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舞台芸術祭「秋の隕石」| Performing Arts Festival: Autumn Meteorite Tokyo

@autumnmeteorite

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岡田利規ディレクションの国際的な舞台芸術祭
International Performing Arts Festival directed by Toshiki Okada｜🗓️2026.10.9-11.3📍東京芸術劇場ほか
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It’s a culture shock. I’d never followed idols nor idol culture. And I was put into a theatre to have a face-to-face with a massive group of performers (43 of them on stage!) from Nijigumi Fights @nijigumi_info who desire to be idols, but couldn’t—so they throw in multiple times the energy and dedication, to pretend to be idols! I’ve been thinking why doing this in a theatre. The whole performance is designed as a ‘school festival’ where there is a variety of showcases. Singing. Dancing. Drama. Comedy. Funny interviews. Videos. As a celebration of their 17 years of establishment, this could well be a concert in a concert venue. So I’d like to imagine the intention to be more than a celebration or reunion. Using the discursive nature of theatre, the show is also a reflection and discovery and rediscovery of the meaning of their existence. Being men, being gay, (according to them) it’s impossible to be idols. But they have fun pretending to be, and doing it very seriously, and over time accumulated a total of 140 participants. So, at this juncture, maybe it’s good to ask themselves: what is the meaning of their existence? And what’s the meaning of ‘idol’ or ‘idol culture’? Somehow I found the answer while chatting with the festival team and delegates after the show outside the theatre. It’s ‘imagination’ and ‘support’. It’s not about the perfect dancing steps and the perfect looks. It’s about something you can imagine, and with support from a community, you can make it happen. It is a kind of spirit with a lot of optimism, just like the good old days in school. (I regret not taking a photo with them after the show. They were all standing at the foyer. 🙁) ☄️#AUTUMNMETEORITE2026TOKYO @autumnmeteorite
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I can’t help but thinking of Batu (by Ayu Permata Sari and Hasyimah Harith) when watching Burning Girls by Nadia Beugré (performed by Anoura Aya Larissa Labarest and Christelle Ehoué). Two women. Manipulating objects. Dancing with movements informed by their lived experiences and culture. Review and critique of structures in society and tradition. Not sure if making dough and baking are regular domestic tasks performed by women in Ivory Coast or West Africa. But for me, the dough element in the performance surely connects to the repetitive household work traditionally done by women in Asia. Burning Girls brilliantly incorporates a piece of dough that is interestingly rigid and restricting but at the same time flexible and unpredictable, in the physical movements, displaying a visual of burden on women and how they fight to live with, conquer and throw (literally) it away. The notion of ‘gender and body’ is a lot more straightforward than Batu. Performer Christelle Ehoué (‘Big Truck’) walks among the audience, ‘selling her body’ by offering audience members to touch her. She also shifts and jiggles her body parts in a comedic way, inviting us to rethink about conventional standards of body shapes. Together with Anoura Aya Larissa Labarest (‘Spicy Chinese’ or ‘China Girl’) who can flip and ‘stay in the air as long as you can pay for’, the display of direct relations of “money—body” and “money—performance” is a vivid critique of the economic situations and living conditions in their community. Overall, Burning Girls extends my list of possibilities of performing critiques with clarity and composing acts and movements with personal experience and the intention to subvert conventions. Almost a lecture-performance style of a blend of intellectuality and sensuality. And created and performed with great courage. ☄️#AUTUMNMETEORITE2026TOKYO @autumnmeteorite
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And… the beginning of encounters with fellow participants of the @autumnmeteorite International Presenter Invitation (IPI) programme—Cui, June, Marco, Miss Oat, Rebecca, Tammo (with Cecilia and Chin Mu joining later), artistic director Toshiki Okada, dramaturg Makiko Yamaguchi, support team Mayu, Alissa… everybody… and super happy bumping into Ayu and Nia who are in town for @dna_fes_japan !!! The day ended with food searching. 🍢 ☄️#AUTUMNMETEORITE2026TOKYO
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So Day 1 started with me finding my footing at the Tokyo Metropolitan Theatre @geigeki_info and @autumnmeteorite, and @tsuei.co decided to photobomb. ☄️#AUTUMNMETEORITE2026TOKYO
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. ／ 『静寂のガツンとした一撃』終演！ ＼ 舞台芸術部門芸術監督・岡田利規と、音楽部門芸術監督・山田和樹。 二人の芸術監督によるコラボレーション企画に、本当にたくさんの皆さまにお越しいただきました！ 今回は、東京芸術劇場の「アトリウム」を舞台にお届け。アトリウムだからこそ生まれた、この日の空気も楽しんでいただけましたら幸いです。 最後は出演者みんなで📸
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.舞台芸術祭「秋の隕石2026東京」 岡田利規＆山田和樹 東京芸術劇場芸術監督 コラボレーション企画 『静寂のガツンとした一撃』 企画のきっかけとなった2人の往復書簡に続き出演者情報も公開されました！ 打合せやリハーサルも順調です。 お楽しみに♪ 🗓️10月25日 (日)17:00開演 📍アトリウム 🎫 無料・予約不要
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☄️JP/EN @autumnmeteorite 最後に、「当たり前じゃないこと」に頭を使ったのはいつだろうか。 私たちは普段、分からないことがあればすぐに調べ、できるだけ効率よく、素早く答えを出そうとします。 しかしこの秋、池袋で正反対の体験をしました。 11月3日まで開催される舞台芸術祭「秋の隕石2026東京」。国内外の舞台芸術作品13演目をはじめとする、慣れ親しんだ文化や価値観の外からやってくる「未知の表現（＝隕石）」と出会う芸術祭です。 私たちが体験したプログラムでは、AIに人間の感覚を教えようとして、逆に人間とは何か分からなくなったり、「ドラえもん」の主人公が決まらなかったり、能楽のゆっくりとした時間の中で、ロックスターの孤独に思いを巡らせたり。 日々の進歩や成長、問題解決、目的の達成や正解の追求…そんな日常を支配する考え方から解放され、染みついた当たり前から抜け出します。 そこには、なんだか、凝り固まった脳みそがアンロックされていく感覚がありました。 舞台芸術に馴染みのない私たちが体験した、予想外の一日をレポートしました。 ストーリーの続きは、umuのWebサイトで。 When Was the Last Time You Thought Beyond the Ordinary? In our everyday lives, when we don't know something, we look it up. We try to find answers as quickly and efficiently as possible. But this autumn in Ikebukuro, we experienced the exact opposite. Performing Arts Festival: Autumn Meteorite 2026 Tokyo runs through November 3. Featuring 13 performing arts works from Japan and abroad, the festival invites us to encounter unfamiliar forms of expression, or “meteorites,” arriving from outside our familiar cultures and values. In the programs we experienced, we tried teaching AI about human sensations, only to find ourselves questioning what it means to be human. We debated who the main character of Doraemon really is. And in the slow passage of time on a traditional noh stage, we found ourselves reflecting on the loneliness of a rock star. Progress, personal growth, problem-solving, achieving goals, finding the right answers... So much of our daily thinking revolves around these ideas. But here, we were free from all of that, stepping outside the assumptions that had become second nature to us. It felt as though our minds, so accustomed to thinking in familiar ways, were finally being unlocked. We wrote about our unexpected day at the festival, experiencing performing arts from the perspective of complete newcomers. Get the full story on our website.
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Honorably Mentioned continues. Sorry for the hiatus. But here is the list of creations, artists, and spaces in the performing arts category mentioned and discussed by Jennifer and me in our correspondence series between July 2025 and July 2026. If you haven’t read The Beijing-Bangkok Correspondence series on Expanse Journal yet and are curious about the artists and artworks on the list, go to the link in bio to read how they move, inspire, and pique our curiosity. It’s an ongoing project. And we continue to write to each other about the arts and our cities every month. If you like the work of Expanse Journal, please consider becoming a free or paid subscriber. *I forgot to include the HASENHERZ film series on the film and TV list a couple of months ago, so I included it here this time in the music section. You’ll see the connection. #beijingbangkokcorrespondence #ExpanseJournal #PerformingArts #Dance #Theatre
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@autumnmeteorite umuは、クリエイティブな新しい発見や繋がりが生まれる、ハブのような存在になりたいと思っています。 東京中のクリエイティブイベント、オススメスポットやプロダクト、新しいブランドやお店の情報、展示、募集、クリエイターの活動など…東京中に点在する情報がひとつの場所に集まり、東京のクリエイティブコミュニティがもっと近く、広く、深くなる場所です。 このアカウントでは、umuに届いたこれらの情報を掲載します。 そんなオンラインスペースを、見てくださっている方と一緒に作って行きたいです。 イベントの開催日程、会場、概要、公式情報などの詳細は、umuのWebサイトに掲載しています。 プロフィールのリンクから「イベントカレンダー」をタップしてください。 ↪︎ https://umutokyo.com/ja/events 情報の掲載を希望される方は、プロフィールから該当のURLをタップしてください。 ↪︎ @umutokyo.space
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Back in Tokyo for @autumnmeteorite festival ☄️ #theater #dramaturg #actor #tokyo #festival
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. 舞台芸術祭「秋の隕石2026東京」 岡田利規＆山田和樹 東京芸術劇場芸術監督 コラボレーション企画 『静寂のガツンとした一撃』 企画のきっかけとなった2人の往復書簡に続き出演者情報も公開されました！ 打合せやリハーサルも順調です。 お楽しみに♪ 🗓️10月25日 (日)17:00開演 📍アトリウム 🎫 無料・予約不要 🔗https://autumnmeteorite.jp/ja/2026/program/collaboration_okada_yamada 🔗https://www.geigeki.jp/performance/theater415-t415-10/
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🪑JP/ EN @autumnmeteorite @shin.hanagata 私たちは、気づけばスマートフォンを延々とスクロールし、アプリの指示に従って身体を動かし、AIとの対話を通じて物事を決定します。 技術を使っているつもりが、見方を変えると、いつの間にか自分自身がシステムの一部になっているような感覚に。 では、私たちが「自分の意思」だと思っているものは、どこまで本当に自分のものなのでしょうか。 パフォーマンス、メディアアート、現代美術の領域で活動するアーティスト花形 槙の「椅子になる」という一見奇妙な実験の根底には、こうした日常の違和感から生まれた、人間とテクノロジーの関係を「反転させる」試みがあります。 その発想が生まれた背景から、パフォーマーたちとの試行錯誤、身体が変容する不思議な感覚など、本作品の裏側を辿ります。 We find ourselves endlessly scrolling through our phones, moving our bodies according to instructions from apps, and making decisions through conversations with AI. We think we’re using technology, but from another perspective,perhaps we’ve unknowingly become part of the system ourselves. So how much of what we believe to be our “own free will” is truly our own? Shin Hanagata, an artist working across performance, media art, and contemporary art, explores the relationship between humans and technology through his seemingly strange experiment in “becoming a chair.” Rooted in familiar feelings of unease in everyday life, his work attempts to reverse the conventional relationship between humans and technology. We explore the story behind Ergonomic Embryo, from the origins of the idea to the experiments and trial and error shared with fellow performers, and the strange sensations of bodily transformation that emerge along the way.
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