{"id":35302,"date":"2025-10-21T01:20:27","date_gmt":"2025-10-21T01:20:27","guid":{"rendered":"https:\/\/spac.or.jp\/blog\/?p=35302"},"modified":"2025-12-16T09:32:17","modified_gmt":"2025-12-16T09:32:17","slug":"%e3%80%8e%e3%81%86%e3%81%aa%e3%81%8e%e3%81%ae%e5%9b%9e%e9%81%8a%e3%80%8f%e3%81%ab%e5%af%84%e3%82%8a%e6%b7%bb%e3%81%a3%e3%81%a6-%e7%ac%ac4%e9%83%a8%ef%bc%9a%e3%82%aa%e3%83%bc%e3%83%97%e3%83%b3%e3%82%b9","status":"publish","type":"post","link":"https:\/\/spac.or.jp\/blog\/?p=35302","title":{"rendered":"\u300e\u3046\u306a\u304e\u306e\u56de\u904a Eel Migration\u300f\u30d6\u30ed\u30b0\u30ea\u30ec\u30fc\u2465\uff1a\u300e\u3046\u306a\u304e\u306e\u56de\u904a\u300f\u306b\u5bc4\u308a\u6dfb\u3063\u3066 \u7b2c4\u90e8\uff1a\u30aa\u30fc\u30d7\u30f3\u30b9\u30bf\u30b8\u30aa\u306b\u3066"},"content":{"rendered":"

▶ ENGLISH<\/a> ver.\u3000▶ FRENCH<\/a> ver.<\/p>\n

\n<\/hr>\n

\u3000
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\n\u3000
\n\u25a0 \u30aa\u30fc\u30d7\u30f3\u30b9\u30bf\u30b8\u30aa\u5f53\u65e5\u306e\u671d<\/strong>
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\n\u3000
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\n\u3000
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\n\u7a3d\u53e4\u521d\u65e5\u304b\u3089\u305a\u3063\u3068\u7d9a\u3051\u3066\u304d\u305f\u3088\u3046\u306b\u3001\u79c1\u305f\u3061\u306f\u8f2a\u306b\u306a\u3063\u3066\u5ea7\u308a\u3001\u305d\u308c\u305e\u308c\u304c\u30aa\u30fc\u30d7\u30f3\u30b9\u30bf\u30b8\u30aa\u3092\u901a\u3058\u3066\u306e\u4f53\u9a13\u3092\u3069\u3046\u611f\u3058\u305f\u304b\u3092\u5171\u6709\u3057\u307e\u3057\u305f\u3002\u305d\u306e\u6642\u9593\u306b\u306f\u3001\u9759\u304b\u306a\u611f\u52d5\u304c\u6e80\u3061\u3066\u3044\u307e\u3057\u305f\u3002<\/p>\n

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\u5f7c\u5973\u305f\u3061\u304c\u307d\u3064\u308a\u3068\u8a9e\u308b\u306e\u306f\u3001\u300c\u9055\u3046\u300d\u3068\u3044\u3046\u611f\u899a\u2014\u2014\u305d\u306e\u305f\u3081\u306b\u3001\u3069\u3053\u304b\u81ea\u5206\u304c\u8db3\u308a\u306a\u3044\u3088\u3046\u306b\u611f\u3058\u3066\u3057\u307e\u3046\u3053\u3068\u304c\u3042\u308b\u3068\u3044\u3046\u3053\u3068\u3002\u3067\u3082\u3053\u306e\u5834\u3067\u904e\u3054\u3059\u3046\u3061\u306b\u3001\u300c\u3053\u3053\u306b\u3044\u3066\u3082\u3044\u3044\u3093\u3060\u300d\u3068\u3001\u601d\u3048\u305f\u2026\u2026\u305d\u3093\u306a\u6c17\u6301\u3061\u304c\u3001\u5f7c\u5973\u305f\u3061\u306e\u8a00\u8449\u306e\u7aef\u3005\u304b\u3089\u4f1d\u308f\u3063\u3066\u304d\u307e\u3057\u305f\u3002<\/p>\n

\u3072\u3068\u308a\u3072\u3068\u308a\u306e\u8a00\u8449\u306e\u306a\u304b\u306b\u3001\u3053\u306e\u5275\u4f5c\u306e\u4e00\u90e8\u3067\u3044\u3089\u308c\u308b\u3053\u3068\u3078\u306e\u8a87\u308a\u304c\u306b\u3058\u3093\u3067\u3044\u307e\u3057\u305f\u3002
\n\u300c\u307e\u3060\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u306f\u59cb\u307e\u3063\u305f\u3070\u304b\u308a\u3067\u3059\u3088\uff01\u300dSPAC\u306e\u4ff3\u512a\u30c1\u30fc\u30e0\u306f\u3001\u305d\u3046\u7b11\u9854\u3067\u5fdc\u3048\u3066\u304f\u308c\u307e\u3057\u305f\u3002<\/p>\n

\u305d\u3057\u3066\u4eca\u3001\u3042\u306a\u305f\u304c\u300c\u3053\u306e\u5148\u300e\u3046\u306a\u304e\u306e\u56de\u904a\u300f\u306f\u3069\u3046\u306a\u308b\u3093\u3060\u308d\u3046\uff1f\u300d\u3068\u6c17\u306b\u306a\u3063\u3066\u3044\u308b\u306a\u3089\u2014\u2014\u3069\u3046\u305e\u3001\u300e\u3046\u306a\u304e\u306e\u56de\u904a\u300f\u306e\u7d9a\u5831\u3092\u8ffd\u3044\u304b\u3051\u3066\u307f\u3066\u304f\u3060\u3055\u3044\uff01<\/p>\n

\u8ab0\u304b\u306e\u30b9\u30d4\u30fc\u30c1\u3092\u805e\u3044\u3066\u3044\u308b\u3046\u3061\u306b\u3001\u6c17\u3065\u3051\u3070\u76ee\u306b\u6d99\u304c\u6d6e\u304b\u3093\u3067\u3044\u307e\u3057\u305f\u3002\u8b19\u865a\u3055\u3068\u611f\u8b1d\u304c\u5165\u308a\u6df7\u3058\u3063\u305f\u3088\u3046\u306a\u3001\u4e0d\u601d\u8b70\u306a\u611f\u60c5\u304c\u80f8\u3092\u6e80\u305f\u3057\u3066\u3044\u304d\u307e\u3059\u3002<\/p>\n

\u30aa\u30fc\u30d7\u30f3\u30b9\u30bf\u30b8\u30aa\u306e\u65c5\u304c\u3001\u79c1\u306b\u3068\u3063\u3066\u3082\u3053\u308c\u3067\u4e00\u533a\u5207\u308a\u306a\u306e\u3060\u3068\u3057\u305f\u3089\u2014\u2014\u305d\u308c\u3067\u3082\u3001\u79c1\u306f\u3053\u306e\u6642\u9593\u306b\u3001\u6df1\u304f\u5fc3\u3092\u52d5\u304b\u3055\u308c\u307e\u3057\u305f\u3002<\/p>\n

\u4f55\u9031\u9593\u3082\u3001\u30d5\u30e9\u30f3\u30b9\u306e\u5bb6\u304b\u308915,000\u30ad\u30ed\u3082\u96e2\u308c\u305f\u5834\u6240\u3067\u904e\u3054\u3059\u306a\u304b\u3067\u3001\u300c\u65c5\u300d\u3068\u300c\u6839\u3065\u304d\u300d\u3068\u3044\u3046\u30c6\u30fc\u30de\u304c\u3001\u3069\u3053\u304b\u81ea\u5206\u81ea\u8eab\u306e\u3053\u3068\u306e\u3088\u3046\u306b\u97ff\u3044\u3066\u304d\u307e\u3057\u305f\u3002<\/p>\n

\u3053\u306e\u7d4c\u9a13\u306e\u304a\u304b\u3052\u3067\u3001\u79c1\u306f\u3042\u3089\u305f\u3081\u3066\u6c17\u3065\u3044\u305f\u306e\u3067\u3059\u3002<\/p>\n

\u6f14\u5287\u3092\u611b\u3057\u3066\u304d\u305f\u3001\u305d\u306e\u6839\u3063\u3053\u306e\u6c17\u6301\u3061\u3002\u3053\u306e\u56fd\u3068\u305d\u306e\u4eba\u3073\u3068\u3068\u3001\u307e\u3063\u3059\u3050\u306b\u3064\u306a\u304c\u308b\u559c\u3073\u3002\u305d\u3057\u3066\u3001\u8a00\u8449\u3082\u80cc\u666f\u3082\u9055\u3046\u306f\u305a\u306a\u306e\u306b\u3001\u9a5a\u304f\u307b\u3069\u591a\u304f\u3092\u5206\u304b\u3061\u5408\u3048\u308b\u4ef2\u9593\u305f\u3061\u306e\u5b58\u5728\u3002<\/p>\n

\u79c1\u306f\u4eca\u3001\u601d\u3044\u51fa\u3068\u3068\u3082\u306b\u3053\u306e\u5834\u3092\u3042\u3068\u306b\u3057\u307e\u3059\u3002<\/p>\n

\u6f14\u5287\u3068\u306f\u4f55\u304b\u3092\u8a9e\u3063\u305f\u591c\u300120\u4e16\u7d00\u306e\u632f\u4ed8\u5bb6\u306b\u3064\u3044\u3066\u8a9e\u308a\u5408\u3063\u305f\u6642\u9593\u3001\u3044\u305f\u3060\u3044\u305f\u8d08\u308a\u7269\u3001\u6f14\u5287\u796d\u3067\u89b3\u305f\u4f5c\u54c1\u306b\u3064\u3044\u3066\u306e\u611f\u60f3\u306e\u4ea4\u63db\u3001\u30c8\u30fc\u30f3\u30c1\u30e3\u30a4\u30e0\u3084\u30c1\u30d9\u30bf\u30f3\u30dc\u30a6\u30eb\u306e\u97f3\u3001\u65b0\u3057\u304f\u899a\u3048\u305f\u65e5\u672c\u8a9e\u3001\u5373\u8208\u306e\u30b5\u30eb\u30b5\u3001\u6599\u7406\u306e\u8a71\uff0d<\/p>\n

\u3059\u3079\u3066\u304c\u8a70\u307e\u3063\u305f\u30b9\u30fc\u30c4\u30b1\u30fc\u30b9\u3092\u6301\u3063\u3066\u3001\u79c1\u306f\u51fa\u767a\u3057\u307e\u3059\u3002
\n\u5fd8\u308c\u3089\u308c\u306a\u3044\u3001\u305d\u3057\u3066\u3053\u308c\u304b\u3089\u3082\u305a\u3063\u3068\u5927\u5207\u306b\u3057\u305f\u3044\u6642\u9593\u3092\u80f8\u306b\u3002<\/p>\n

\u3082\u3057\u304b\u3057\u305f\u3089\u3001\u3042\u306e\u7a3d\u53e4\u5834\u306f\u30fc
\n\u79c1\u306b\u3068\u3063\u3066\u306e\u300c\u751f\u307e\u308c(\u5909\u308f\u3063)\u305f\u5834\u6240\u300d\u3060\u3063\u305f\u306e\u304b\u3082\u3057\u308c\u307e\u305b\u3093\u3002<\/p>\n

◼️\u81ea\u5df1\u7d39\u4ecb<\/strong>
\n\u79c1\u306e\u540d\u524d\u306f\u30a8\u30ec\u30fc\u30cc\u3002\u30d5\u30e9\u30f3\u30b9\u30675\u5e74\u307b\u3069\u30d5\u30e9\u30f3\u30b9\u56fd\u7acb\u306e\u5287\u5834\u3067\u306e\u30b9\u30bf\u30c3\u30d5\u3068\u3057\u3066\u7d4c\u9a13\u3092\u7a4d\u3093\u3060\u5f8c\u3001\u300c\u81ea\u5206\u3092\u81ea\u7531\u306b\u3059\u308b\u300d\u305f\u3081\u3001\u65e5\u672c\u3078\u3084\u3063\u3066\u304d\u307e\u3057\u305f\u3002\u3054\u7e01\u3042\u3063\u3066SPAC\u306e\u7686\u3055\u3093\u306b\u8fce\u3048\u3066\u3044\u305f\u3060\u304d\u3001\u3001\u77f3\u795e\u590f\u5e0c\u3055\u3093\u304c\u6f14\u51fa\u30572026\u5e74\u6625\u306b\u521d\u6f14\u3092\u4e88\u5b9a\u3057\u3066\u3044\u308b\u300e\u3046\u306a\u304e\u306e\u56de\u904a\u300f\u306e \u5275\u4f5c\u521d\u671f\u306b\u6570\u9031\u9593\u3001\u540c\u884c\u3059\u308b\u6a5f\u4f1a\u3092\u3044\u305f\u3060\u304d\u307e\u3057\u305f\u3002
\n\u3000<\/p>\n

ENGLISH<\/h3>\n

FOLLOWING UP EEL MIGRATION
\nPart IV :The Open Studio<\/b><\/span>
\n\u3000
\nHave you ever wondered where eels are born?<\/p>\n

Eels lay their eggs thousands of miles from the Japanese coast, and die once it pours out its seed. Once the baby eel is out of its shell, it travels back to Japan to live in the country’s fresh waters. <\/p>\n

In this new project by the Shizuoka Performing Arts Center, director Natsuki Ishigami brings together actors from SPAC and non-professional actors with roots in Brazil who live in Shizuoka, to explore the fascinating journey of these fascinating 100-million-year-old fish. <\/p>\n

\u2018Theatre is the only way to take up a story that someone else started long before I was born\u2019 <\/em>
\n\u3000
\n◼️The Open Studio<\/strong>
\nIt is officially the big day(s). On April 29 and May 5, the Eel Migration project team performed in front of a restricted audience to present the core of what the show will be in 2026 during the World Theater Festival Shizuoka. In the morning, the entire team holds a final rehearsal to ensure that everything is on set. At 9:40 am, everyone is ready and waiting for the audience.<\/p>\n

From the main office windows, the musicians and I watch the spectators gather in front of the doors of the open-air theatre. As the audience is starting to get bigger and bigger, it starts to look like a real crowd when the bus from the theater arrives. I recognize some of the French professionals of performing arts, and suddenly feel irrationally stage fright. Fortunately for me, during this moment they call stand-by when we all wait, I am not alone to face the stress. Fuyuko Moriyama, one of the SPAC actresses, shows me how to make a cross in the palm of my hand and eat it, three times, whereas Yoshimi Ryo, one of the actors, tells me a Japanese technique: “You just have to imagine that everyone in the audience has a potato face.\u201d On my part, I wish them a hearty “Merde!” while explaining the origin of this expression, which they already knew, as they came to Festival d\u2019Avignon with SPAC several times. One of the Brazilian-rooted participants, ready to climb onto the roof for her monologue, explains to me how her stress is annihilated by the confidence this project has given her and her desire to surpass herself. Reassured by their kindness and confidence, I calm down: everything will be fine.<\/p>\n

\"\"
\nStand-by while waiting for the show to start.<\/span>
\n\u3000
\nTen minutes later, the forty people present that morning \u2014 partners, programmers, professionals, journalists, actors \u2014 listen carefully to Natsuki Ishigami as she explains the genesis of the Eel Migration project and invites them to follow her into the Open-Air Theatre. Under a blazing sun, the spectators follow a migratory journey through the Shizuoka Performing Arts Park, meeting along the way members of the Brazilian community who tell everyone a story about how they wish to die. Like eels crossing the oceans, the spectators embark on a musical-theatrical adventure through the tea plantations until they enter the rehearsal room, an allegory of the underwater birthplace of the future eels. Mount Fuji, visible from the entrance of the rehearsal room, is beautiful that day. Everything is going exactly as planned.
\n\u3000
\n\"\"
\nThe director Natsuki Ishigami welcomes the audience during the dress rehearsal.<\/span>
\n\u3000
\n“How did you manage to associate eels and sound?”<\/em> asks one of the spectators at the end of the performance. “And is it true that eels are an endangered species?” “Do we eat Eels in Brazil?”<\/em> ask others. During the exchange between the artistic team and the spectators that concludes the Open Studio, the questions are partly about the artistic approach, but also partly about the fate of the eels itself. Professor Kenzo Kaifu from Chuo University, an eel specialist, was invited as he was consulted for the scientific aspect of the project and kindly responded to various questions about the animal. It is still impressive to see how much art has been able to awaken curiosity about these strange creatures; it shows how theatre, despite its fictional dimension, helps us reconnect with the living, with reality. And the very real people who created this project are introduced at the end of the Open Studio by Natsuki Ishigami, who gives them the opportunity to briefly introduce themselves to the audience, sharing their motivation and their story. The exchange, very sincere, often concludes with praise from the members of the audience.
\n\u3000
\n\"\"
\nDebriefing and discussions with the audience following the performances of the Open Studio.<\/span>
\n\u3000
\nThe end of the second performance on May 5th is also the end of the Open Studio adventure, and it is now time to say goodbye. Even though they will all meet again in summer to continue creating the show, the first step is over. As we all did since the beginning of the rehearsals, we all sit in circles to share our feelings about what we just experienced, and everyone is moved. During this performance, the non-professionals participants had a unique opportunity to feel heard, seen, and legitimate in telling their story. As we talk, they briefly mention how hard it is sometimes to be different, and therefore inadequate, and this project allows them to feel that they do belong. In each testimony, we can feel the pride of being part of this creation: “And this is just the beginning!” answered the team of SPAC actors.<\/p>\n

And if you are wondering now, after the Open Studio<\/em>, what comes next? Well, I leave you to follow the news of the Eel migration project to discover it.<\/p>\n

Listening to the others’ speeches, I can feel the tears in my eyes. In a complex mix of humility and gratitude, I realise that if the Open Studio<\/em> adventure ends for me as well, it has moved me in many ways. Of course, when you have been 15,000 kilometres away from home for weeks, the topics of travelling and rooted identity necessarily resonate, on a smaller scale. But thanks to this experience, I rediscovered the deep rooted source of my love for theater, I connected in an authentic way to this wonderful country and its inhabitants, I met wonderful individuals with whom I share so much, despite all our differences. I am leaving with a suitcase full of memories, discussions about the role of theatre and the aesthetics of prominent 20th-century choreographers, gifts, exchanges about the shows seen at the World Theatre Festival Shizuoka, encounters, tone chime and Tibetan bowl skills, new Japanese words, improvised salsa classes, culinary debates, in a word, an unforgettable experience for which I will always feel tenderness and gratitude. Maybe, in a certain way, that rehearsal room was also the place of my (re)birth.
\n\u3000
\nWho am I?<\/strong>
\nMy name is H\u00e9l\u00e8ne, and after almost five years of experiences in theatre and national stages in France, I’ve come to Japan to lose – or find – myself. Welcomed by the SPAC teams for a few weeks,, I had the chance to follow the setting up of the Open Studio of the Eel Project, a SPAC creation scheduled for Spring 2026, directed by Natsuki Ishigami.
\n\u3000<\/p>\n

FRENCH<\/h3>\n

\u3000
\nSUR LA ROUTE DU PROJET EEL MIGRATION
\nPartie 4 : L\u2019Open Studio<\/b><\/span>
\n\u3000
\nVous \u00eates-vous d\u00e9j\u00e0 demand\u00e9s o\u00f9 naissent les anguilles ?<\/p>\n

Les anguilles pondent \u00e0 des milliers de kilom\u00e8tres des c\u00f4tes japonaises, et d\u00e9c\u00e8dent une fois qu\u2019elles ont fray\u00e9. Leurs petits, une fois sortis de leur coquille, font le trajet inverse pour revenir vivre dans les eaux du Japon.<\/p>\n

Dans ce nouveau projet du Shizuoka Performing Arts Center, la metteuse en sc\u00e8ne Natsuki Ishigami r\u00e9unit com\u00e9diens du SPAC et com\u00e9diens non-professionnels, ayant une attache avec le Br\u00e9sil et vivant dans la pr\u00e9fecture de Shizuoka, dans un projet inspir\u00e9 par le fascinant voyage de ces poissons symboliques, vieux de 100 millions d\u2019ann\u00e9es. <\/p>\n

\u201cLe Th\u00e9\u00e2tre est la seule mani\u00e8re de reprendre une histoire que quelqu\u2019un d\u2019autre a commenc\u00e9e bien avant ma naissance\u201d <\/em>
\n\u3000
\nL\u2019Open Studio<\/strong>
\nC\u2019est officiellement le(s) grand(s) jour(s). Les 29 avril et 5 mai, l\u2019\u00e9quipe du projet Eel Migration accueille un public restreint dans la salle de r\u00e9p\u00e9tition pour leur pr\u00e9senter le c\u0153ur de ce que sera le projet Eel Migration, pr\u00e9sent\u00e9 au World Theater Festival Shizuoka en 2026. D\u00e8s le matin, l\u2019ensemble de l\u2019\u00e9quipe fait une derni\u00e8re g\u00e9n\u00e9rale pour s\u2019assurer que tout va bien. 9h40, nous sommes pr\u00eats, il ne manque plus que le public. <\/p>\n

Depuis les fen\u00eatres des bureaux, les musiciens et moi observons les spectateurs se rassembler devant les portes du th\u00e9\u00e2tre en plein air. De plus en plus nombreux, l\u2019effet de foule se ressent vraiment \u00e0 l\u2019arriv\u00e9e du bus en provenance du th\u00e9\u00e2tre. Je reconnais quelques visages parmi les professionnels fran\u00e7ais du spectacle vivant, et je sens d\u2019un coup irrationnellement le tract monter. Heureusement, durant ce moment d\u2019attente qu\u2019ils nomment stand-by, je ne suis pas seule pour affronter le stress. Tandis que Fuyuko Moriyama, l\u2019une des actrices du SPAC, m\u2019apprend \u00e0 faire une croix au creu de ma main et \u00e0 la manger trois fois, Yoshimi Ryo, l\u2019un des acteurs, me r\u00e9v\u00e8le une technique purement japonaise : \u201cTu n\u2019as qu\u2019\u00e0 t\u2019imaginer que les gens dans le public sont des pommes de Terre.\u201d De mon c\u00f4t\u00e9, je leur souhaite un franc \u201cMerde !\u201d, tout en leur expliquant l\u2019origine de cette expression qu\u2019ils connaissaient d\u00e9j\u00e0, pour \u00eatre familiers du Festival d\u2019Avignon. L\u2019une des participantes, pr\u00eate \u00e0 monter sur le toit pour son monologue, m\u2019explique combien son stress est annihil\u00e9 par la confiance en elle que ce projet lui a redonn\u00e9, et son envie de se d\u00e9passer. Rassur\u00e9e par leur bienveillance et leur assurance, je m\u2019apaise : l\u2019Open Studio va bien se passer, c\u2019est certain.
\n\u3000
\n\"\"
\nStand-by en attendant que le spectacle commence.<\/span>
\n\u3000
\nDix minutes plus tard, la quarantaine de personnes pr\u00e9sente ce matin-l\u00e0, partenaires, programmateurs, professionnels, journalistes, com\u00e9diens, \u00e9coutent attentivement la voix de Natsuki Ishigami qui explique la gen\u00e8se du projet Eel Migration, et les invite \u00e0 la suivre \u00e0 l\u2019int\u00e9rieur de l\u2019Open Air Theatre. Sous un grand soleil, les spectateurs suivent un p\u00e9riple migratoire \u00e0 travers le Shizuoka Performing Arts Park, \u00e0 la rencontre des participants de la communaut\u00e9 br\u00e9silienne qui, chacun leur tour, expriment la mani\u00e8re dont ils souhaitent mourir. Tels des anguilles traversant les oc\u00e9ans, les spectateurs embarquent pour un voyage musico-th\u00e9\u00e2tral au milieu des plantations de th\u00e9 jusqu\u2019\u00e0 entrer dans la salle de r\u00e9p\u00e9tition, all\u00e9gorie du lieu de naissance sous-marin des civelles en devenir. Le Mont Fuji, observable depuis l\u2019entr\u00e9e de la salle de r\u00e9p\u00e9tition, est splendide ce jour-l\u00e0. La m\u00e9t\u00e9o est \u00e9galement de notre c\u00f4t\u00e9. Tout se passe exactement comme pr\u00e9vu.
\n\u3000
\n\"\"
\nLa metteuse en sc\u00e8ne Natsuki Ishigami accueille le public durant la r\u00e9p\u00e9tition g\u00e9n\u00e9rale. <\/span>
\n\u3000
\n\u201cComment avez-vous fait pour associer les anguilles et le son ?\u201d, demande l\u2019un des spectateurs \u00e0 l\u2019issue de la performance. \u201cEt est-ce que c\u2019est vrai que les anguilles sont une esp\u00e8ce menac\u00e9e ?\u201d, \u201cEst-ce qu\u2019on en mange au Br\u00e9sil ?\u201d, demandent d\u2019autres. Lors de l\u2019\u00e9change entre l\u2019\u00e9quipe artistique et les spectateurs qui cl\u00f4ture l\u2019Open Studio, les questions portent en partie sur la d\u00e9marche artistique, en partie sur le sort des anguilles en tant que tel. L\u2019un des professeurs de l\u2019Universit\u00e9 Chuo, sp\u00e9cialiste des anguilles et invit\u00e9 pour l\u2019occasion, r\u00e9pond aux diff\u00e9rentes sollicitations concernant la biologie de l\u2019animal. C\u2019est impressionnant de voir combien l\u2019art a pu susciter tant de curiosit\u00e9s pour ces \u00e9tranges cr\u00e9atures, cela montre combien le th\u00e9\u00e2tre malgr\u00e9 sa dimension fictionnelle nous aide \u00e0 nous reconnecter au vivant, au r\u00e9el. Et les personnes bien r\u00e9elles qui ont cr\u00e9\u00e9 ce projet sont pr\u00e9sent\u00e9es \u00e0 l\u2019issue de l\u2019Open Studio par Natsuki Ishigami, qui leur donne la possibilit\u00e9 de se pr\u00e9senter rapidement au public, exposant leur motivation, leur histoire et leurs origines. L\u2019\u00e9change, tr\u00e8s sinc\u00e8re, se conclut souvent en louange de la part des membres du public.
\n\u3000
\n\"\"
\nDebriefing et discussions avec le public \u00e0 l\u2019issue des deux repr\u00e9sentations de l\u2019Open Studio.
\n<\/span>
\n\u3000
\nA l\u2019issue de cette deuxi\u00e8me repr\u00e9sentation, le mardi 5 mai, il est l\u2019heure de se dire au revoir. Si les membres du projet Eel Migration se retrouvent \u00e0 la fin de l\u2019\u00e9t\u00e9 pour reprendre la cr\u00e9ation du spectacle, la premi\u00e8re \u00e9tape est pourtant belle et bien termin\u00e9e ce jour-l\u00e0. Fid\u00e8le \u00e0 la d\u00e9marche qui constitue l\u2019identit\u00e9 m\u00eame du projet et qui aura marqu\u00e9 ces quelques semaines de travail, chacun partage son ressenti sur ce qu\u2019il vient de vivre, et l\u2019\u00e9motion se ressent dans l\u2019air. Le projet Eel Migration, pour les participants amateurs, est une occasion unique de se sentir entendu, d\u2019\u00eatre visible, et de se sentir l\u00e9gitime \u00e0 raconter leur histoire. Par bribe, ils \u00e9voquent ce sentiment d\u2019\u00eatre diff\u00e9rents, et donc inad\u00e9quats, qui les poursuit et les poursuit encore, qui a \u00e9t\u00e9 conjur\u00e9 par l\u2019existence de ce projet. Dans chacun de leurs t\u00e9moignages, on peut sentir beaucoup de fiert\u00e9 de faire partie de cette cr\u00e9ation, et d\u2019avoir pris la parole lors de cet Open Studio : \u201cEt ce n\u2019est que le d\u00e9but !\u201d, pr\u00e9cise en rigolant l\u2019\u00e9quipe du SPAC. <\/p>\n

Et si vous vous demandez, maintenant, apr\u00e8s l\u2019Open Studio<\/em>, quelle est la suite ? Et bien je vous laisse suivre l\u2019actualit\u00e9 du projet Eel migration pour le d\u00e9couvrir. <\/p>\n

En \u00e9coutant leur t\u00e9moignage, je sens les larmes couler sur mes joues. Dans un m\u00e9lange d\u2019humilit\u00e9 et de gratitude, je r\u00e9alise que si l\u2019aventure de l\u2019Open Studio se termine pour moi, elle m\u2019aura touch\u00e9 \u00e0 bien des \u00e9gards. Bien s\u00fbr, le sujet du voyage, des racines de son identit\u00e9 r\u00e9sonne n\u00e9cessairement, m\u00eame \u00e0 moindre \u00e9chelle, lorsque l\u2019on est \u00e0 15 000 kilom\u00e8tres de chez soi depuis des semaines. Mais cette exp\u00e9rience m\u2019a aussi permis de retrouver la source profonde de mon amour du th\u00e9\u00e2tre, de me connecter d\u2019une mani\u00e8re plus authentique avec ce pays merveilleux et ses habitants, de rencontrer des personnes extraordinaires avec qui je partage beaucoup, malgr\u00e9 toutes nos diff\u00e9rences. J’emporte dans ma valise les souvenirs, les discussions sur le r\u00f4le du th\u00e9\u00e2tre et l\u2019esth\u00e9tique des chor\u00e9graphes marquants du XXe si\u00e8cle, les cadeaux, les \u00e9changes sur les spectacles vus lors du World Theater Festival Shizuoka, les rencontres, l\u2019apprentissage du tone chime et du bol tib\u00e9tain, de nouveaux mots de japonais, les cours de salsa improvis\u00e9s, les discussions culinaires, une exp\u00e9rience inoubliable pour laquelle j\u2019ai beaucoup de tendresse et de gratitude. D\u2019une certaine mani\u00e8re, j\u2019ai l\u2019impression que pour moi aussi, cette salle de r\u00e9p\u00e9tition a \u00e9t\u00e9 le bassin de ma (re)naissance.
\n\u3000
\nQui suis-je ?<\/strong>
\nJe m\u2019appelle H\u00e9l\u00e8ne, et apr\u00e8s presque cinq ans \u00e0 travailler en th\u00e9\u00e2tre et sc\u00e8nes nationales en France, je suis venue me perdre au Japon. Recueillie par les \u00e9quipes du SPAC pendant deux semaines, j\u2019ai eu la chance de suivre la mise en place de l\u2019Open Studio du projet Eel Migration, nouvelle production du SPAC pr\u00e9vue au Printemps 2026, dirig\u00e9e par Natsuki Ishigami.<\/p>\n","protected":false},"excerpt":{"rendered":"

▶ ENGLISH ver.\u3000▶ FRENCH ver. \u3000 \u3046\u306a\u304e\u306f\u3069\u3053\u3067\u751f\u307e\u308c\u308b\u304b\u3001\u3054\u5b58\u3058\u3067\u3059\u304b\uff1f \u3046\u306a\u304e\u306f\u65e5\u672c\u306e\u6cbf\u5cb8\u304b\u3089\u4f55\u5343\u30ad\u30ed\u3082\u96e2\u308c\u305f\u6d77\u3067\u5375\u3092\u7523\u307f\u3001\u547d\u3092\u7d42\u3048\u307e\u3059\u3002 \u5b75\u5316\u3057\u305f\u7a1a\u9b5a\u306f\u9577\u3044\u65c5 […]<\/p>\n","protected":false},"author":2,"featured_media":35305,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[206],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=\/wp\/v2\/posts\/35302"}],"collection":[{"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=35302"}],"version-history":[{"count":5,"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=\/wp\/v2\/posts\/35302\/revisions"}],"predecessor-version":[{"id":35485,"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=\/wp\/v2\/posts\/35302\/revisions\/35485"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=\/wp\/v2\/media\/35305"}],"wp:attachment":[{"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=35302"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=35302"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/spac.or.jp\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=35302"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}