? My portrait that is framed by the dream”
1997 “walking” at Avignon Theater Festival Off.
1998 “Daydream Horizon Impro.” at Asia Meets Asia 1998.
1999 “Il Vulcano”
“Unbearable Dream,” co-production with Hong Kong theater
2001 “When we stop eating tomatoes” at Asia Meets Asia .
“When we stop eating tomatoes”version3 at Kampnagel, Humburg. Laokoon
Summer Festival
2003 “Unbearable Dream２” co-production with Hong Kong-based heater
and Taipei-based theater, in Tokyo & Taipei.
2004 “aruku” at Arts Festival “Peace and Respect” in Kyrgiz.　
2004 “aruku” at Art Summit Indonesia in Indonesia.　
2005　"Happy Birthday" callaboration work with Hong Kong artists

http://homepage3.nifty.com/da-m/index.htm

■HIROSHI OHASHI started his theater career while he was in college. In 1978 he founded Waseda Shin Gekijo Theater and became its artistic director. He has produced and directed 20 theater works in unconventional performance spaces that include tents, abandoned houses, and music clubs throughout Japan. His deconstructions of the texts of Shakespeare, Wilde, and Beckett created a totally new stage experience--full of irrational laughter and madness combined with a sharp critical perspective. Both audiences and critics have praised these productions. In 1986 he dissolved Waseda Shin Gekijo Theater and with some of its actors founded DA-M, which aims to create performance that reaches beyond modern theater practice in an adventure into the unknown. After living in New York for a brief period in 1987 and 1988, he has been continuously presenting experimental works based at DA-M’s Proto-Theater.　He is developing a new, theatrical creative power that confronts contemporary questions. His method is not based in conventional theater practice but combines a Japanese sense of the dynamic body with a quality of “irreproducibility” that is evident in modern paintings and music. Since establishing DA-M he has produced and directed more than 90 theater pieces including many collaborative works with artists from diverse fields. He also teaches at various schools and universities. Since 1997 he has organized Asia Meets Asia International Theater Festival in Tokyo, which has contributed to the development of the intercultural movement between Asian theaters.

■協川海里　Kairi Wakikawa

Director of IMAGEIOERA, he is a Buto dancer who learned from Kazuo Ohno, Akira kasai, who are very famous all over the world.
Kairi is very interested in the text(words), and he is thinking of how to creat new dance with the text which has critical elements for the modern society civilization.

He found IMAGEIOERA, a dance company, 2003,Tokyo. He has been seeking new forms of body language and metamorphosis from conventional mindset of physicality. His recent work The Oil Field II which was projected as a criticism allegorically (or like cursing) against the highly developed capitalism. It was inspired by an Italian aster, Paolo Pasolini's past works. From Pasolini viewpoint, the consumerism society is a truly intolerable fascism. But the capitalism is more and more developing around the world. Is it impossible to re-design another world model alternatively? How could the future be, if only for hedonism? . Whatever the answers could be, we are gasping, seeking for pleasure and despairing faraway from the triangle of Africa, Europeand America.

■AKIHIRO NAKAJIMA was born in 1973 and studied Art History in college, where he began to participate in various theater workshops and to perform. He joined DA-M in 1998 and played in “Unbearable Dreams” in Kong,2000, “When we stop eating tomatoes” at Humburg in 2001 and “Yes” in 2002. "aruku"at Kyrgyz,Indonesia in 2004.

■DA-M In 1986, after eight years of organizing a theater, director Hiroshi Ohashi along with some actors of this group established Theater D-AM. The name DA-M has no particular meaning but it is an unknown code for the audience and the performers. It is the motivation of DA-M to ask what DA-M is. DA-M acquired the theater space “Proto-Theater” and organizes body/mind training year round. They are energetically creating experimental work in collaborating with artists of diverse disciplines throughout the world. They consistently refuse to enact an existing text and create a stage experience that reaches beyond the limits of language. Their works are composed with fragmented movement, voices and words made by the body in the here and now. Proto-Theater has been utilized for various workshops and solo and collaborative performances, and its creative environment has also contributed to interactivity between unknown art fields. Since 1995 DA-M began to perform outside of Proto-Theater in various theater spaces and at international theater festivals. Through deepening their method of improvisational body movement, they create stages filled with uncertain life that exists beyond meaning and that does not belong to the consumer system of the big city. Critics have praised their theatrical creativity that moves towards the unknown while mixing the primitive with the modern. As a major participant of the Asia Meets Asia International Theater Festival since 1997, DA-M has contributed to the developing interactivity between Asian theaters. 1986 “HARE HORE FURARA” at TOGA International Theater Festival. 1986 “Sanctuary,” Japanese and American co-production. 1989?1992 “Composition” Vol. 1 ? 12. 1992? 1995 “Experimental Theater Series” Vol. 1 ? 22. 1994?1995 “Dreams” Vol. 1 ? 3. 1995 “That is not my dream” at Sendai Theater Festival. 1996 “Lesson ? My portrait that is framed by the dream” 1997 “walking” at Avignon Theater Festival Off. 1998 “Daydream Horizon Impro.” at Asia Meets Asia 1998. 1999 “Il Vulcano” “Unbearable Dream,” co-production with Hong Kong theater 2001 “When we stop eating tomatoes” at Asia Meets Asia . “When we stop eating tomatoes”version3 at Kampnagel, Humburg. Laokoon Summer Festival 2003 “Unbearable Dream２” co-production with Hong Kong-based heater and Taipei-based theater, in Tokyo & Taipei. 2004 “aruku” at Arts Festival “Peace and Respect” in Kyrgiz.　 2004 “aruku” at Art Summit Indonesia in Indonesia.　 2005　"Happy Birthday" callaboration work with Hong Kong artists http://homepage3.nifty.com/da-m/index.htm	■HIROSHI OHASHI started his theater career while he was in college. In 1978 he founded Waseda Shin Gekijo Theater and became its artistic director. He has produced and directed 20 theater works in unconventional performance spaces that include tents, abandoned houses, and music clubs throughout Japan. His deconstructions of the texts of Shakespeare, Wilde, and Beckett created a totally new stage experience--full of irrational laughter and madness combined with a sharp critical perspective. Both audiences and critics have praised these productions. In 1986 he dissolved Waseda Shin Gekijo Theater and with some of its actors founded DA-M, which aims to create performance that reaches beyond modern theater practice in an adventure into the unknown. After living in New York for a brief period in 1987 and 1988, he has been continuously presenting experimental works based at DA-M’s Proto-Theater.　He is developing a new, theatrical creative power that confronts contemporary questions. His method is not based in conventional theater practice but combines a Japanese sense of the dynamic body with a quality of “irreproducibility” that is evident in modern paintings and music. Since establishing DA-M he has produced and directed more than 90 theater pieces including many collaborative works with artists from diverse fields. He also teaches at various schools and universities. Since 1997 he has organized Asia Meets Asia International Theater Festival in Tokyo, which has contributed to the development of the intercultural movement between Asian theaters.
■協川海里　Kairi Wakikawa Director of IMAGEIOERA, he is a Buto dancer who learned from Kazuo Ohno, Akira kasai, who are very famous all over the world. Kairi is very interested in the text(words), and he is thinking of how to creat new dance with the text which has critical elements for the modern society civilization. He found IMAGEIOERA, a dance company, 2003,Tokyo. He has been seeking new forms of body language and metamorphosis from conventional mindset of physicality. His recent work The Oil Field II which was projected as a criticism allegorically (or like cursing) against the highly developed capitalism. It was inspired by an Italian aster, Paolo Pasolini's past works. From Pasolini viewpoint, the consumerism society is a truly intolerable fascism. But the capitalism is more and more developing around the world. Is it impossible to re-design another world model alternatively? How could the future be, if only for hedonism? . Whatever the answers could be, we are gasping, seeking for pleasure and despairing faraway from the triangle of Africa, Europeand America.
	■AKIHIRO NAKAJIMA was born in 1973 and studied Art History in college, where he began to participate in various theater workshops and to perform. He joined DA-M in 1998 and played in “Unbearable Dreams” in Kong,2000, “When we stop eating tomatoes” at Humburg in 2001 and “Yes” in 2002. "aruku"at Kyrgyz,Indonesia in 2004.