伝統芸能プロデュース。
戎舞＋（プラス）が始まり嬉しい報告。座員の皆んな曰く、お客様がいつも5人位だったのが、、初日も２日で完売、多い時も100人位のお客様が来てくだってるみたいです👏👏😭
有り難いです。
また、大変メディアの方にも取り上げて頂き自分が入ってよかったな、と思えた今日この頃です🙇♀️（いつも文楽を取材してる記者さんにも、こういう新しい伝統芸能が見たかった❣️とお言葉も頂き嬉しかったです）。
何より福を運んで来てくれる戎様が沢山のお客様に囲まれ、嬉しそうです。
この写真の巫女様達は新たに加えた新しい登場人物。沢山練習して、益々腕をあげております戎舞＋は、5月30日まで、是非ご覧ください✨✨
また、秋にはまたまた違う演目をつくります🍁お楽しみに！
#清川あさみ #asamikiyokawa
#淡路人形浄瑠璃再生プロジェクト #伝統をどう更新するか #japan #淡路島 @awaji_ningyoza
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Artist Asami Kiyokawa is producing two Awaji Ningyo Joruri plays. She has directed the whole project from launch onwards, including stage and costume design, and Seiko Ito has been brought in to write the script. Retaining the essence of a traditional performing art that has been handed down over five centuries on Awaji Island, Kiyokawa has created an enjoyable performance that is accessible to everyone.
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Awaji Ningyo Joruri is a form of traditional performing art with a history that goes back five centuries. It contributed to the development of Japan’s Bunraku puppet theater, and it is the pride of Awaji Island. Its touching performances involve narratives full of passion, acted out using puppets operated by three people, which are valuable works of art in themselves, together with dignified shamisen accompaniment. During its golden age, over forty theater companies vied for attention, employing one thousand puppeteers who toured all of Japan, not just Awaji Island. Despite having made puppet shows well-known throughout the country, Awaji Ningyo Joruri faced declining audience sizes, name recognition, and popularity. The Awaji Ningyo Joruri revival project was started with the aim of ensuring that this beacon of culture is not extinguished.
photo / @hamadahideaki
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