ISMAEL IVO
APOCALYPSE
| CONCEPT | TAKASHI KAKO, ISMAEL IVO, USHIO AMAGATSU |
| COMPOSITION AND PIANO | TAKASHI KAKO |
| CHOREOGRAPHY AND DANCE | ISMAEL IVO |
| DIRECTION | USHIO AMAGATSU |
| LIGHT DESIGN (ORIGINAL) | TSUTOMU YAMAGA |
| LIGHT DESIGN (RECONSTRUCTION) | JUNICHI MATSUOKA |
| COSTUME ISMAEL IVO (ORIGINAL) | MASAYO IIZUKA |
| COSTUME (RECONSTRUCTION) | GABY FRAUENDORF |
| WORLD PREMIERE | JUNE 1989 SPIRAL HALL TOKYO, PRODUCED BY WACOAL ART CENTER (JAPAN) |
| REVIVAL | AUGUST 2006 FESTIVAL IMPULSTANZ VIENNA (A) |
| LENGTH OF PERFORMANCE | 70 MIN |
| ON STAGE | 1 DANCER AND 1 PIANIST |
„I am dying everyday, that is why I live.“
A dancer and I play. I had once this image. It appeared to me as clearly as when I imagine my music.
Then two years passed away, and I met Ismael Ivo. His dance is not only new and technically perfect. He involves himself fully in his dance: he is a soloist with a unique capacity for concentration. With dynamism, he guides us into the special space he creates. And we are overwhelmed by the beauty of the human body.
I play the piano. He dances.
Then, just as musicians dialogue eachother through music, we start to dialogue through the music and the movement of the body.
This is how APOCALYPSE was created. Takashi Kako
Takashi Kako’s concert is a unique experience which goes beyond mere listening and captures you at your core.
I sat there, very quite, motionless, listening and looking.
Closing my eyes briefly, I could clearly see Kako’s hands dancing and his whole body inmotion. Closing my ears, looking at him, I still would continue to hear his music. Ismael Ivo
A matter of life or death: as if in time-lapse mode, dancer Ismael Ivo and composer/pianist Takashi Kako are telling an existential story of rare intensity, condensed into just over an hour. Awakening, departure, rebellion, suffering and death could be the headings for each chapter. To plumb the depths of emotion, they require minimal tools: a grand piano and a body. Impossible to say who is the greater virtuoso of his instrument. After a dreamy beginning, the piece is quickly increasing its dynamics, a downright crescendo peaking in a frenzy of sound and movement. As if possessed, master of improvisation Takashi Kako throws himself over the keyboard. Ismael Ivo’s answer to the fury of the music is tremendous, ecstatic, raving. At the end a stillness, a precarious, quasi purified peace. A new beginning in an eternal cycle?
a production of ImPulsTanz - Vienna International Dance Festival and Theaterhaus Stuttgart
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