CONTENTS

THE HEART OFPERFORMINGARTS IN JAPANT

he New National Theatre,
Tokyo (NNTT) is Japan’s firstand foremost national theatre for the contemporary
performing arts. Since thedoors of our world-class, state-of-theart theatre opened in 1997, we havestaged an incredible array of productions, totaling more than 750.
The performance season runs
from October to July of each year. Ina single season, we offer some 300
performances. Each of our threedivisions (opera, drama and ballet &dance) has its own artistic director
who is responsible for the high-standard performances our audiences havecome to expect.
Meanwhile, nearly 400 young
artists graduated from our training
courses in opera, ballet and drama, andcan be seen frequently at the NNTT and—2—other prestigious theatres throughout
the world. With the aim of fostering anappreciation for the performing arts,
the NNTT also provides several programmes for youth throughout Japan.
Moving forward, we will continue
our endeavours to ever increase thecaliber of our productions, and we willcontinue to stand as a symbol of therich cultural offerings of Japan, both on
the domestic and international stage.

A BRIEF HISTORY OF THE NNTT
Apr 1966
			
May 1980
			
May 1986
			Aug 1992
Apr 1995
			May 26, 1997			
Oct 10, 1997			
Apr 1998
Apr 2001
Apr 2005
Oct 2007
Oct 2017

The bill to construct a new national
theatre passes.
The site at Honmachi, Shibuya-ku, Tokyo,
is selected.
Architect Takahiko Yanagisawa is selectedby competition.
Construction of the theatre begins.
The theatre is officially named the New
National Theatre, Tokyo.
The completion ceremony of New
National Theatre, Tokyo is held.
New National Theatre, Tokyo opens with aperformance of Takeru.
NNT Opera Studio opens.
NNT Ballet School opens.
NNT Drama Studio opens.
NNTT celebrates its 10th anniversary.
NNTT celebrates its 20th anniversary.

Message from the President

5

Opera

6

Ballet & Dance

10

Drama

14

New National Theatre Chorus

18

The National Ballet of Japan

20

Opera Palace

22

Playhouse

24

The Pit26

International Collaborations

28

Regional Tours

29

Young Artists Training Programme30

Performances for the Youth32

Information Centre,
Stage Set & Design Centre,
Exhibition

34

Events & Talks

35

Patronage and Support

36

Guest Services

37

Floor Guide

38

Management Organisation

40

Tickets & Access42

T

he New National Theatre, Tokyo (NNTT) opened in
the autumn of 1997 as Japan’s only national theatre forthe contemporary performing arts. Since then, the
NNTT has continued to produce many memorable,
world-class performances every year under theartistic directors in the three divisions of opera, ballet & dance,and drama. We would like to extend our heartfelt gratitude to
everyone who has supported us thus far.

Along with creating performances, nurturing the next generationof artists is another important role of the NNTT. We offer three
young artists training programmes—in opera, ballet and drama—
to foster professional opera singers, ballet dancers and actors.
Graduates from these programmes are currently performing not only with the NNTT but
extensively throughout Japan and internationally.
And mindful of theatre’s role in society, at NNTT we also proactively carry out initiatives tobring performing arts to as many people as possible. In addition to offering performances
intended to appeal to young people, regional performances across Japan and collaborations
such as co-productions with theatres both in and outside Japan, in recent years we have also
worked on improving accessibility for theatregoers with disabilities, introduced streaming of
performances and used the theatre’s open spaces to exhibit stage costumes, props and more.
The rapidly changing global situation of late has brought significant changes and challenges
to the world of theatre. But it is in times like these where we should be more aware than everof our mission at the NNTT to “contribute to the sustainable development of an emotionallyrich and vibrant society”. Now is the time to proactively consider new ways of staging andperforming that can adapt to changes in society, as we continue creating performances andproductions that provide hope and comfort to our audiences.
We at the NNTT will continue to be a global launch pad, disseminating performing arts fromJapan into the world, and look forward to your kind support now and in the future.

ZENIYA Masami
PRESIDENTNEW NATIONAL THEATRE FOUNDATION—5—BALLETOPERA& DANCE—6—

OPERAT

OPERA

hroughout the years, The
New National Theatre,
Tokyo (NNTT) has produced
high-calibre and groundbreaking operas that havecemented the theatre’s status within
the international performing arts
community.
NNTT was the first opera housein Japan designed specifically to stage
opera and ballet. The theatre allows foroutstanding technical capabilities, andthe operas have garnered high acclaim
from theatregoers and critics alike.
While opera can be seen as intimidating
for the uninitiated, we feel we havemade real contributions towards making opera more accessible in our goal toexpand its fan base.
The New National Theatre Opera(NNTT Opera) has built a repertoryfrom classical masterpieces to contemporary works. In addition,

to around the world. Also, productions ofworks such as Carmen and Orfeo ed Euridice made opera headlines worldwide,
securing the NNTT’s international status.
A top-quality chorus is essential
to opera productions, and the reliable,
high-calibre performance of the New
National Theatre Chorus allows us todeliver quality operas time and timeagain. Members of the chorus are publicly
recruited, and selected after rigorous
screening. Possessing high vocal skills andoutstanding performing ability, they areroundly praised both domestically and internationally by those in the music world.
The NNTT Opera is also making
concerted efforts to grow the fan basefor opera by presenting productions aspart of our Educational Programme forHigh School Students and through otherendeavours.
Moving forward, we will continue todeliver the very best in opera, with theaim of pleasing the most committed fans,
and also sharing the joys of opera withthe wider public.

I want our world
premieres to beopportunities to send
our message ‘fromTokyo to the world’

we are proud to showcase operas
created by homegrown Japanese composers. NNTT has also produced new
operas commissioned from Japanesecomposers. Our efforts in this regard
have paid dividends, for which we arehumbly proud.
Directors and designers, responsible for the visual elements of opera,
draw on those human resources fromaround the world that are best suited
to the work being performed. In this—8—

way they ensure an ongoing run ofworld-class productions. Conductors
and leading performers are also chosenfrom the pool of international artists,combining them with domestic artists,
to imbue works with new life to excite
audiences.
Recently, the commissioned work
A Dream of Armageddon, which premiered in 2020, has received accolades
both at home and abroad as a new
opera that made its way from the NNTTONO Kazushi
ARTISTIC DIRECTOR
OPERA

It is my pleasure to introduce the
New National Theatre, Tokyo under
my direction from the 2018/2019 season. Our Theatre boasts a presence
as one of Asia’s leading opera venues,
and we have maintained our international influence through showcasing—9—

numerous world premieres and new
operas. As Artistic Director, I lookforward to developing our pursuitswith even greater energy.
To achieve this, I aim to utilise myglobal network to invite the world’s
best directors, conductors, stage
designers, dancers, artists and singers
to gather at our Theatre and inject
our creations with vitality, transforming our Theatre into a space that will
present us with much to consider as
21st century inhabitants. I would liketo promote the use of cutting-edge
Japanese visual technology to recreate traditional works, and work withother Asian countries to co-produce
operas in a pan-Pacific alliance. I
want to ensure that our world premieres are opportunities to send ourmessage “from Tokyo to the world”.
I believe that the potential of
opera as a means of expression isgoing to become increasingly meaningful in terms of global-scale humanconnections. And I am positive that
the NNTT will play a significant role
as we enter this era.

BALLET& DANCE— 10 —— 11 —BALLET& DANCEWe aim to give as many
people as possible
the opportunity to
discover the magicof balletOn October 24, 1997,
the curtain went up
on The Sleeping Beauty
at The New National
Theatre, Tokyo. It was
our inaugural ballet performance,
and in the ensuing decades the Ballet& Dance productions of Japan’s
only national theatre for ballet havebecome renowned for graceful renditions of timeless classics and visionary contemporary compositions.
The Opera Palace boasts a builtin orchestra pit and four stages tomeet the needs of various genres,and has become a locus of grand,
multi-act ballet productions. The
resident company of the theatre is
the National Ballet of Japan, formedat the same time as the theatre was
opened. The Company continues topresent performances of world-classquality to the ongoing delight ofballet fans and critics alike.
All ages can meaningfully watch
the performances, from young
children to the elderly. We therefore
work to spread the appeal of balletboth in Tokyo and throughout Japan.
Every Christmas, we perform such

— 12 —YOSHIDA Miyako
ARTISTIC DIRECTORBALLET & DANCEThe National Ballet of Japan (NBJ)
has made remarkable progress since
it was founded in 1997 and we areproud of our wide-ranging repertoire,

BA LLE T & D A NCE

pieces as The Nutcracker and the Mouse
King which can be enjoyed by thewhole family. We also stage the Ballet
for Children in order for youngsters to
be able to experience ballet for the firsttime.
Dance enables freer expression of
the body, readily facilitating experimentation and creation at will. Our
Playhouse and The Pit are designed tofoster collaborations between contemporary artists in music, digital art anddance. The results have been stunning,
and the future is rich with potential.

encompassing 19th century classicalballet, 20th century masterpieces
and recent works by contemporary
choreographers. I believe that we arewhat we are today purely as a result of
my predecessors’ strong belief in thecompany and our dancers’ incredible
hard work. As Artistic Director, I believe that it is my mission to guide thecompany to develop further, utilizing
my international experience, whilst
respecting our legacy.
The focus of our forthcoming
program is on classical ballet, which
I believe is essential for the company
to maintain high standards of performance. Fine contemporary works arealso important, and we plan to present a
wide-ranging lineup of pieces which will
showcase our dancers’ versatility. At thesame time, we will continue to seek out
opportunities for creating new works
to add to the New National Theatre’s— 13 —

rich repertoire. The NBJ also aims todiscover and nurture the choreographic talent of our dancers, aspart of an ongoing project, and webelieve that the inclusion of works
created through this process in our
future performance lineup is vital toensuring its success.
We also wish to create opportunities for charitable activities
through ballet, such as educational
outreach programs and charity performances. Our goal is to become
worthy of being the only balletcompany affiliated to the national
theatre in Japan.
Finally, we aim to continue togrow and cultivate our audience,
giving as many people as possible
the opportunity to discover the
magic of ballet.
Thank you for your continued
support.

BALLETDRAMA& DANCE— 14 —— 15 —

DRAMAT

We have commissioned new works
from gifted playwrights fromseveral countries, and mounted
dramas in joint productions withdirectors and actors from overseas.
Many productions haveenjoyed public and critical acclaim, and have been recognisedwith prominent theatre awards
over the years. In the Kinokuniya
Theatre Awards, Yomiuri TheatreAwards, and Asahi Performing Arts
Awards, the New National Theatre,
Tokyo has been honoured both in
the Group and Grand Prix categories, while a number of directors,
production staff, and actors
involved in our productions
have received individual awards
as well.

tion to timeless classics. Our showsfeature a broad range of talent,
produced by acclaimed veterans of
the industry. The performers cast in
our productions are plucked fromthe world of contemporary theatre aswell as the realm of Japan’s traditional performing arts and dance.
Ogawa Eriko, the Artistic Director of Drama, has also introduced theaudition programme and development projects to experiment withand develop drama systems.
We often take productions toother playhouses across Japan todeliver the magic of theatre to awider audience. Meanwhile, we’realso working to foster international
exchange. A shining example has
been our joint productions withtheatre companies from South Korea.

OGAWA Eriko
ARTISTIC DIRECTORDRAMAAs I join the New National
Theatre, Tokyo as the Artistic
Director of Drama, I am excited to share my passion fordrama with a wide audience.
I am delighted for theopportunity to present a va-— 16 —— 17 —

riety of works, from innovative newpieces to classics. We will continue
to stage productions suitable forchildren and adults alike, and tour
throughout Japan.
One of my pillars is to push theboundaries of experimentation andpioneer innovation. Through a creative process, involving all players,
we will cultivate understanding andimagination that will translate withrich, groundbreaking performances.
I will actively collaborate withcreators from Japan and abroad.
Through cultural exchanges we candevelop the theatre further andenhance drama’s impact on society.
While drama is said to be reflection of the times, the basic form
has not changed from 2,000 years
ago. As one who has the privilege todevote my life to drama, I will strive
to produce the best works, without
neglecting what this theatre hasachieved in the past, and share theenriching world of drama with as
many people as possible.

D R A MA

here is a line in Shakespeare’s Hamlet in which
the tragic Danish prince
opines, “the purpose ofplaying... is, to hold as’twere the mirror up to nature, toshow... the very age and body of thetime his form and pressure.”
Every year the New National
Theatre, Tokyo mounts an ambitious
and diverse programme, shaped by
the creative vision of our Artistic Director, that holds up that proverbial
mirror to our world today, and takes
audiences on a journey that hopefully
shines a ray of enlightenment.
In developing the line-up, thedramas are chosen without favoring
those of any nation. The selection
features new works commissioned
from gifted playwrights in addi-

Join us as we explore the diverseworld of drama with all its magic,
dreams and emotions

NEW NATIONAL
THEATRECHORUS
The members comprising the
NNT Chorus are rigorously selected.
Numbering over 100, each member
is characterized by top-level vocal
ability and outstanding performing
skills. The Chorus’ superb ensemble,
under the direction of the chorus
master, has garnered accolades both
domestically and internationally.

The Chorus’ superb ensemble has garnered accolades
both domestically and internationally

The NNT Chorus is actively involved in joint performances with the
NHK Symphony Orchestra, the Yomiuri
Nippon Symphony Orchestra and theTokyo Philharmonic Orchestra. Theirnumerous collaborations with overseas
orchestras most recently included a2016 performance with the Berliner
Philharmoniker conducted by Simon
Rattle.
In addition, the Chorus actively
participates in educational projects forschoolchildren throughout Japan. Thiswide-ranging variety of activities only
grows in scope every year.

— 18 —— 19 —NEW NATIONAL THEATRE CHORUST

he New National Theatre
Chorus (NNT Chorus) has
been a vital element of theTheatre’s history. Inaugurated in the 1998/1999
season, the Chorus performs inseveral operas every season, playing asignificant role in the success of eachproduction.

THE NATIONALBALLET
OF JAPAN

The NBJ’s first two artistic
directors, Shimada Hiroshi and
Maki Asami, contributed greatly toballet in Japan. Famous contemporary British choreographer David
Bintley was appointed as Artistic Director from the 2010/2011
season. The company’s repertoire
was expanded even further under
Bintley, and in 2011 the NBJ premiered the full-length ballet The
Prince of the Pagodas, choreographed by Bintley.
Swan Lake, The Sleeping Beauty and
The Nutcracker; 20th century works
by choreographers such as Frederick
Ashton, George Balanchine, Roland
Petit and Kenneth MacMillan; as well
as works by contemporary choreographers. The NBJ also commissions
world-class choreographers to create
original pieces for its repertoire.

— 20 —

THE NATIONAL BALLET OF JAPANT

he National Ballet ofJapan (NBJ), the firstresident ballet company in Japan, launchedin conjunction withthe opening of the New National
Theatre, Tokyo in 1997.
The NBJ’s repertoire is broad inscope, embracing classics such as

The NBJ is thefirst resident
ballet company
in Japan

Following this, the NBJ was
led by Ohara Noriko, who became
Artistic Director in 2014, and continued performances of classic anddramatic ballet at an even higher
standard than before. Christopher
Wheeldon’s Alice’s Adventures in
Wonderland© is the largest scale
production undertaken by the NBJ,
and was staged as an international

The NBJ was awarded an Asahi Performing Arts Award in 2004 for its production of
Raymonda. The company made its overseas
debut in 2008 at the Kennedy Center in the
United States, followed by an invitation to
the Moscow Bolshoi Theatre in 2009, where
it performed La Dame aux Camélias. The NBJ
is highly rated internationally both for its
much-praised soloists and corps de ballet.

— 21 —

collaborative project. The NBJ has
achieved success in this and manyother new productions.
Currently, since the beginning of
the 2020/2021 season, the Artistic
Director is Yoshida Miyako, who was
active in the United Kingdom for many
years as a principal dancer. With thisappointment, the NBJ is setting its
sights on ever greater achievements.

Floor Plan
Experience themajesty of opera andballet in a theatrethat ranks among theworld’s finest

Total: 1,806
First Floor: 860 (8 otherwheelchair spaces available)
Second Floor: 354
Third Floor: 292
Fourth Floor: 300

REVERB TIME

1.4-1.6 seconds(with a full house)

STAGE

Four stages
Proscenium opening:
16.38 × 12.5 m (H×W)
Portal opening:
14.6–18.8 × 0.5–14.0 m (W×H)

MAIN STAGE

Stage lifts: 18.2 × 3.64 m (×5)
Elevation range: +4.5 to -15.7 m
Heights: 30.5 m from stage
level to grid | -15.7 m fromstage level to understage level

WING STAGES

Scenery wagons: 18.2 × 3.64 m(×5 for each wing)

REAR STAGE

Sliding stage: 18.2 × 18.2 m,turntable: 16.38 m across

ORCHESTRA PIT

Area: 147 m²
Elevation range:
0 to -2.65 m
Accommodates
four-section orchestra(up to 120 members)

REAR
STAGE

OPERA
PALACE
E

xperience the majesty of opera
and ballet in a theatre thatranks among the world’s finest.
The main opera house is called
the Opera Palace (a name chosen by
the public) and is a proscenium arch
theatre containing four stage areas ofthe same size: the main stage visible tothe audience, a rear stage and left andright wings.
This structure was establishedaccording to European theatre architectural standards set specificallyfor opera and ballet productions withlarge-scale scenery and to accommodate different productions to bepresented every night. The orchestra
pit has the space for a full 120-person
orchestra.
The walls and ceilings of the seating area are covered in thick panels of
oak to provide ideal acoustics for theunamplified singing voice. The theatre
itself in effect acts as a musical instrument. The house employs continuous
20-seat rows with no aisle down the— 22 —

STAGE
Right Wing

MAIN
STAGE

STAGE
Left Wing

centre to enhance the audience’s
focus on the stage. The three levelsof balconies encircling the arena arepositioned so that the sound of enthusiastic applause envelops the theatre,true to the epithet, Opera Palace.
The Opera Palace also boasts a
magnificent foyer, whose features
include ceiling-to-floor windows andstately columns. Here, guests cantake a moment to let their excitementbuild, enjoy the interval, or savour theafterglow of a fine performance.

— 23 —O P E R A P A LA CE

SEATING CAPACITY

Floor Plan
SEATING CAPACITYPROSCENIUM
STYLE

With proscenium arch:
Total: 1,030
First Floor: 843
Second Floor: 187
With open stage:
Total: 1,002
First Floor:753
Second Floor: 249(8 other wheelchair spaces
available)

OPEN-APRON
STYLE

T

he Playhouse can be
configured in two ways: aproscenium style divided
into four sections, or an
open-apron stage protruding partway into the auditorium.
The versatile theatre can be adapted
to the diverse direction styles ofcontemporary performing arts andshowcases various kinds of performances, principally drama and dance.
Even the seating can be rearranged
to give the audience the impressionof a different space catered for eachproduction.
There are four equally sized stages,
and the apron stage at the front of thestage can be converted to serve as
an orchestra pit for opera and balletproductions. The house features a maximum of 24 seats per row and a distanceof only 25 metres between the furthest
row on the balcony and the stage, creating an intimate space that delivers thetrue-to-life expression of the performers straight to the audience.

— 24 —— 25 —

1.0–1.3 seconds(with a full house)

STAGE

Four stages
Proscenium opening:
16.8 × 9 m (H×W)

MAIN STAGE

Stage lifts: 14.58 × 3.64 m (×2),
14.58 × 7.27 (×1)
Elevation range: +4.5 to -15.7 m
Height: 21.3 m from stage levelto grid | -15.7 m from stage levelto understage level

STAGE LEFT WING

Sliding stage: 14.58 × 14.58 m

REAR STAGE

Sliding stage: 14.58 × 14.58 m
Turntable: 12.74 m across

FORE-STAGE

Convertible, elevation range:+0.5 to -4.50 m

P LA Y HO U SE

PLAYHOUSEThis versatile theatre canbe configured in two ways:
proscenium or open-apron

REVERB TIME

THE PIT
A

stage so close, you’llhear the actors breathe.
A space so flexible,
anything is possible.
The Pit is an open-space
theatre designed to give the director’s
imagination free rein. It features amovable floor for both the stage andseating areas. With the ability to movevertically, this floor creates precisely
the right layout for any staging. The
versatile venue transforms freely froma traditional end stage to a thrust stage
with the stage centre extending into
the auditorium. It can also transformfrom a centre stage with seating bothin front of and behind the stage to an
arena stage with seats surrounding thestage on all sides. The balconies along
the walls can accommodate seating tooffer the audience a special bird’s-eyeview of the compact stage. Dependingon the layout, the house can hold amaximum of 468 seats.

A stage so close,
you’ll hear the actors breathe

Floor Plan
SEATING CAPACITY

Maximum of 468(depends on the stage
layout and depth)

REVERB TIME

0.8–1.0 seconds(with a full house)

FLAT AREA

27.6 × 16.6 m, height of 10 m

MOVABLE FLOOR

25.5 × 12.7 m

SUBSTAGE

8.7 × 3.3 m (includes a stage
lift and opening for moving
sets in and out)

STAGE

STAGE

THE P I T

— 26 —

END STAGE

THRUST STAGE

STAGE

STAGE

CENTRE STAGE

ARENA STAGEINTERNATIONALCOLLABORATIONSREGIONAL
TOURS

O

T

he New National Theatre,
Tokyo stages dance, dramaand operatic productions
through joint projects witharts organizations overseas. Throughsuch international exchange, we sharethe culture of Japan and build bridges
between countries.
In 2009, at the invitation of the
Bolshoi Theatre, the National Ballet ofJapan performed La Dame aux Camélias
in Moscow. The production, a major
triumph for the company, was the firsttime a full-scale ballet by a Japanesechoreographer had been performed at
the illustrious theatre. Following thisachievement, two members of the National Ballet of Japan appeared as guest
principal dancers with the Birmingham
Royal Ballet in 2013 and 2014.
In contemporary dance, the NNTT
presented Moriyama Kaiji’s Yoroboshi
and Hirayama Motoko’s Rite of Springat the 17th Istanbul International Music
Festival in 2010. Both were well-received
by local audiences and served as a testament to the calibre of NNTT productions.
In 2018, the NBJ became the firstballet troupe in Asia to perform Alice’s
Adventures in Wonderland© by Christopher
Wheeldon which was a co-production
with the Australian Ballet.
In drama, the NNTT has developed
productions in collaboration with actors
from Korea. Yakiniku Dragon was staged
at both the NNTT and the Seoul Arts
Center in 2008 and again in 2011, picking
up numerous theatrical awards as well as
public and critical acclaim. The collaboration with Korea was realized again in2013 with the play Hot Spring in Asia. The
play, with its thematic exploration of therelationship between Korea and Japan,
also served to promote greater cultural
exchange and mutual understanding
between the two countries.

— 28 —The opera Wozzeck was staged
as a co-production with Germany’s
renowned Bayerische Staatsoper.
The opera premiered in Munich
in 2008 and was presented at the
NNTT in 2009. Also, in cooperation with the National Centre for
the Performing Arts in Beijing, the
NNTT presented a concert version
of Verdi’s Aida in both Tokyo andBeijing in 2012.
In 2017, we premiered Lucia di
Lammermoor, a co-production
with the Opéra de Monte-Carlo.
This opera showed in Monaco in
2019. The co-production of Die
Meistersinger von Nürnberg between
the Salzburg Easter Festival, theSemperoper Dresden and the Tokyo
Bunka Kaikan was premiered in 2019
in Salzburg followed by the Dresden
premiere, and it was also staged at
NNTT in 2021.

and other cultural venues throughout
Japan that showcase the amazing artistry offered by the NNTT’s performers
and directors. This programme also
gives us an opportunity to build deeper relationships with local theatres andarts organizations.

OPERA

DANCE

In collaborations with local theatres, we presented a performance of Die Fledermaus in Sapporo in 2020, and Carmen
in Otsu in 2021. In 2008, we began offering our Educational
Programme for High School Students in Kansai. The programme has been hugely popular and has provided students
in the Kansai area with the opportunity to experience real
opera. Meanwhile, the New National Theatre Chorus performs with various orchestras and at primary and secondary schools with the goal of introducing the charm of live
performances of the chorus.

Our dance troupe develops works at the grassroots level incollaboration with local theatres. Two series – Dance of Air,
performed in Toyama and Matsumoto, and Zone, producedin Niigata – generated a great deal of excitement amongfans of contemporary dance. Among the many dance productions performed, the NNTT is proud to have staged Co.
YAMADAUN’s Obachetta, Company Derashinera’ Alice’s Adventures in Wonderland, and Moriyama Kaiji’s breathtaking
dance piece NINJA in many parts of Japan.

BALLETDRAMAThe National Ballet of Japan frequently travels the country
to share works such as Cinderella, Aladdin, The Nutcracker
and the Mouse King, The Sleeping Beauty, Swan Lake and Alice’s Adventures in Wonderland© by Christopher Wheeldon.
We also regularly present ballet programmes for children
at venues across the country such as Ryuuguu, The Turtle
Princess. Children and people with experience in ballet can
attend ballet workshops led by soloist dancers of NBJ, aone-of-a-kind experience that will certainly embed an earlyappreciation for dance, arts and culture.

NNTT theatrical productions are performed at venues
across Japan throughout the year. We presented Peter andthe Starcatcher in Nishinomiya, Takamatsu, Toyohashi,
Kitakyushu and Mito, Tokyo Godfathers in Toyohashi,
Nishinomiya and Takasaki, and Lobby Hero in Toyohashi,
Nishinomiya and Okayama. This exposure to world-classtheatre will enrich lives and deliver our love for theatre to
all parts of Japan.

— 29 —R E GI O NA L TO U RSI NTE R NA TI O NA L CO LLA BO R A TI O NS

ne of the central goals of
the New National Theatre,
Tokyo is to bring the magicof today’s performing arts
to audiences across the country. We
stage carefully selected operas, ballets,
dance works and dramas at theatres

YOUNG ARTISTS
TRAINING PROGRAMME

T

raining the next generationof performing artists is a corefunction of the NNTT. The
Young Artists Training Programme
launched with the opening of the Opera Studio in 1998. With the additionof the Ballet School in 2001 and theDrama Studio in 2005, full-time training is conducted to foster the opera

singers, ballet dancers and actors of
tomorrow. In each division, faculty of
the highest standard provide a comprehensive curriculum of instructionin specialized techniques, extensive
knowledge and cultural refinement.
We also provide opportunities foryoung artists to demonstrate theiroutstanding potential on stage.

BALLET SCHOOL
Developing world-classballet dancers

DRAMA STUDIO
Fostering stage actors of the next generation
The Drama Studio aims to foster
stage actors with clear enunciationin Japanese and powerful physicalexpression to lead the next generation of dramatic arts.
Led by Miyata Keiko, a team of
directors and specialists in dramafrom in and outside Japan havedeveloped a comprehensive andpractical curriculum of training foractors including voice, movement,

singing, Japanese and Western
dance, combined with actual experiences in performing on stage.
During the three-year course,
students attend classes held at
the studios in Nishi-Shinjuku andthe rehearsal rooms of the NNTT.
Graduates go on to perform in
NNTT productions and numerous
other theatres in Japan as well as infilms, television and other media.

OPERA STUDIO
Training to global standards
The Opera Studio is dedicated tonurturing opera singers to reachworld-stage standards. Under the
direction of Nagai Kazuko, a groupof experienced, top-class instructors have designed a curriculum thatconsistently achieves these global

standards. Young singers are trainedin vocalisation and acting and receive
advanced lectures and practical
instruction in the diverse intellectual
requirements of an opera singer. They
also take classes in foreign languages
essential to understanding and per-— 30 —

forming operatic lyrics. All graduates
to date have performed not only at
the New National Theatre, Tokyo, buthave also made their debut at opera
houses around the world, and are
pursuing careers at opera companies
both at home and abroad.

Training the next
generation of artists
is a core function

NAGAI Kazuko

DIRECTOROPERA STUDIO— 31 —

OGURA Sachiko MIYATA Keiko
DIRECTORBALLET SCHOOLDIRECTORDRAMA STUDIOYOUNG ARTISTS TRAINING PROGRAMMEThe Ballet School, led by Ogura Sachiko, conducts a broad range of training
essentials to foster versatile dancers
who can perform in both classical andcontemporary styles. Starting with lessons in classical ballet, the curriculum
extends to character dance, contemporary dance and basic dramatictraining. Lectures in ballet and music,
ballet history, anatomy, notation andart history provide the knowledge andcultivation required of a professional
dancer, while salons offer the chance
to interact with artists in various fields.
Students perform in productions of the
National Ballet of Japan and have opportunities for international exchange,
including short-term training at balletschools abroad. Graduates become
fully apparent in the professional world
where they play the leading roles in
the National Ballet of Japan and otherprestigious ballet companies.

PERFORMANCESFOR THE YOUTHE

ach year, the New National
Theatre, Tokyo offers Performances for Young People, aprogramme aimed at giving
young audiences the opportunity toexperience the best in performing arts.
The programme has been praised for
its role in introducing a new generation to the joys and magic of the arts,and for ultimately helping to create a
new generation of theatregoers.

PERFORMANCES FOR THE YOUTHEDUCATIONAL PROGRAMMEFOR HIGH SCHOOL STUDENTS
For many audience members, thisprogramme is their first exposure toopera, and we want them to experience the real thing. Thus, operas
such as Tosca and Madama Butterfly
are presented in their entirety andare the same in every respect as ourregular NNTT productions, in terms
of production, scenery and costume.
Each opera is performed in its original
language with Japanese surtitles andfeature a cast of extraordinary singers
supported by live orchestra.

BALLET FOR CHILDRENDANCE AND DRAMA
FOR THE WHOLE
FAMILY

Our Ballet for Children productions are
the ideal opportunity for kids to experience the art of ballet with their parents.
While based on well-loved tales, thechoreography and performance times
are adapted to be more accessible forthe little ones. Children full of curiosity
and sensitivity experience the wonderof the performing arts, where ballet,music and drama are in harmony.

An appreciation for the arts
from an early age has a positive
impact on literacy and communication skills, and ultimately
confidence. Introduce yourchildren to dance and drama
through NNTT’s imaginative andjoyous shows, such as Moriyama Kaiji’s dance performance
Circus, developed specifically for
the whole family to enjoy.

— 33 —

INFORMATION CENTRE
T

I

n addition to world-class dancers,
singers and actors, the New
National Theatre, Tokyo is proudof the hard-working set designers,

Location: 1-1044, Toyosatodai, Choshi-shi, Chiba

performing arts, browse materials
on theatre technology, and examine
musical scores, production programmes
and play scripts. Its collection now comprises approximately 70,000 volumes.
Meanwhile, in the video booths and thevideo theatre, guests can view video
footage from nearly 500 of the NNTT
performances and other contents.

carpenters, costume designers andothers who create transformative
sets and wardrobe that allow us todeliver magical performances day inand day out.
The Stage Set & Design Centre in
Chiba was established to maintain andmanage elements of scenic design,
such as sets and costumes, used inperformances at the Theatre, and tosupport the development of a repertory system. The adjacent art workshop
is where the production and repair ofsets and props takes place.

EXHIBITIONI

n 2019, the NNTT has launched thetheatre exhibition called “Hatsudai
Art Loft”. Scaled stage, models,
costumes and stage sets from our
productions are displayed in the public space on the first, second and third
floor of the building. The exhibits arechanged periodically so that visitors
can make new discoveries every timethey come to the theatre. Throughthis project, the NNTT also works onpreservation and repair of stage costumes as cultural resources.
In addition, we organize special
exhibits in connection with NNTT
productions. These include timelines
of important events in the lives of thecomposers, writers and choreographers,
plus other related information and photographs. Our hope is that theatergoers
gain an even deeper appreciation for theworks presented here at the NNTT.

— 34 —The Information Centre also
hosts talks, screenings and otherevents at the NNTT. Furthermore,
the Information Centre produces
a wide offering of other content
related to the theatre and our productions, making it available bothin printed form and on the NNTT
website.

STAGE
SET &
DESIGNCENTRET

he New National Theatre, Tokyo hosts avariety of events designed to transform
each NNTT production into a multifaceted
experience.

Opera fans have a chance to enhance their opera experience by directly engaging with conductors, producers,
technicians and other experts involved in the creative
process prior to opening night. In the past, conductors
have played sections of arias on piano to help audiences
better understand a piece. Set designers have explained
how they digitally augmented a performance. The NNTT
lecture concerts are also highly acclaimed, where Ono
Kazushi, the Artistic Director of Opera, illuminates theenduring appeal of opera - accompanying musical excerpts performed by singers.
Drama fans also have the chance to learn more about
upcoming productions at the NNTT from the professionals directly involved in the creative process. In addition
to talk sessions and lectures delivered by scholars,
directors and translators, the series has also offered freedramatic readings and theatre workshops. Meanwhile, in
our Theatre Talk series, the audience is invited to linger
after the performance to listen to actors, directors andother practitioners discuss the behind-the-scenes effort
required to bring the production to stage.

— 35 —EVENTS & TALKSI NF O R MA TI O N CE NTR E

he Information Centre collects
and preserves a broad range of
information and material relating
to contemporary performing arts andmakes it available to the general public.
In the reading room of the fifth
floor of the New National Theatre, Tokyo complex, guests canread books on the contemporary

EVENTS & TALKSPATRONAGE
AND SUPPORTGUEST SERVICES

I

n addition to maintaining the highquality of our performances, we
endeavour to ensure the qualityof the theatregoing experience. The
New National Theatre, Tokyo is dedicated to making a day at the theatre
an enriching, memorable experience.

DINING & SHOPPING

We provide a range of options interms of food, drink, and shopping.
Menu items served at our refreshment counters are specially themed tomatch the productions currently playing, as is the NNTT original merchandise available at the theatre shop.

Maestro is a restaurant on the
3F of the theatre where you canenjoy authentic Italian cuisine.
There is a pre- and after-theatre
menu, whether you wish to dine
before or following a performance.
Also, at times there is even a special
intermission menu, depending on theperformance.

BABYSITTING &ASSISTANCE

We have a kids’ room (Do-Re-Mi),
where parents can leave smallchildren in the capable hands of ourcaring staff while they enjoy a show.

Also, in each of our theatres, staff
is on hand to guide those needing
special assistance, such as the elderly,
persons in wheelchairs, or those withservice dogs, and to provide kids
cushions when needed. Additionally,
the foyer is furnished with chairs andtables, where guests can relax.
We actively solicit opinions andsuggestions from our guests on how
we can enhance the theatregoingexperience here at the NNTT. Eachmember of our staff is part of a concerted effort aimed at making yourvisit to the New National Theatre,
Tokyo the very best it can be.

FUNDRAISING ACTIVITIES• Private donation: become an individual- or corporate-supporting member of
the Theatre.
• Smaller online donations.

CORPORATE SPONSORSHIP• Special Corporate Supporters Group: support the main productions of the
New National Theatre, Tokyo throughout the season.
• Programme Corporate Sponsors: support a specific genre of performance –Opera, Ballet, Dance, or Drama – throughout the season.
• Performance Corporate Sponsors: support a particular production, training
programme, or specific project.

— 36 —*Please note that some services are not available as to prevent the infection and spread of Covid-19. (As of August 2022.)— 37 —GUEST SERVICESP A TR O NA GE A ND SU P P O R T

To produce the best theatre
experiences, time and space are
required for preeminent artists
from Japan and beyond to convene andorganically blend their artistic talents
to create transcendent performances.
To continue our tradition of producing
outstanding performing arts, monetary support is of utmost importance.
The New National Theatre, Tokyo’s
basic financial means is provided byGovernment Subsidy. In order for the
Theatre to fully thrive and maintainour high standard of performances– or undertake training for new
generations – we must solicit theunderstanding and financial supportof members from the public.
A tiered membership program
was established to help encourage
support and promote awareness ofthe entire range of our activities. The
NNTT oversees a range of fundraisingefforts and solicits sponsorship in avariety of forms, one example
of which is our Special Corporate
Support Group programme.

FLOOR
GUIDE

A
I
G

B

T

here is a lot more to the New National Theatre, Tokyo
than meets the eye. Our facilities include 19 large andsmall rehearsal rooms on floor B2. The NNTT also has
facilities for our training programmes and other projects
where production activities take place. The Information
Centre is a place where visitors, researchers and others in the performing arts can come to study and find information covering thewide spectrum of the performing arts.

D

H

E

F
C
K

N

FLOOR GUIDE*Please note that some services are not available as to prevent theinfection and spread of Covid-19. (As of August 2022.)

J

A

PLAYHOUSEAs either a proscenium- or open-styletheatre, this world-class, versatile theatre can be adapted to accommodate
our diverse genres of performing arts.

B

PLAYHOUSE: FOYER
This expansive foyer with its distinctive row of round columns is a perfectplace to discuss the day’s performance.
Refreshments are available.

C

REHEARSAL FLOOR
Rehearsal facilities are located in thebasement on floor B2. There are 19
rehearsal rooms, including two large
rooms for opera, two rooms for drama,
a ballet rehearsal room, and a numberof studios.

D

KIDS ROOM: DO-RE-MI
The NNTT offers a nursery service forpatrons with children.

E

INFORMATION CENTRE
Visitors to the fifth-floor Information
Centre can view multimedia presentations, browse our collection of reference books and programmes frompast performances and watch video
footage of NNTT productions.

F

ROOFTOP GARDENThe NNTT maintains a rooftop garden;
a space for our visitors to relax.

G

OPERA PALACE
Ranking among the world’s finest, theOpera Palace is a proscenium arch
theatre designed according to European architectural standards.

H

OPERA PALACE: FOYER
The Opera Palace foyer features
majestic columns, a full-length wallof glass, balconies on each floor, andrefreshment stations.

— 38 —ML

I

TERRACE GARDENThe Opera Palace foyer opens onto the
Terrace Garden, a lovely space to relax
during the interval.

I

POND
Looking out from the Opera Palacefoyer, visitors are treated to asoothing view of a crystal-clear pool.
Another pond is located in front of
The Pit.

J

MAIN ENTRANCEYour theatre experience begins at theMain Entrance. Convenient, accommodating and welcoming, our goal is to ensure a pleasurable experience from themoment you step through our doors.

J

L

M

K

L

N

HATSUDAI ART LOFT
On the first to third floors, stage
models, costumes and stage sets areon display as ’Hatsudai Art Loft’.

RESTAURANT: MAESTROThis Italian restaurant is located on
the third floor. On performance days,
guests can enjoy special preparations

BOX OFFICE
Located in the main entrance area.
The Box Office sells tickets and provides information about productions.

THEATRE SHOP
Located in the main entrance area.
Items for sale include theatre-themed
goods.

before and after the show.

— 39 —THE PIT: FOYER
From this cozy foyer, visitors can lookthrough a glass window out onto a
pond.

THE PITThe versatile stage configuration ofthis open-space theatre is able to realize different shapes and functions toaccommodate the needs of our diverse
range of contemporary performing arts.

MANAGEMENTORGANISATIONGENERAL AFFAIRS DEPARTMENTCHAIRMANARTISTIC DIRECTORSADVISORS• Opera• Ballet and Dance• Drama

PUBLIC RELATIONS OFFICEBOARD OF COUNCILLORS• Opera• Ballet and Dance• DramaPRESIDENTPRODUCTION DEPARTMENT
Planning
Opera
Ballet and Dance
Drama
MARKETING DEPARTMENTEXECUTIVE DIRECTORS

MarketingOperation Management
Theatre Services & Advertising
MEMBERSHIP DEVELOPMENT OFFICETECHNICAL DEPARTMENT

AUDITORS

Technical Management Office
Technical Administration
Technical Stage Management
Lighting
Sound & VideoACCOUNTING AUDITORSDIRECTORS FOR
TRAINING PROGRAMMES• OperaARTISTS TRAINING DEPARTMENTNNT Opera Studio
NNT Ballet School
NNT Drama Studio• Ballet• Drama

BUSINESS DEVELOPMENT
DEPARTMENT
Information Centre— 41 —MANAGEMENT ORGANISATIONARTISTIC CONSULTANTS
BOARD OF DIRECTORS

General Affairs
Accounting
Theatre Maintenance
Policy Planning OfficeInternational Affairs Office

TICKET
PURCHASES

CLUB The Atre

(NNTT Membership)

BOX OFFICE
Tel: 03-5352-9999 (10am-6pm)
Ticket window: 1F Box OfficeCLUB The Atre was created for those with a passion forthe performing arts. Club membership offers a rangeof benefits including the following:

Open all year-round, except for days the theatre is closed.

1) Priority booking, and a member’s discount,2) Access to information on NNTT productions via The
Atre newsletter available only to members,3) Access to our awards programme, and invitations todress rehearsals and performances.

ONLINE BOX OFFICE
www.nntt.jac.go.jp/english/tickets
Tickets are also available throughTicket Pia, e+, Lawson Ticket, JTB, Kinki Nippon Tourist,
Nippon Travel Agency, and Tobu Top Tours.

For applications and inquiries, please contact:
Box Office: 03-5352-9999 (10am–6pm)
CLUB The Atre website: www.nntt.jac.go.jp/atre(Japanese only)

GROUP SALES
We can offer group rates for groups of 10 or more.
Email: opera09@nntt.jac.go.jp

GETTING TO THE NNTT

Hatsudai Sta.

ation

To Ikebukuro

To Sasazuka

hinju

ku St

Metropolitan
Government

JR S

Shinjuk u I.C.
(EXPY)

To Kudanshita

Shinjuku Sta.

Keio New LineTo Hatsudai I.C. (EXPY)

Route 4(EXPY)

Koshu Kaido

Toei
Shinjuk u
Line

To Sh
ibuya

1-1-1 Hon-machi, Shibuya-ku, Tokyo 151-0071
03-5351-3011( from outside Japan: +81-3-5351-3011)
www.nntt.jac.go.jp/english

NNTT

Shinjuk u Central ParkBY BUS: There are stops near Hatsudai Station on the Toei Bus and Keio Bus lines.

Tokyo Opera City

Central Circular Route(EXPY)BY CAR: The NNTT is located at the intersection of Yamate Dori and Koshu Kaido. This isnear the Shinjuku exit and Hatsudai exit off
Route 4 (Metropolitan Expressway), andNakano-Chojabashi exit of the Central
Circular Route (Metropolitan Expressway).

Honan Dori

Yamate DoriBY TRAIN: The NNTT is just a minute’s walkfrom Hatsudai Station on the Keio New Line(extension of Toei Shinjuku Line).

BUILDING
INFORMATIONLOT AREA: 28,688 m²
BUILDING FOOTPRINT: 19,489 m²
FLOOR SPACE: 69,474 m²

PHOTOGRAPHYNISHIMURA Tsugio (Studio BB), KATO Hajime, SAEGUSA Chikashi / TERASHI Masahiko(Opera performances), SETO Hidemi (Ballet performances), SHIKAMA Takashi (Ballet &Dance performances), HOSONO Shinji / MIYAGAWA Maiko / YAKOU Masahiko (Drama
performances)— 43 —FLOORS: 4 underground, 5 above ground
HEIGHT: Highest point: 40.9 m, deepest point: 30.7 m
ARCHITECT: Takahiko Yanagisawa + TAK Architects INC.

©2022 New National— 44 —Theatre Tokyo