WARLL (en) by Hiroshi Wakamatsu

compagniehiroshiwakamatsu

presents

WARLL

I will not be played I will not lend my name nor my rhythm to your beat I will dance and resist and dance and persist and dance This heartbeat is louder than death Your war drum ainâ&#x20AC;&#x2122;t louder than this breath

Suheir Hammad

WARLL

â&#x20AC;&#x153;Whenever you are confronted with an opponent, conquer him with love.â&#x20AC;? Mahatma Gandhi

WARLL

For I am the first and the last I am the honored one and the scorned one I am the wife and the virgin I am the mother and the daughter I am she whose wedding is great and I have not taken a husband I am the bride and the bridegroom I am senseless and I am wise I am shame and boldness I am shameless; I am ashamed I am strength and I am fear I am war and peace

WARLL

a new choreographic adventure by compagniehiroshiwakamatsu chw

Performers: act 1 Mélodie Lasselin, Arden Metford act 2 Audrey Pascal, Masami Sakurai act 3 Arden Metford, Anais Van Eycken, Masami Sakurai Myrte Vandeweerd, Valérie Duchamps

Played in festivals: Urban Life 3 at Zinnema, Brussels, Belgium / March 2011 in association with : Zinnema UnderFloorAboveDance, at De Slegte, Brussels, Belgium / June 2012 in association with : De Slegte Festival IN/OUT at Chateau Parc, Villeneuve d’Ascq, France / June 2013 in association with : Cie Talus Dansen in’t Park in Gent-Sint-Amandsberg / August 2013 in association with : De Ingang, Wisper

WARLL

a new choreographic adventure by compagniehiroshiwakamatsu chw

“Warll” tries to describe the confrontation of ego of human beings, the ultimate state of human nature in un extreme situation like any kind of WAR. Wars expose man’s ultimate inhumanity to Man. Wars are an innate but obsolete part of human nature. Wars reect man’s basest instincts, untamed by rationality. Two confronting parties tend to construct a wall in between, visible or invisible, which symbolizes difference of ideas, philosophies, ideologies: rejections, indifference, rivalries, hatred, etc. This is a real stupidity! We all have this nature since the very beginning of human history, we have been asking ourselves the same question, “Why do we ght?”, “Why do we always destroy all we have achieved in long time of history, with greatest effort?” This dance piece “Warll” won’t give any answer, but will call one of the deepest instincts of human beings to be reconsidered, reexamined by spectators inner self. concept + project leader / Hiroshi Wakamatsu video creation + music edition / Hiroshi Wakamatsu in collaboration with performers / 6 dancers, 1 actor, 1 narrator scenography / Thomas Delord lighting design / Jean-Louis Gille We need : general lighting equipment, big enough performance space with dance oor, video beamer with biggest possible screen (the bigger, the better) Duration : + - 45 min

WARLL

War and Human Nature

A Memo Designed to Cheer Up the Human Race by Rosemary Woodruff These days—as we would expect from a Judeo-Christian-Marxist era—it is fashionable for intellectuals to complain about humanity's destructive and pessimistic trend. While, in all charity we can understand the hive meaning of this pessimism, it is the task of Evolutionary Agents to counter it by repeating: the Genetic Plan is working out perfectly. The human cards are in no position to interfere with the DNA deal. We are compelled to offer total sympathy and support for the human races when we remember that for the last 5000 years (a mere micro-ick in genetic time) the species have been in a continual frenzy of Mutation and Migration. The problem is this: a species or an individual without genetic consciousness, caught in the midst of all-out- high-velocity changes, buffeted, overwhelmed by no-let-up metamorphosis, pushed into rapid migration, is understandably confused and, a bit fatigued. Until the Future History Series published by Peace Press, there were no maps to describe how it feels during the high-point of mutation. Does a salmon understand what's happening when it is being squeezed back up the Columbia River, battered, pushed against the current, leaping rocks, ipping forward, upward? Does a buttery understand what's happening when it bursts, twisting and dewey-damp out of the dark, cozy cocoon? Such dramatic migrations and metamorphoses are simple transitions compared to the bewildering, bumpy voyage of the individual humans and human gene-pools in the last few generations.

Recall, with compassion, the extraordinary changing status of the human brain. After nine months of exciting embryonic metamorphosis, it is squeezed into terrestrial life as a peculiar, slug-like larval with an enormous head and shrunken, totally helpless body. The amoeboid-bliss of the Neonate is shortly shattered by the activation of new neural circuits and the sequence of dramatic changes in physiology. Biting, crawling, walking, running, talking. Compared to every other species, the human being is in continual metamorphosis. Indeed, the outstanding neurogenetic characteristic of the human is this continual larval change. Homo protean. In addition to this developmental variability, those who have lived through the 20th century have been whirled through a sequence of historical changes unparalleled on this womb-planet. A person born in 1900 moved from horse-carriages to Soyuz-Apollo in one life time. From gas-light to nuclear fusion. Mutations-migrations occur in cycles. Each generation since 1900 has ridden a series of enormous waves—all-changing reality breakers, with no chance to catch a breath. Thus, for the rst time in human history, we have some dozen mutant groups swirling around at the same time. And, via electro-magnetic communication, aware of each other's changes. Those who just barely, gasping, made it from the Spanish-American War through World War I were then asked, with no respite to deal with the Roaring Twenties, Communism, the Depression, Hitler, World War II, Hiroshima, Cold War, television, Lunar landings, drugs, Hustler, cloning. No one was permitted to stand still. It's a dizzying, Einsteinian exercise in relativity—totally bewildering to a species that had been assured by Newton that every action had an equal and opposite reaction. Nope, no more. The new rule: every action leads to a multiple interaction, intersection —and it's all waves to surf, moving faster and higher.

WARLL War - Psychoanalytic "War is often...a mass discharge of accumulated internal rage (where)...the inner fears of mankind are discharged in mass destruction." Thus war can sometimes be a means by which man's own frustration at his inability to master his own self is expressed and temporarily relieved via his unleashing of destructive behavior upon others. In this destructive scenario, these others are made to serve as the scapegoat of man's own unspoken and subconscious frustrations and fears. Human beings are inherently violent. This aggressiveness is fueled by displacement and projection where a person transfers his or her grievances into bias and hatred against other races, religions, nations or ideologies. By this theory, the nation state preserves order in the local society while creating an outlet for aggression through warfare. If war is innate to human nature, as is presupposed and predetermined by many psychological theories, then there is little hope of ever escaping it. War was the paranoid or projective “elaboration” of mourning. War and violence develop out of our “love need”: our wish to preserve and defend the sacred object to which we are attached, namely our early mother and our fusion with her. For the adult, nations are the sacred objects that generate warfare. The astonishing willingness of human beings to die for their country, to give over their bodies to their nation. Despite this theory that man's altruistic desire for self-sacrice for a noble cause is a contributing factor towards war, in history only a tiny fraction of wars have originated from a desire for war from the general populace. Far more often the general population has been reluctantly drawn into war by its rulers. The general populace is more neutral towards war and that wars only occur when leaders with a psychologically abnormal disregard for human life are placed into power. War is caused by leaders that seek war such as Napoleon and Hitler. Such leaders most often come to power in times of crisis when the populace opts for a decisive leader, who then leads the nation to war.

War and Human Nature

WARLL Compagnie Hiroshi Wakamatsu (CHW) was founded by a Japanese-born, Brussels based dance artist Hiroshi Wakamatsu in 2008. CHW has presented diﬀerent works in diﬀerent cities, countries which were especially inspired by the emotional state of mankind. Gala Européen de la Danse / Brussels, Belgium Belg’Art Café / Brussels, Belgium Verni’Cage / Antwerp, Belgium TanzArt / Gießen, Germany Braderie Audiovisuelle à L’Hybride / Lille, France Festival IN(OUT) / Villeneuve d’Ascq, France

Its audiovisual creation “Triangle” for Nuit Blanche Paris (in association with GMT+7, Mairie de Paris, 2009, Paris, France) has attracted 27,000 spectators in one night. The company has organized its first dance festival “Under Floor Above Dance” in Brussels, June 2012. Its latest creation “WARLL (act 3)” was presented in Festival Dansen in’t Park, Gent, August 2013.

history CHW

WARLL Hiroshi Wakamatsu started his professional career as a ballet dancer in 1994 in Tokyo, Japan. After working for many diﬀerent ballet productions and choreographers, he began a collaboration with contemporary dance choreographer Haruka Ueda. He appeared as a principal dancer in Tokyo Bunkamura's production 'A Midsummer Night's Dream' by Benjamin Britten, staged by David Picken (Royal Ballet of London) and 'Sleeping Beauty' by International Ballet of Tokyo. In 1996, he moved to Belgium and joined Euro City Ballet in Charleroi, dancing many principal roles for such productions as 'Swan Lake', 'Sleeping Beauty', 'Coppelia', etc. After three seasons with the company, he moved to Brussels where he worked on individual projects with, among others, Rinat Imaëv and Xiomara Reyes (now of the American Ballet Theatre) for a tour of the Nefsika Dance Company of Athens, etc. He joined Berlin Ballett Komische Oper in 2001 under the direction of Blanca Li where he spent three years until the unfortunate dissolution of the company. During this period, he worked with many acclaimed choreographers including Rami Be’er, Deborah Colker, Marguerite Donlon, Meryl Tankard, Amanda Miller, Itzik Galili, Didy Feldman, Ingun Bjornsgaard, Detlev Alexander, Dominique Dumais, Carlos Matos, etc. In 2004, he joined Tanzcompagnie Gießen / Stadttheater Gießen, Germany. He danced all the principal roles in the works of its director Tarek Assam and also closely worked with other remarkable choreographers, most notably Natalie Weir and Kim Olson. He appeared in International Tanz Messe in Düsseldorf in 2006 at the invitation of Kim Olson. He also took part in an individual project 'Cubox 3:3' as one of the creators (with Mirko Hektor and Stefan Hölscher), hosted by Institut für Angewandte Theaterwissenschaft Gießen (the Institute for Applied Theatre Studies - University Gießen). The collaboration with Kim Olson and Ana Baer-Carrillo (videographer – Avant Media Performance) would be transformed into the dance video performance 'Anger', performed in New York in January 2007. From 2007 to 08, He worked as a dancer, assistant director for Listopadance in Antwerp, in cooperation with Belgian visual artist Hans op De Beeck, participated in Dance Week Festival, Zagreb. Since 2009, he is working with Compagnie Irene K in Eupen (dancer, assistant director), participating in festivals, touring France, Italy, Germany, Austria, Luxembourg, UK, Brazil, Egypt, Tunisia, Singapore, etc.

Hiroshi wakamatsu

WARLL Note of intention

I believe that dance can really strike a nerve... that it can express some very intense,

strong, even shocking signications... Most of all I believe dance is not conned in a unique aesthetic, style or theory... nor in virtuosity or in the name of a choreographer.

Every single person has something screaming deep inside, something dening us, something we must let go but that we also must not let go. This conicting energy is what I want to release on stage.

I use what everybody uses to express oneself: body, space, voice, audiovisual, sensitivity of each dancer, chance...

Hiroshi wakamatsu

WARLL

team

Artistic direction + concept

Hiroshi Wakamatsu

Video creation + edition

Hiroshi Wakamatsu

Original music edition

Hiroshi Wakamatsu

Choreographic creation + interpretation

Arden Metford Audrey Pascal Anais Van Eycken Masami Sakurai Mélodie Lasselin Myrte Vandeweerd Valérie Duchamps

Scenography

Thomas Delord

Lighting design

Jean-Louis Gille

Technical coordination and general technician

Jean-Louis Gille

Costume

Hiroshi Wakamatsu

Stage manager

Junior

Artistic advisor

Valérie Duchamps

Tour manager

Toast

Administration

Huma

Duration

act 1 - 10min / act 2 - 15 min / act 3 - 23 min

WARLL Hiroshi Wakamatsu Artistic Director

address 94 rue Général Fivé 1040 Brussels, Belgium tel +32 / 488 476839 email hiroshi615@gmail.com oﬃcial website www.wix.com/HiroshiWakamatsu/chw

contact

WARLL So... did you like this presentation? Do you think you want to see the real show? Then...... Call me! Hiroshi + Team

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