The Unknown
Dancer
in the Neighborhood
WORKS:

Overview:
This performance is a collaboration between playwright Suguru Yamamoto and dancer Wataru Kitao. Yamamoto writes about problems with communication in today’s world in his own special way. Kitao dances and acts as 25 different characters — from children to old people, even trains and dogs. His strong and flexible body and Yamamoto’s sharp and simple words, shown through a projector, come together. They mix and reflect like light in many directions, and slowly build one town on stage. This work premiered in 2015 at a small theater with a capacity of about 40 seats. In 2016, it was invited to at two of Japan's leading international festivals (TPAM in Yokohama and Festival Tokyo), and was performed in Sydney in 2017 and Tokyo in 2022. In 2020, it was invited to participate in The Public Theater's Under the Radar Festival 2020. This work will continue its journey, updating its scale and production as it goes.
Keyword:
- Visual Theater
- Drama
- Straight Play
- Dance
- Solo Performance
- Moving
- Exciting
- Thought-Provoking
- Bittersweet
- Long Play
- No Intermission
- All Ages
- Minimal Set
- Projection Mapping
- Life
- Love
- Family
- Social Issues
- Relationships
- Plurality of Time
- Death
Performing Group:
Theater Collective HANCHU-YUEI
Genre:
Drama/Dance
Status:
Open to performance rights, co-productions, and international casting.
Time:
100 min
Dialogue:
Japanese
Subtitle:
English and Korean
Capacity:
40 to 270
Cast:
1
1
Synopsis:
With little more than a small bag, the dancer set off for a neighboring town—a place where no one ever becomes anything more than a stranger. Whether you pass someone by, cry, laugh, or even get killed, no one takes notice.
The dancer encounters a figure from the past—someone they once knew—but who shows no sign of recognition. In this town, everything drifts by insensitively; lives intersect without care, without consequence.
On an endless expanse of sub-zero concrete, swallowed by solitude, the question lingers: does the dancer still need to dance?
2
Concept:
This work was first made after a sad event in 2015, when a Japanese journalist was taken hostage and killed in Syria. Following this incident, people in Japan and across the world were touched by the strong and deep message of the performance. But now, after many years, that moment has begun to fade into memory. New problems, like a serious virus outbreak or yet another war, push distant memories away. We humans cannot stop time and we cannot stop being “the other” — someone different — to someone else. This feeling of “helplessness” makes some people smile and say, “That’s just how it is.” Yes, we know. It’s hard to change.
But maybe we can turn our quiet anger—anger at people forgetting, at not caring, at laughing—into dance. We need wild, strong dance performances that bring peace to the soul. This performance shows modern ways of expression — like using written words (something very normal for the digital-native generation), and one dancer playing many different people to create a whole town. It is both theater and dance. It is a very "now" performance, and we want to share it with the audience.
3
Crew & Cast:
-
Suguru Yamamoto (Theater Collective HANCHU-YUEI)
Writer, director, and choreographer
-
Wataru Kitao (Baobab)
Choreography and performance
-
Momo Sakamoto
Producer

Company Profile:
Theater Collective HANCHU-YUEI
HANCHU-YUEI is a theatre collective based in Tokyo, founded in 2007, which tours nationally and internationally. Suguru’s works examine the boundary between reality and narrative, questioning their respective positions, through movement between the two.. His creation starts with whatever topic captures his interest at the time, such as life and death, sensation and language, collective society, family and from there reaches toward more distant universal ‘questions’.
His works have garnered attention not only in Japan but in other Asian countries for his distinctive directing style that combines the projected text, photos, movies, colors, lights and shadows with the performers on-stage, paired with powerful scripts, which often challenge the audience’s own ethical viewpoint and perspectives. He was awarded the Best Original Script and the Best Play in Bangkok Theatre Festival 2014 for “Girl X”. He won the 66th Kishida Kunio Drama Award for “BANANA FLOWER CAN BE EATEN”.
Performance Record:
2015
May
ST Spot (Yokohama)
2016
February
TPAM in Yokohama 2016 Directed by Yumina Kato YCC Yokohama Creative City Center 3F (Yokohama)
2016
December
Festival/Tokyo 16 Urban Performance Series Aul Spot Foyer (Tokyo)
2017
March
Eternity Playhouse (Sydney)
2020
January
The Public Theater’s Under the Radar Festival 2020 Japan Society (New York)
2022
November
Tokyo Arts Festival 2022 Geigeki Autumn Selection Tokyo Metropolitan Theatre Theatre East (Tokyo)
Awards: THE 2020 BESSIE NOMINATIONS
Outstanding Performer (Wataru Kitano) ※Due to the COVID-19 pandemic, no selection was made from the nominees, and all nominees received the award.
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