Ami Okazaki Portfolio 2023 by Ami Okazaki

ami okazaki PORTFOLIO 22

RESUME

SCENIC DESIGNER, SPATIAL STORYTELLER

AMI OKAZAKI 岡崎アミ

EMAIL aokazaki@bu.edu

PORTFOLIO https://www.amiokzk.com

INSTAGRAM @amiokzk

Innovative and hard working creator specializing in storytelling through spatial design and experience design. Her strength is in creating dynamic space and interactive content that takes the audience on an emotional journey. A team-player with highly professional attitude.

EDUCATION

Boston University College of Fine Arts, School of Theatre BFA Scene Design

Anticipated graduaiton: May, 2023 (GPA: 3.8 / 4.0)

HONORS & AWARDS

Dean’s list (Boston University, 2019, 2020, 2021)

Dean’s list with special distinction (Boston University, 2019)

Esther B. and Albert S. Kahn Career Entry Award Finalist (Boston University, 2023)

Prague Quadrennial 2023 Emerging Artist (USITT)

SELECTED THEATRE EXPERIENCE

Little Women - Opera in Two Acts -

Scenic Designer

2023 Boston University Opera Institute, Joan and Edgar BOOTH Theatre

Libretto by Mark Adamo | Stage Dir. Eve Summer | Conductor William Lumpkin

Alligator-a-phobia in 3D!

Scenic Designer, Props Artisan, Paint Charge

2023 Boston Playwrights’ Theatre

New Musical by Jay Eddy | Dir. Shamus

Shakespeare in Love

Asst. Scenic Designer

2022 Boston University School of Theatre, Joan and Edgar BOOTH Theatre

By Lee Hall | Dir. Judy Braha | Scenic Designer Jace Jayoung Hong

Shakespeare’s R&J

Scenic Designer, Costume Designer, Props Artisan

2022 Boston University School of Theatre, “Jewels 1” Juliane Ethel Leilani Miller Theatre

By Joe Calarco | Dir. Shamus

Midsummer Night’s Dream

Asst. Scenic Designer, Puppet Artist

2021 Boston University School of Theatre, BU Beach (Outdoor)

By William Shakespeare | Dir. Chaal Aydiner

Machinal

Scenic Designer, Costume Designer, Props Artisan

2021 Boston University School of Theatre, “Jewels 2” Juliane Ethel Leilani Miller Theatre

By Sophie Treadwell | Dir. Shamus

*Selected to present at the Emerging Artist Exhibit, Prague Quadrennial 2023

Passage

Paint Charge

2021 Boston University School of Theatre, Studio ONE

By Christopher Chen | Dir. Malika Oyetimein

Far Away

Scenic Designer

2020 Boston University School of Theatre, “Jewels 2” Juliane Ethel Leilani Miller Theatre

By Caryl Churchill | Dir. Regine Vital

Cameras

Stage Manager

2020 Boston University School of Theatre “STAMP”, Zoom production

By Bea Perez-Arche | Dir. Sophia Ray

PROFESSIONAL EXPERIENCE

2020 - Present

CHOCOLATE INC.

https://chocolate-inc.com/

Intern / Creative Planner, Production Assistant

- Generate innovative and witful ideas for live experience, film, original animation, drama series, advertisement, etc.

- Design interactive spaces, graphics, and properties.

- Maintained proactive communications with producers, directors, art directors and other types of creators to maximize quality and efficiency in production processes.

- Organize large-scale filming sets that involves 100+ people.

Selected Projects:

”MONDAYS” (Feature film, 2022)

https://mondays-cinema.com/

Associate Production Designer / Production Assistant

- Designed and created 90% of the props in the film. Worked as props coordinator on set.

SKILLS

“

Creative Planner

”(Live Experience, 2023)

- Developed the concept for the exhibition. Created ideas for interactive exhibits.

”実験都市DIVERCITY ” (Animation Series, 2020)

Production Assistant / Behind-the-scenes Editor

- Assisted the production manager in a writer’s room, on set, and in post-production.

- Filmed, organized and edited the Behind-The-Scenes films.

Adobe Illustrator, Photoshop, InDesign, Premiere Pro, Lightroom

Hand Drafting, Vectorworks (2D & 3D), AutoCAD (2D), ProCreate (Digital Rendering)

Modelmaking

Microsoft Office / Google apps

Basic Carpentry and Sewing

Scene Painting

Japanese (Fluent)

クリープハイプの声をシャワーのように浴びる展

LITTLE WOMEN

2023 Boston University Opera Institute Production

FAR AWAY

2020 Boston University School of Theatre Production

MACHINAL

2020 Boston University School of Theatre Production

SHAKESPEARE’S R&J

2022 Boston University School of Theatre Production

SHAKESPEARE IN LOVE

2022 Boston University School of Theatre Production

SCENE DESIGN

Class projects

Models, renderings

MONDAYS

2022 CHOCOLATE Inc. Feature Film

CREEPHYP “クリープハイプの声をシャワーのように浴びる展”

2022 PARCO / CHOCOLATE Inc. / UNIVERSAL MUSIC Live Experience

SCENE PAINTING & DRAWINGS

“Passage” by Christopher Chen

Class projects

TABLE OF CONTENTS

Scenic Designer

LITTLE WOMEN

by Mark Adamo

Based on a novel by Louisa May Alcott

Directed by Eve Summer

Boston University Opera Institute Production, 2023

“Things change, Jo...”

DESIGN PROCESS

In my 4 years of college, I have noticed that people in my generation tend to have a silly prejudice against opera. Perhaps the traditional style of music, acting, or lyrics makes it inaccessible to modern audiences. When I was given the opportunity to design this opera, I wanted to create an exciting, transformative, and immersive space that overcomes these problems. Instead of feeling like they’re objectively looking at an old story and people from the past, I wanted the audience to experience the story in the moment with live characters.

The opera tells us that memories are something that helps you move forward, and not something you should cling onto. This message inspired me to create a space that is the attic where Jo’s chest is stored in. The chest is 10’ x 12’ x 12’ automated scenery that opens up to reveal vivid memories of the March family.

大学4年間で、若い世代の観客がオペラに偏見を抱いていることに気づいた。彼らをオペラから遠ざけているのはよい

意味で「伝統的」、悪い意味で「古風」な音楽や演技、言葉のスタイルなのかもしれない。このオペラをデザインする機会を得た時、私は観客をワクワクさせる、イマーシブで変容するような空間を作り、この壁を越えたいと考えた。ただ過去の人物たちを客観的に見る体験ではなく、登場人物と共に同じ時間を過ごし物語に没入してもらえるような体験を作りたいと思った。

この物語が教えてくれるのは、思い出はすがりつくものではなく心にしまうと前に進む勇気をくれるようなものであるということだ。このテーマからインスピレーションを得て、主人公の思い出が詰まった箱がしまわれている屋根裏のような空間を作るアイデアにたどり着いた。中心には 3m x 3.6m x 3.6m のオートメーションで開く箱があり、その中からさまざまな記憶が溢れ出てくる。

DRAFTING SAMPLE

GROUND PLAN

3/8” SCALE MODEL

I’ve added two planked bridges on top of the orchestra pit to extend the space for more possibility of actions. It was crucial to have the contrast of intimate scenes and explosive scenes to emphasize Jo’s emotional journey, and extending the acting space beyond the orchestra pit helped us create that effect.

オーケストラピットの上に橋を設置するという新しい挑戦により

空間の使い道やアクションの可能性を格段に広げ、よりイマ

ーシブな演出をすることが可能となった。この橋があることで、

親密な関係性を描くのに必要な限定的な空間と、壮大なシ

ーンを描くための大きく広がった空間のコントラストを作ること

ができ、主人公の感情の変化を抑揚をつけて見せることがで

きた。

Lighting on Model by John Holmes

PRODUCTION CREDITS

Based on Novel by Louisa May Alcott

Libretto by Mark Adamo

Conductor William Lumpkin

Stage Director Eve Summer

Joan and Edgar BOOTH Theatre

Scenic Design by Ami Okazaki

Lighting Design by Slick Jorgensen

Costume Design by Michael O’Herron

Production Manager - James Templeton

Stage Manager - Elliot Dupcak

Production photos by Jacob Chang-Rascle and Annie Kao

Scenic Designer, Props Artisan

ALLIGATOR-A-PHOBIA IN 3D!

by Jay Eddy

Directed by Shamus

Boston Playwrights’ Theatre, 2023

“My preliminary diagnosis is acute alligator-a-phobia with co-morbid

macrophobia, claustrophobia, kenophobia, xenophobia, and amaxophobia.... ”

SYNOPSIS

Happy and Sweetness are a happy couple! Until they move to Swamp-land and Happy’s ever-intensifying obsession with the local alligators threatens to eat them alive. One part door farce, one part monster movie: ALLIGATOR-A-PHOBIA IN 3D! is an absurd horror-comedy about alligators, swamps, isolation, and the fear of stepping outside your house.

PROP “GATOR BREAD” PAINT ELEVATION

1/4” SCALE MODEL

PRODUCTION CREDITS

A new play with music by Jay Eddy

Directed by Shamus

Boston Playwrights’ Theatre

Scenic Design by Ami Okazaki

Lighting Design by Slick Jorgensen

Costume Design by Michael O’Herron

Props Artisan Ami Okazaki

Paint Charge Ami Okazaki and Sarah Lloyd

Production Manager - Fanni Horvath

Production Assistant - Maggie Kearnan

Production photos by Stratton McCrady

Scenic designer, Props Master

FAR AWAY

A play by Caryl Churchill

Directed by Regine Vital Boston University School of Theatre, 2020

“Out of nearly three hundred hats I’ve made here I’ve only had three win and go in the museum. But that’s never bothered me. You make beauty and it disappears, I love that.”

DESIGN PROCESS

This story, set in a surrealistic world, requires space that encourages and emphasizes the emotional growth and struggle of the three characters. A space where the characters are allowed to talk and think about what it means for them to live in a time of controversy. A space where the characters discover the connection between themselves and the outside world. A space that is enclosed and suffocating. Even though the space is separated from the outside world and the characters are “safe” in a way, there is still a sense that fear is leaking in from the violent, brutal, and chaotic outside world. Since the characters’ conversation is the most crucial element in the play, the set dressing is minimal to avoid distraction. The orientation of tables and walls represents two different places that the story is set in. In addition, it provides the actors with negative spaces that allows exploration of different physical distance between characters, which corresponds with the fluctuation of emotions.

異世界に設定されたこの物語に登場する空間には、登場人物たちの精神的成長や葛藤を助長する様々な特徴がある。例えば、登場人物が混沌の時代に生きるとはどういう意

味か、自由に議論できる空間。または、お互いの関係性や、自分と世界との関係性を再認識する空間。閉塞感があり、息苦しい空間。隔離されていて「安全」でありながらも、外界の暴力、反乱、破壊から生まれる恐怖が漏れ入ってくる空間。このような特徴が、観客が感じる緊張感や道徳的疑問を生む鍵となる。

さらに、この演目では特に登場人物の会話と感情の表れが重要な要素であるため、物は最小限に、あくまで会話がフォーカスを当てられる構造が必要である。机と壁の配置で２つの異なった部屋が登場することを表現する。また、ネガティブスペースを多く取ることで、役者は他の役者からさまざまな物理的距離感を取ることができ、感情や関係性の変化の表現を助ける。

Originally, the shapes of two panels were right-angled rectangles. The final design features an unstable shape that symbolizes unbalance and uncertainty of the world.

初期のデザインでは、長方形だった 2つのパネル。最終的には劇の不安定な世界を象徴する、個性のある形になった。

Mood Collage

PRODUCTION CREDITS

Written by Caryl Churchill

Directed by Regine Vital

Boston University “Jewels 1” Miller Studio Theatre 356

Scenic Design by Ami Okazaki

Lighting and Sound Design by Isaak Olson

Costume and Hats Design by Madeleine Brown

Production Manager - Nicole Schneelock

Production Assistant - Christina Daly

Special Thanks

Lydia Jane Anderson, Brenda Hayes Dziadzio

Production photos by Ami Okazaki

Scenic designer, Props Coordinator, Costume Designer

MACHINAL

A play by Sophie Treadwell

Directed by Shamus

Boston University School of Theatre, 2021

“Let me rest - now I can rest - the weight is gone - inside the weight is gone - it’s only outside - outside - all around - weight - I’m under it - Vixen crawled under the bedthere were eight - I’ll not submit anymore - I’ll not submit - I’ll not submit -”

DESIGN PROCESS

In the process of creating this space, I was hugely inspired by the movement work of our acting company. To create harmony between the choreography and the unique rhythm in the text, the seating risers were placed like islands with alleyways. The actors moved around and in between risers, flowing on and off stage to enhance the poetic effect of the text.

The world of this play is the machine. It is made of machines, everything is surrounded by machines, and people are functioning like machines. The symmetry of the space adds to the mechanical actions and atmosphere. This is a space where the audiences feel trapped and claustrophobic so that they can “experience” the Young Woman’s story.

この空間を作る過程で、リハーサル中の役者の動きが重要なインスピレーションとなった。彼らの動きとセリフのリズムのハーモニーを作るため、座席は島のように置かれ役者たちが観客の周り・間を動き回る構成をとった。「流れ」を重視することで、脚本の詩的な表現と感情の動きを効果的に表現した。

題名の通り、この物語の世界は機械そのものである。機械で構成され、人々が機械に囲まれ、彼らが機会として機能する世界である。対照的な空間の作りは役者たちの機械的な動きを可能にし、さらには空間そのものに機械的な印象をもたらす。また、空間全体が座席で囲まれ閉塞的であることで、観客は主人公、Young Woman の物語を感情的に、近接的に体験することが可能となった。

Three vinyl screens that continues the blueprint design on the floor transformed into doors, windows and prison cells to support actor’s actions and to show different dynamics between characters.

床の設計図のデザインが反映された3つのビニールスクリーンは劇中の様々な空間や距離感を表現するために使われた。

Screen 2 Screen 3 Screen 1 Three screens layered

Preliminary drafting of the table

We custom-made two tables that can be attached together, which ultimately turned into an electric chair in the execution scene.

It symbolizes Young Woman’s inevitable fate.

劇の冒頭から様々な用途で使われる合体/分解が可能な二脚の机を作り、最後の処刑シーンで電気椅子として使うことで、 Young Womanが逃げられない運命に囚われていたことを表現した。

PRODUCTION CREDITS

Written

by Sophie Treadwell

Directed by Shamus

Asst. Director E Ellene Bernard

Boston University “Jewels 1” Miller Studio Theatre 356

Scenic, Props and Costume Design by Ami Okazaki

Technical Director Jackson Hamman

Lighting Design by Max Wallace and Isaak Olson

Sound Design by Will Tinsley

Makeup by Tori Van Loon

Production Manager - E Ellene Bernard

Production Assistant - Lily Bitner and Rory Shea

Production photos by Shamus and Sarah Coleman

SHAKESPEARE’S R&J

An adaptation by Jo Calarco

Directed by Shamus

Boston University School of Theatre, 2022

“(Student 1 heads off, finally ready to escape this place that feels like a prison.)

I dreamt a dream tonight.

I dreamt... I dreamt... I dreamt!”

Scenic designer, Props Coordinator, Costume Designer

DESIGN PROCESS

In my research phase, I was looking for elements that create intrinsically brutal, violent spaces. What kind of spatial relationship triggers violence? What makes people vulnerable? These are the question I asked myself. I was hugely inspired by the wrestling ring and created a 12’ x 12’ painted floor where the students explore bare emotions such as joy, love, hatred, disgust, and anger.

リサーチをする過程で、空間を本質的に暴力的で残忍にする要素とは何かについて考えた。どんな空間的相関関係が争いや暴力を生む

のか？何が人を脆くするのか？そんな問いを追求する中で、ボクシングリ

ングから大きなインスピレーションを得た。3.6m x 3.6m の床を中心とし

た、4人の学生が喜び、愛、嫌悪、怒りなどの生の感情を探究することのできる空間を作った。

DESIGN PROCESS

Our team decided to set the show in the basement of a military academy, instead of the original setting which is a Christian school. We wanted to explore the idea of masculinity and femininity in the context of the American army. The space was covered with graffiti and scribbles, which suggested the history of this basement and all the people who’d been there before. The audience banks were located on the East and West sides of the square floor, which created this narrow alleyway where the actors can run up and down. It created interesting power dynamics in the space - they could be really close or really far apart from each other, and it was a great tool for them to embody love or hatred.

We used 3 practical lights to bring the height of the space down to create intimacy in the space.

作品はキリスト教の寄宿学校に設定されているが、私たちのチームはそれを変更し軍隊学校の地下に設定することにした。最近アメリカの軍隊でよく疑問視されているアイデンティティー/LGBTQの問題、組織が持っている古びた「男らしさ」「女らしさ」の概念について考える機会を持ちたかったからだ。

地下の部屋は落書きやグラフィティで埋め尽くされ、そこに歴史があることが感じられる。観客は四角い床の左右に配置された座席に座り、その間の長細い空間を役者が走り回る。役者は空間の長さを用いて近い距離関係・遠い距離関係を作り出し、愛憎を表現した。

さらに、3つの照明器具を使って天井の高さを低く感じさせ、より密閉された空間を作った。

Process Photo Floor painting by Ami Okazaki and Cleo Brooks

PRODUCTION CREDITS

Adaptation of William Shakespeare’s Romeo and Juliet

by Joe Calarco

Directed by Shamus

Asst. Director Katelyn Thompson

Dramaturg Jenna Burns

Boston University “Jewels 1” Miller Studio Theatre 356

Scenic, Props and Costume Design by Ami Okazaki

Lighting Design by John Holmes

Sound Design by Sara Vargas

Production Manager - Sara Gorelkin

Production Assistant - Cleo Brooks

Production photos by Shamus and Daniel Bastidas

Assistant Scenic Designer

SHAKESPEARE IN LOVE

Based on the screenplay by Marc Norman & Tom Stoppard

Adapted for stage by Lee Hall

Directed by Judy Braha Boston University School of Theatre, 2020

“MARLOWE: But how will it end?

WILL: Happily.

MARLOWE: But how?

WILL: I don’t know. It’s a mystery.”

DESIGN PROCESS

This project was one of the most challenging processes I’ve had at Boston University. We had a 19-person cast (with some of them playing multiple characters), limited production resources, and a black box theatre that is difficult to fill, but never big enough for all our hopes and dreams. As an assistant designer, my most important job was to chat with people. When my designer was having a hard time making decisions, I tried to listen to all of her thoughts and encouraged her to talk about them. I visited the build & paint shop multiple times so that I can answer questions. I also helped with drafting, modelmaking, props, drapery (curtains, bedding, and upholstery), and painting. I was able to obtain so many hands-on skills through this experience. We successfully created a space that turned into a Shakespearean theatre, palace, and river with a boat, bedroom, and a tavern.

ジェクトだった。1人何役も演じる計19人のキ

ャスト、限られたリソース、そして満たすことは難しいがやりたいことをやるにはスペースの足りな

い、大きくて小さい不思議な劇場。そんな中、ア

シスタントデザイナーとして一番大きな役目はと

にかく色々な人と話をすることだった。デザイナ

ーが決断に困っているときは、彼女が言葉にし

て情報を整理できるように話を聞いた。また作

業場を何度も訪れ、私が答えられる質問は答えるようにした。また、模型を作ったり、図面を書いたり、小道具を作ったり、布を塗ったり（カーテン、寝具、椅子張り）、セットの塗装も行った。

実際に手を動かして多くの製作スキルを得るこ

とができた。

結果、私たちはシェイクスピア劇場、宮殿、川を渡るボート、ベッドルーム、さらには酒場にまで姿を変える空間を作ることができた。

このプロジェクトは今までボストン大学で取り組んできた中で一番困難で、やりがいのあるプロ

DRAFTING SAMPLE

3/8” SCALE MODEL

FLOOR TREATMENT

PRODUCTION CREDITS

Based on screenplay by Marc Norman and Tom Stoppard

Adapted by Lee Hall

Music by Paddy Cunneen

Directed by Judy Braha

Asst. Director Zach Kelley, Jenna Burns

Dramaturg Sara Gorelkin

Movement & Intimacy director Yo-EL Cassell

Stage Combat Director Jeb Burris

Boston University Joan and Edgar BOOTH Theatre

Stage Manager Nicole Hartshorn

ASM Katelyn Thompson, Adrian Speth

PA Zoe Charbonneau, Esther O’Shea

Scenic Designer Jace Jayoung Hong

Costume Designer Emma George

Lighting Designer Kevin Dunn

Sound Designer Sara Vargas

Assistant Scenic Designer Ami Okazaki

Props Masters Sarah Lloyd, Sirena Lopez

TD Johnathon Utter

Assistant to TD / Master Carpenter Marco Liguori

Paint Charge Brenda Dziadzio

Assistant Costume Designer Michael O’Herron

Assistant Lighting Designer John Holmes

Master Electrician Celeste Delgadillo

Assistant ME Zack Connell, India Silverman

Assistant Sound Designer Sam Bliss

Scenic design class projects

THEORETICAL DESIGNS

“Floyd Collins the musical” by Adam Guettel and Tina Landau

“For Colored Girls Who Have Considered Suicide / When the Rainbow is Enuf”

by Ntozake Shange

“HIR” by Taylor Mac

Floyd Collins

Musical by Adam Guettel Book by Tina Landau Design & Renderings by Ami Okazaki

For Colored Girls Who Have Considered Suicide / When the Rainbow Is Enuf

by Ntozake Shange Design & Model by Ami Okazaki

“i am on the other side of the rainbow / picking up the pieces of days spent waitin for the poem to be heard / while you listen / i have other work to do /”

- Ntozake Shange

Who are these girls?

Nina Simone?

Ella Baker?

Daisy Bates?

Fannie Lou Hamer?

What makes them sing?

What makes them dance?

HIR

by Taylor Mac Design & White Model by Ami Okazaki

ABSURD REALISM

“I’m choosing to call the genre of this play Absurd Realism. What I mean by this is that the absurdity comes from a heightened but realistic point of view. For example, the blinds are broken and nobody has bothered to fix them. So, at a certain point during the day sun shines into the house so brightly that everyone wears sunglasses or walks around with their hands shielding their eyes. Absurd Realism is simply realistic characters in a circumstance that is so extremely real it is absurd.”

- Taylor Mac

Associate Production Designer

Directed by Ryo Takebayashi Written by Saeri Natsuo and Ryo Takebayashi

A film by CHOCOLATE Inc. 2022 「このタイムループのことを、夢の出来事だと思って

忘れないために、“意識”を変える合図を覚えてください。“鳩”です…」

SYNOPSIS

一流クリエイターになりたいと願っているアケミは、小さな広告代理店で働いている。「早く成功したい」という焦りから、同僚たちの少しの欠点を見つめては「彼らは自分の足を引っ張るような存在だ」と思いこんでいる。こんな人たちに構っていられない、と、自分の仕事を必死にこなすあまり盲目的に日々を過ごしていたある日、同僚に「僕たち、タイムループしているんです」と告げられる。はじめは信じないものの、その事実を自覚し、同僚たちとともに「タイムループを抜け出す策」を練り始める。全員で協力し、タイムループの根源が部長の未練にあることに気づいたところで、アケミは「人生を豊かにするために必要なのは、何をやるか？ではなく、周囲の人たちに愛情を持って生きていくことだ」と学ばなくてはならない。自分だけの成功を追求するせいで、自分に愛情をもってくれているすべての仲間を失う前に。

Yoshikawa, eager to be successful, wants to grow out of the small advertising agency she works at. One Monday morning, two of her coworkers tell her “We are repeating the same week!” Yoshikawa refuses to believe it, but soon realizes that the week is, in fact, repeating. It seems like her boss is causing it to happen. So begins the search for the key to make the boss notice the situation. Will they be able to escape the loop and find a brand new Monday?

I started as a production assitant in the writer room, and I was offered to be a production designer later in the process.

I had a lot of fun creating these iconic props, especially because I was in the room when they were added to the story. My strong understanding of our director and screenwriter’s intentions helped me establish a unique, mysterious, yet realistic world for this story.

ライターズルームで制作アシスタントとして働き始め、その後プロダクションデザイナーとして小道具を制作しないか、とオファーを頂いた。

印象的な小道具がどのような経緯で物語に加えられたかを知った上で製作するのは本当に楽しかった。

また監督と脚本家の意図をしっかりと理解した上で製作でき、ユニークでミステリアスながらもとてもリアルな世界観を作り上げることができた。

PRODUCTION CREDITS

キャスト CAST

円井わん Wan Marui

マキタスポーツ Makita Sports

長村航希 Koki Osamura

三河悠冴 Yugo Mikawa

八木光太郎 Kotaro Yagi

高野春樹 Haruki Takano

島田桃依 Momoi Shimada

池田良 Ryo Ikeda

しゅはまはるみ Harumi Shuhama

田森就太 Shuta Tamori

鈴木浩史 Koji Suzuki

愛わなび Aiwanabi

大石結介 Yusuke Oishi

あべまりこ Mariko Abe

夏川空大 Takahiro Natsukawa

成瀬健 Ken Naruse

脚本 SCREENPLAY

夏生さえり Saeri Natsuo

竹林亮 Ryo Takebayashi

音楽 MUSIC

大木嵩雄 Takao Ohgi

撮影 CINEMATOGRAPHY

幸前達之 Tatsuyuki Kozen

照明 LIGHTING

久保田圭 Kei Kubota

録音 SOUND RECORDING

大高真吾 Shingo Otaka

美術 SCENIC/PROPS DESIGN

三枝晃子 Akiko Saegusa

岡崎アミ Ami Okazaki

劇中内漫画 COMICS

やじまり Yajimari

編集 EDITING

小林譲 Jo Kobayashi Bellamy

竹林亮 Ryo Takebayashi

音響効果 SE

西川良 Ryo Nishikawa

カラリスト COLORIST

平田藍 Ai Hirata

衣装 COSTUMES

飯間千裕 Chihiro Iima

ヘアメイク HM MARI

キャスティング CASTING

嶽崎愛里 Airi Takesaki

記録 CONTINUITY

山室佳代 Kayo Yamamuro

唐崎真理子 Mariko Karasaki

助監督 ASSISTANT DIRECTOR

徳山武昇 Takenori Tokuyama

企画 IDEA PLANNING

夏生さえり Saeri Natsuo

竹林亮 Ryo Takebayashi

ぶんけい Bunkei

プロデューサー PRODUCER

野呂大介 Daisuke Noro

福田文香 Fumika Fukuda

宣伝プロデューサー PR PRODUCER

永井千晴 Chiharu Nagai

宣伝 PROMOTION

栗林和明 Kazuaki Kuribayashi

武富陵一朗 Ryoichiro Taketomi

藤村香耶音 Kayane Fujimura

大島育宙 Yasuoki Oshima

島村ビギ Bigi Shimamura

フロクロ Furokuro

石橋 Ishibashi

デザイン DESIGN

谷川瑛一 Eiichi Tanigawa

保坂夏汀 Natsumi Hosaka

パブリシティ PUBLICITY

小野典子 Noriko Ono

大原絵理香 Erika Ohara

坂本舞 Mai Sakamoto

樋口あるの Aruno Higuchi

主題歌 THEME SONGS Lyrical School 「WORLD’S END」(BOOTROCK Inc.)

STORY by TAKE C

配給 DISRIBUTION PARCO

Creative Planner

クリープハイプの声をシャワーのように浴びる展

“Showering in Creephyp’s voices”

Live Exhibition

PARCO / CHOCOLATE Inc. / UNIVERSAL MUSIC 2023

−『愛の標識』

「一段低い所に置き換えたシャワーがたまらなくこの上なく愛しかったよ」

The client was “Creephyp,” a popular Japanese rock band that has been producing iconic songs for the last 14 years. Our objective was to create a live experience that allows their fans to feel their presence while looking back on the 14 years they spent with the band. We decided to create an exhibit of voices. What is a warm voice? What is a dark voice? Using these adjectives we created interactive exhibits that showcase a variety of voices of the band members. Not only did it makes an opportunity for fans to look back on their favorite concerts, best radio episodes, or a scene in a documentary, but the voices also represented the band members’ personalities and emotions.

１４年もの間印象的な楽曲を作り続けてきた日本のロックバンド、クリープハイプ。私たちのゴールは、ファンがバンドの存在をより近くに感じられるようなライブ体験を作ること。バンドと過ごした14年間を振り返れるような体験を作ること。私たちは、「声の展示会」を作ることにした。温かい声とはなんだろう？暗い声とはなんだろう？これらの形容詞を使ったインタラクティブな展示を提案し、バンドメンバーの多様な声を浴びることができる体験を作った。ファンにとって、お気に入りのコンサートや大好きなラジオのエピソード、ドキュメンタリーのワンシーンを振り返る機会となっただけでなく、声はバンドメンバーの人格や感情を体現してくれた。