“I8”
8,9/Dec/2018 at Uferstudio, Berlin
Direction: Michiyasu Furutani
Composition: Adam Goodwin
Performance: Adam Goodwin, Caroline Cecilia Tallone, Sofia Borges, Michiyasu Furutani
Costume: Lisa Simpson
Light Design: Hanna Kritten Tangsoo
Tutorship: Sandra Noeth
Mentorship: Antja Kennedy, Margit Schild“I8” is a presentation based on a notation system with performative movements supported by live
musical acts and movable objects. The notation has two aspects, the first being a notation formovements guided by a research of “Motif notation” and the other based on musical notation, which
are merged in to one. All movements by the performers consist of multiple physical acts focused on
the effect of gravitational force, reflecting the theoretical research of gravity. “I8” examines how we
subconsciously rely on gravity, which sustains our life and behavior literally and figuratively, andunfolds an emotional state through its dynamism. The project also incorporates instant body
movements that collaborate with impromptu sounds, and explores a boundary between foreseen andunforeseen events, which exists not only in notation, but also in life.

In this 2 years SoDA’s process, I have been circling around a topic Butoh.
The first research topic of this course was gravity, which is the same
theme as last year’s research, as well as sign-language. The next
research phases were copy/original and light and shadow/shade, andthe last research was over gravity and notation. Each aspect was
deeply reflected in my own way of Butoh-influenced thinking. Amongthese factors, gravity is the one of the core subjects to me.
Gravity, according to our present knowledge, is one of four
fundamental forces in the universe besides electromagnetism, weak
and strong force. This mysterious force surrounds us and undoubtedly
affects us every minute. In fact, we can observe it as a usual
phenomenon in our everyday life through several actions such as
falling, jumping, walking, and ultimately just by standing. However, weare not fully aware of its existence. We cannot be free from this forceof gravity, which forms our shape, movement, and possibly evenbehavior as well. This force has been a long-term interest for me as a
crucial element in generating movement in regard to Butoh.
Notation, a system of using codes, such as numbers, words, images orfigures to represent a certain meaning (in this research case, also
including dance) is another theme of this final presentation.
An author defines imaginable codes and phrases to record his/her idea
for a performance, which will be reproduced in the future. For creating
not only the performance, but also moments of rehearsals as precisely
as possible, the author should extract focal points of the intentions
correctly. There may be many ways to implement the creative processof notation. I am interested in both of these processes - the way ofdescription and the time lying between the creation of the score andthe presentation. Is it possible to describe a moment that hasn’t
happened yet, especially it involves a part of improvisation? How is it
possible to depict the score? with words? with pictures? with sounds?
with telepathy? How to describe 3-dimensional movement on a 2dimensional paper? Is it possible to establish a communal score forboth sound and movement for this presentation?
These above-mentioned interests were fused into one element in thislast project of SoDA, through collaborative work with a composer,
musicians, an architect, a costume designer, a light designer and more
people in order to discover a notation that includes the force ofgravity.

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2!

The graphic images with notes on left side describes a movement thatshows in consecutive photo images on right side.
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“Bubbles”
31/Aug, 1/Sep/2018 at Dessau Bauhaus
Concept/Design/Creation/Performance by Malte Hirsbrunner and Michiyasu Furutani“BUBBLE” examines the relation between beholders and space which includes ”bubble” itself, in termsof physical circumstances and also of mental condition. The BUBBLEs settle various places within
Dessau Bauhaus to welcome observers. The observers possibly are able to touch it and transport it toarbitrary positions. At designated moment performers enter the inside, then 2 of the BUBBLEs convert
into as a performative sphere. Performers implement animate acts with gadgets to communicate withthe other Bubble while moving around whole buildings. From this moment, the BUBBLEs become theObservers as the subject that is the opposite position by then, and all environment which is outside ofa secure yellow cradle suddenly turns to be observed by BUBBLEs.

Testing the boundaries interrupted by yellow plastic sheet in the process of “bubble” creation.

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The 3.6meters diameter ball is on a staircase landing of Dessau Bauhaus which has a status as
UNESCO World Heritage. The other yellow ball is in the other wing behind crystal grid glass.

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“a Way”
23-25/Aug/2018 at The International Street Theatre Festival of Aurillac
Direction/Installation design/Performance: Michiyasu Furutani
Music: Elmer Kussiac

Cultures, economics, and politics are indispensable for cities and citizens, and it also applies for laborin whatever form it is. It is no exception, even in a region of dance. In order to execute movements thatchoreographers/performers imagine, it requires unceasing physical repetitive actions that form thefoundation of the bodily sense. It then becomes a dance/performance. The repeated movements also
shake the primitive impulse that lies in deep of our body.
A guy appeared in this piece, carrying a huge log more than 5 meters long, taking a 30-minute walkfrom a fountain to a tree-planting spot in a park. Using only a regular rope and a body, transports thelog absorbed plenty of the water from the fountain. It can be called performance or labor, whichhappens every night during the vibrant festival of Aurillac.
When Aurillac encounters the primitive action, what kind of insight does emerge, and what type ofreaction will produce which lurks in our deep inside?

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“Lamentation”
24,25/Oct/2017at SomoS Art House, Berlin
Direction: Michiyasu Furutani＆Agnes Tam

A dance piece with text reading. In the piece, the body is framed as a representation of group identity
entrapped between visibility and invisibility under the societal gaze. The conscious scrutiny of therelationship between agency and objectified body creates a mise-en-abyme contestation. The body isregarded as being instrumentalized in porn and in prostitution. Meanwhile, critical reflections on thefetishization of the body operate more or less on its objectification. Body, then in some ways, is
exposed to the public as a tool, while in others it is objectified and privatized. Arriving at the discursive
limits, the performance attempts to imagine an exit by “abjectify-ing” representations.

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“In-Completion”
July, Sep/2016 at Dance Circuit 2016 Johor, Penang and Kuala Lumpur, and at Tatwerk, Berlin
Direction/Dance: Michiyasu Furutani & Yuko Kawamoto

A Butoh performance.
Physics assumes that every existing object in the world, including cells, molecules, and atoms, is in astate of constant motion, oscillating ceaselessly and never stopping to move on the microscopic pointof view. The movement never reaches a final resting point, rather changes shape and state along with
the influence of instinct and primitive desire. Although we dream of a perfect aesthetic andphenomenological condition, often pursue the idea of perfection unconsciously, repeatedly failing tocapture it. We are just human. Stay a fool, taste the incompletion.

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“Plantman-kind”
9/Sep/2015 at Ausland, Berlin
Direction/Dance/Stage Design: Michiyasu Furutani, Light: Gretchen Sigrid Blegen, Music: Martí Guillem Císcar
A dance performance, collaborating with a Musician and a Light designer to investigate on Utopia in relation toanimate and inanimate existence.
The origin of Utopia as an unreachable place is well known. The sound of the word is comfortable, reminiscent of
an 'ideal' place in the peoples' mind. Yet, in reality, the status of the island depicted by Thomas More in the book
Utopia is a debatable one. It is meant to be a suitable place for everyone, a comforting model of life — without
diseases, without any monetary hindrance, and time is spent freely after a six-hour labor day. This condition may
have been an ideal society in the 16th century, but a place like this very contingent centuries later, we must think
about the once perfect world critically. Our current world is filled with a wide variety of races, languages,
heritages, and cultures, all amounting to a population totaling close to seven billion people, and fostered onplentiful geographical conditions and climates. Under these circumstances, is it possible to maintain a "standard"of life or a manifestation of happiness that applies to all?

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“OSMOSIS”
May/2015, 13-26/Sep/2015 at Zamek Poznań and Greenhouse, Berlin
Direction/Dance: Michiyasu Furutani, Manon Parent, others

OSMOSIS -Poznań/Berlin- laboratory focused on the relation of the sound and physical movement,
exchange between Berlin and Poznań based artists, culminating with two public performances.
The lab is intended for both musicians and dancers to experiment and question the physicality ofsound, the sonic dimension of movement, the role of energetic waves in both mediums, and how these
aspects influence each other within the compositional process.

A scene from Greenhouse Berlin on September. Presenting the consequence from2 joint Artist Residencies on
May and September.
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Personal statemenofMichiyasu Furutani

Born in Osaka, Japan, Michiyasu Furutani is a choreographer, dancer, and performer whose
work and expression grow from Butoh technique and practice. In the process of continual
research, he has developed his vocabulary of movement to encompass in improvisation and avariety of modern and classical dance techniques. Furutani collaborates frequently withtheatre-directors, filmmakers, architectures, painters, and musicians such as Shibusa-Shirazu
Orchestra, Sun Ra Arkestra, and so forth, aiming to broaden the communicational passage
amongst diverse art forms, and has performed widely throughout the world, continuallyinvestigating new modes of expression and movement. Also, believing that improvisation is a
crucial factor in the possibility of discovering new spaces amongst interdisciplinary media.
His recent interest is how body and object to adapt to gravity and deploy these matters in thespace.
He studied BA Theatre act at Nihon University, colledge of Art in Tokyo and in 2019 Spring,
completed a master course „Solo/Dance/Authorship“ at HZT - Hochschulübergreifendes
Zentrum für Tanz in Berlin, a joint responsibility of the Berlin University of the Arts (UdK) andthe Hochschule für Schauspielkunst Ernst Busch.
https://7y2.net

Long-time interest
I explore the physical movements based on the idea of how to adapt to gravity which isinherent in all objects no matter how small and big and ceaselessly affects the moving body.
At the same time, I also see emotions such as love, friendship, and solidarity as a form of
movement, since gravity already affects the stillness before the movement begins. I assume
that this gravity-centering concept, but not tend to be egocentric, will approach to a hint that
disentangles the frame of space and society.
I am also interested in and practicing various ways to unravel and present not only about the
body and objects but also about phenomena related to light/sound waves/temperature in a
specific space. Then, I try to visualize these phenomena by any movement as a live
performance form, which might lead to an exploration into ways of various interferences insociety.

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1!

Michiyasu Furutani

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Major Performance Activity History
1995/Sep Zokucho no Tabi “Issun no Tsuki”
Mokubatei - Tokyo
1997/Sep Yan-shu “Itadaki”
TinyAlice Theater Fes - Tokyo/Nov Daizuko-Farm “Kaijinzoku”
Tokyo
1998/Jun YAN-SHU "Ototogo"
SfiaMEX Frindge Dance Fes - Tokyo, SanFrancisco Butoh Fes - SF
/Aug DAIZUKO-FARM "Ai-no-Uta"
Oya Stone Museum - Tochigi, Japan
1999/Jan SAL VANILLA "Body-Concious"
TokyoGlobeTheatre - Tokyo/Feb YAN-SHU "Ototogo"
London, Bilbao, Spain/Aug DAIZUKO-FARM "Dorobou-kumiai"
HiroseRiver Special Stage - Sendai, Japan
2000/Jan Dani Pannullo Dancetheatre Co "Yukkuri"
Urban Mix Festival - Madrid/Feb SAL VANILLA "Medium"
Artsphia Theatre - Tokyo/May YAN-SHU perform+WS Japan week
La Havana, Cuba, Mexico City
/Jul SAL VANILLA "Survivallife"
La Foret Museum ROPPONGI - Tokyo/Sep DAIZUKO-FARM "Ayako" Best Audience Award TokyoMileniumArt Fes - Tokyo/Oct SAL VANILLA "Survivallife" TARI2000
Malaysia National Theater - Kualalumpur/Dec YAN-SHU+Akiko Motofuji "Jump from 20st Century" Asbest Theatre - Tokyo
2001/Apr YAN-SHU "Gourd and Suck"
Lilian Baylis Studio - Sadler’s Wells, London/Jul YAN-SHU "Zunja" perform+WS
Portlan University, SanFrancisco Butoh Fes - United States/Aug MAUMA " Portrait with good relationship"
Artsphia Theatre - Tokyo, Japan/Sep DAIZUKO- FARM "Kaka-retsuden"
Toyama, Japan
2002/Jun SAL VANILLA + Shizuku
Danza de Pé, Santiago de compostela, Oviedo,Jijón,Bilbao/Sep YAN-SHU perform+WS
Mexico City
/Oct SAL VANILLA "inter/action"
Korean National Theater, Seoul
2003/Jan Dani Pannullo Dancetheatre Co “ORDEN DE APARICIÓN” Circuit Festival - Lliure Theatre, Barcelona/Mar Dani Pannullo Dancetheatre Co “Danza del Mundo” Teatro de Madrid, Madrid/May SAL VANILLA "inter/action"
Roppongi Hilles Arene, Tokyo/Jun SAL VANILLA "inter/action"
Esplanade Theater, Singapole/Aug DAIZUKO-FARM "Bakusyu-no-Terror"
Echigo Tsumari Art Field - Niigata, Japan/Sep SHIZUKU "Flow/Still"
Morioka, Japan/Oct YAN-SHU+KamataAkiko "Want to your Dance!" Theatre Die platze - Tokyo/Nov SHIZUKU "OKINAWA" AsahiBeerMusicCaraban "borderless sound" - Okinawa
2004/Oct SHIZUKU "The last inn - by the stone post"
Lima Peru, InternationalDanceBiennale at Inchoen, Korea
2005/Jun YAN-SHU "HA-SU" DORA Award, BestChoreograph, BestPerformance nominated CanAsian Dance Fes - Tronto/Jul SHIBUSA-SHIRAZU Orhestra Europe tour Moers Jazz Fes, Germany,Swiss, Russia, Italia, Poland,etc
2007/Jun "Coughing alone"
New sagara Buiding, Tokyo
2008/Aug "Jose Garcia"
LoopLine, Tokyo/Sep "Tenmakushibusa" SHIBUSA-SHIRAZU Orhestra Chiba - Japan/Oct "Gakutto komurakaeru akinite" SHIBUSA-SHIRAZU Orhestra Oul-Spot Theater - Tokyo
2009/Apr SHIZUKU "Moss green river- on the other side" Madrid
2010/Aug SHIZUKU "Moss green river- on the other side" Tokyo
2011/Feb SHIBUSA-SHIRAZU Orhestra Japan tour
Hiroshima,Osaka,Nagoya,Tokyo
2012/Feb "Voijer Sensei" Ponys
Shimokitazawa town theater - Tokyo/Sep Shrimp "New Kids"
New West Berlin - Berlin/Oct Shrimp "Butoh+Soundscape"
Theater Acud - Berlin/Dec Shrimp “Wide Scope Experimental”
ZMF - Berlin
2013/Jan Shrimp Plenzlauer
ZMF - Berlin/Feb "Fire of the Body" Boddinale,
Loophole - Berlin/Mar Ø "war"Berlin, Den Haag, Amsterdam, Kölln,Maastricht/Jul Albom “4seasons of the windows”
Hoftheater - Berlin/Nov "LEAKING" German Dance Solo,
SchauspielTheater - Leipzig/Dec “MOUNTAIN FURROW” HERBST PROGRAM 2013, Ausland - Berlin
2014/Jan “Ammo Nite Gig Vol. 44"
Dock11 - Berlin/Feb “Wide Scope Experimental”
Loophole - Berlin/Mar “un(_)requite(_)d"Acker Stadt Palast - Berlin/May ”OSMOSIS Poznan-Berlin”
Zamek Poznan- Poznan/Sep "Multiversal North"
Berlin, Copenhagen, Stockholm,/Nov "On a remote land”
TATWERK - Berlin
2015/Jan “Transmediale Berlin”
Berlin/Feb "Stop Thinking" w/Kazuhisa Uchihashi
Acker Stadt Palast - Berlin/May ”Zwischenwelt Festival“
ACUD - Berlin/Aug "eX…it! International Butoh dance Exchange Festival" Schloss Bröllin - Pasewalk/Sep "Plant Mankind"
Ausland - Berlin/Nov “MultiDOM’s MulTEECE”
Athens2016/Feb “POZATKI na trzy postacie
Wroclaw,Poznan,Torun,Lódz/Mar “MultiRAID”
özgür kaznova - Istanbul/Jul “Dance Circus International Dance Festival Tour 2016” Ipoh, Tanjung Malim, Kulang/Aug “SKOŁOWACENIE”
Swinoujscie - Poland
2017/Aug “Camp Tipsy”
NeuBrandenburg – Germany/Oct “Lamentation”
Somos Gallerie - Berlin/Dec “ƒ(being)”
Uferstudio​​,​
Inter-University Centre for Dance Berlin (HZT)​- Berlin
2018/Aug “Bubble“
Bauhaus Dessau - Dessau/Sep “Way”
Festival International de Théâtre de rue d’Aurillac - France/Dec “I8”
Uferstudio​​,​
Inter-University Centre for Dance Berlin (HZT)​- Berlin
2019/Jan “Reverse in Nostalgia”
Sophiensaele -Berlin! / 1212!