People in the Dunes (physical theatre work)

People in the Dunes is a work of physical theatre for movements, sound and their interactions. (See more details below.)

[Creators and Performers]
Choreograph: Bettina Hoffmann
Sound: Haruka Hirayama
Movements: Mitsuko Aoki (Butoh), Haruhiko Itoh (Butoh), Keke (Contemporary), Asako Kurematsu (Contemporary), Nana Suzuki (Contemporary) etc.

[Performance Dates]
7 July, 2018
Tamagawa Music Day Festival (admission free)
107 UCH, Tamagawa University, Tokyo

17 July, 2018
A Special Performance (admission free)
6-113, Kunitachi College of Music, Tokyo

3 August, 2018
A combined performance with Atelier Beni (admission fee is uncertain)
Terpsichore theatre, Nakano, Tokyo

[About the Programme]
People in the Dunes is a work of physical theatre for movements, sound and their interactions.

People in the Dunes is just a title for the performances. It relates to a novel by Kobo Abe, The Woman in the Dunes (a film was also made in 1964) which conveys the feelings of a man that feels trapped in his live, his circumstances that he did not choose, that he cannot get away from but in the end finds himself in a place where he can live his live. This could be an interesting metaphor for our society, and an interesting development of the man away from job, position, prestige, and being adapted to society’s norms towards a live that is simple and that allows him to look at the basic elements of live to find pleasure and meaning in them, he finds freedom.

A “theme” here is notions of imbalance and balance, the exploration of disparate movements in an antagonistic environment with sound. The theme can be interpreted in many different ways, and this work consists of four key elements:

1)  Movements (Butoh, Contemporary, Break dance etc.)
Contrasting dance styles and qualities, (e.g. Butoh, inwards force and sustained movements, versus contemporary dance forms, outwards force, fast movements and sudden changes etc.) will be stimulating to address notions of balance/imbalance and will lead to versatile results.

2) “Office” as a Scene
The functional, efficient, bureaucratic, non-empathetic is opposed to the artistic, expressive dance. In this physical theatre, seemingly disparate movements are placed in an antagonistic environment and atmosphere of an office. Dancers who do unexpected, destabilizing movements in an office environment make their own humanness, vulnerability and individuality appear, in a system, that rather uniforms people to function, like soulless robots or machines. Common arid and extemporised sound such as machine, chairs-creaking, typing sound as well as speaking voices can be drifting there, and their rhythms or patterns may create a peculiar atmosphere, telling characteristics of an imaginary office. 

3) Sound
We would be using the evocative and sensual nature of sound to emphasis the immediacy of movement and its physical presence. Movements can generate various sounds, and if once they are separated from bodies or objects, they can drift like souls, surrounding a space with characterising it, and sometimes they could even have a conducting force toward bodies. Having for examples spoken words, we would comment on the physically individual and the dissemination of personal and identifiable data, while in the end, make the individual disappears in the noise, fulfilling multiple functions in a space defined as an office.

4) Motion Capture
The immediacy of movement, the presence and relations of the dancers and the space nature would be emphasised by the fact that they influence the sounds. Motion can be captured with a video camera and/or sensors in space and on the body. The intention is that sound-play-back or sound alterations should be initiated by the performers to follow and respect their movements (not the other way around), leaving space for improvisation.  

Tama Contemporary Music and Art Festival (東京)

[Lecture Concert]
Date: 3 March, 2018
Time: 14:00~(Concert 1)
Venue: Meisei University, Tokyo
Work: Capriccio for Horn and Live Electronics
Horn: Aya Hiramoto
Video Collaboration: Takashi Miyamato
Admission free, Reservation is required.

日程: 2018年3月3日
時間: 14:00~ (コンサート 1)
会場: 明星大学(東京 日野)
作品: ホルンとライブエレクトロニクスのための奇想曲


平本彩/Aya Hiramoto (Horn)
12歳よりホルンを始める。桐朋学園大学卒業、同大学研究科修了。第五回ジュニア管打楽器コンクール第3位。大学在学時、京都国際音楽学生フェスティバル、音楽大学合同フェスティバルに選抜学生として、ラ・フォル・ジュルネ2015に桐朋学園大学オーケストラとして参加。2016年小澤征爾音楽塾オペラ・プロジェクトⅩⅣに参加。2014年にシンフォニエッタ・ソリーソと、2017年に横浜交響楽団とR.シュトラウスのホルン協奏曲第1番をソリストとして共演。現在、桐朋学園大学嘱託演奏員、洗足学園大学準演奏要員を務める。Ensemble WITZE(木管五重奏)、Horn Ensemble Pace各メンバー。その他フリー奏者として、室内楽、オーケストラや吹奏楽への客演のほか、吹奏楽部への指導や個人指導において後進の育成にあたっている。これまでにホルンを根岸伊智郎、猶井正幸、田場英子、溝根伸吾、高橋将純の各氏に、室内楽を佛坂咲千生、猶井正幸、岡本正之、鈴木良昭、亀井良信、蠣崎耕三の各氏に師事。









KLAVIER AKTUELL 2018: Klavier und Electronic II (Germany)

Concert: KLAVIER AKTUELL 2018: Klavier und Elektronik II
Date: 23 January 2018, 7:30 pm
Place: Neues Museum, State Museum for Art and Design Nuremberg
performers: students of the seminars of contemporary piano studies and electronic composition of University of Music Nuremberg
Work to be programmed: Septangle for piano and live electronics (2006)
Further details:
Hochschule für Musik Nürnberg



保護中: Harpsichord + Electronics Project (JP/NL)


Lecture in graduate school at Kunitachi College of Music

Subject: Music and Media
Date: 8 December, 2017
Time: 10:40~12:10
Place: Computer Music Studio (Sonology Dept.), Kunitachi College of Music
(Tachikawa, Tokyo)

* You need permission to get involved in. If you’re interested in please give me a contact.



iCLA Music/Brain Symposium 2017 (山梨)

Download the programme

[Presentaion + Demo]
An approach to creating a theatre piece, applying brainwaves: as an example of bio-art performance

(Tamagawa University/Tokyo Denki University)
(Meisei University)

Date: 27 October, 2017
Place: iCLA, Yamanashi Gakuin University, Yamanashi, Japan(iCLA, 山梨学院大学)
Organised by: iCLA (International College of Liberal Arts)
More info:

This presentation proposes a method to interpret the data of human brainwaves (EEG) into images and musical notes in order to represent mental states by multimedia performance. This presentation also describes an example of theatrical output that explores relations between some elements that are expected to influence the levels of stress, concentration, or relaxed feelings and actual performer’s brainwaves reactions-the arousal levels of brain—proposing an example of bio-art performance.

During the performance, the data of brainwaves is translated into eight types of images according to frequency ranges, as well as musical notes, and the strongest signal every 0.5 seconds is defined as the primary image and as a note for an instrument, using Processing and the Bach library for Max/MSP. In the piece, two actor(s)/actress(es), one of whom wears a brain sensing headband, play out scenarios in an extemporised way.

This work has been performed repeatedly, but the latest performance at the 2017 International Computer Music Conference (ICMC) in Shanghai resulted in the discovery of very interesting phenomena, involving real-time feedback from the audience. Although the technology utilised in this work may have been primitive, the outcomes of this performance could suggest the possibility of a new type of multimedia bio-art theatre piece.





International Computer Music Conference 2017 (上海)

Date: 2017/10/16-20
Venue: 上海音楽学院, 中国/Shanghai Conservatory of Music, China

Work: 脳波を用いたチェロ、ライブエレクトロニクスと、画像処理のためのマルチメディア・インプロヴィゼーション/Multimedia improvisation with brain waves for cello, live electronics and image processing
(H. Hirayama, M. Yokoyama)

Tamagawa Music Festival (東京)

日時/Date: 2017年9月28日(木)

時間/Time: 15:00~, 17:00~ (2公演, 同プログラム)  *入場無料/要予約

場所/Place: ヤマハ銀座店, Yamaha Ginza (Ginza, Tokyo)


作品/Work: ホルンとエレクトロニクスのためのCapriccio (2017, 世界初演)
演奏者/Performer: 佐々木希実(ホルン/Horn), 平山晴花(エレクトロニクス/Elect.)

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