Michiko Tsuda

performance / 2017
Duration : 75 min

Concept / Direction: baby tooth[Megumi Kamimura, Michiko Tsuda]
Performance: Megumi Kamimura, Michiko Tsuda, Yamagata Ikuhiro
Place: ST Spot Yokohama
Date: February 10-13, 2017
Production: ST Spot
Thanks to: Keisuke Sakurai, Shinichiro Miyazaki, Shinichi Takashima, Hibiki Miyazawa, blanClass
Flyer Design: Naoki Matsumoto
Photo: Kazuyuki Matsumoto
"Tidings"(March, 2016) was an attempt to consider the mechanism of theatrical performances.
The sequel "Tidings #2" is a form of discipline by which we attempt to record and playback aura and atmosphere by regarding people, things and space as recording media.

When recording sounds or images, media such as tapes or memories are physically affected. If the media are played by appropriate devices, the sounds or images are reproduced as they were actually experienced. However, unintentionally recorded materials can be also played if the media are played by inappropriate system. Those accidental sounds or images may not be just noises or errors, but may be inaudible or invisible objects.
About those invisible things like “aura”, we often talk and casually believe at times. But we don’t have any secure ways to objectively describe or reconstruct those things. Although it might mean that we just don't have enough scientific analysis and evidence yet.
As seen above, invisible things exist in an uncertain distance from us.
In this performance, people, space and objects are recognized as recording media, and invisible things are replayed through seven disciplines.

1. Spirit of language
This is a discipline to give physical power to words.
Two performers endlessly repeat in unison "The first Mr. Yamagata is coming here.". The repetition of the same line builds the sense of anticipation to just a simple matter. However, as the sound and the rhythm continues excessively, the meaning of the words is gradually bleached. The words attain physical power through the process.

2. Trace
This is a discipline to read traces left by others.
Several objects are placed on the stage, and one performer leaves his action on one object. Another performer tries to find out the trace left by the first person. Performers try out several procedures to improve the sense to find out traces, but any definitive solution is not presented in the end.

3. Telephone
This is a discipline to listen to and to have conversations with objects.
A performer holds a conversation with recorded voice on a phone. He picks up object on the floor one by one, and handle it like a telephone, as continuing the conversation.
The performer's response to the voice becomes gradually influenced by the texture or shape of the objects, and it starts to look like that he is talking not only with the recorded voice but also with the objects themselves.

4. Separating voice
This is a discipline to visualize possibilities.
A performer tries to separate his voice and to leave it to the object in his hand.
He slowly takes the hand off and leaves the object, but keeps feeling that the voice comes out from the object, whereas it is actually from him. It might be only a fiction or wish that static objects produce audible sounds, but who can tell there is no possibility? When you watch such a person who is challenging almost impossible things, the experience is very close to watching and visualizing "possibility".

5. Selfie
This is a discipline to eliminate self-consciousness.
It is easy to distinguish selfie from portraits shot by others. Generally in portraits, someone else releases the shutter. But in selfies, you have to take a photo as checking yourself in the frame as a photographic object. Since you watch yourself from double viewpoints, self-consciousness is reflected in selfies excessively.
Performers compare selfie and portrait shot by others, and they analyze in which part of the face self-consciousness can be found. Based on the analysis, they practice a discipline to exclude self-consciousness from selfies.

6. Palm reading
This is a discipline to integrate a story from fragmented things.
In fortune telling, a fortune teller integrates several fragmented information such as consulter's worries, his appearance and voice, and the palm or constellation, to tell a story which gives answers to the consulter.
If such a technique is developed, the fortune teller must be able to read from anything.
The consulter's palm is projected on a white board, and the fortune teller reads that. In the middle of the process, the palm is replaced by a newspaper, but the fortune telling continues without problem.

7. Sending Wish
This is a discipline to see the past and the future, as watching the present.
Three performers stretch out their hands to the audience, and they send certain wishes to them.
The performers wish the future vision to the audience in present, and the audience see the performers' movements, at the same time they recall the previous scenes or think of the next happenings.