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Happy New Year 2019

 年賀

 

 

I relocated my base of activities to Tokyo in April 2018, after an interlude of a year and a half in Bangkok and half a year in New York, for a total of two. Last year, I managed to present a project that had taken several years to prepare. It was an exciting year that drove home to me the changes in physical sensation and perspective. I am filled with gratitude to all who worked with me or who watched and appreciated the pieces we produced.
precog is a company that handles experimental performing arts, and is often regarded as difficult to understand in character. As I see it, this quality of being difficult to understand derived from encounter with previously unknown sensations. These days, when society is rife with assertions smacking of exclusionism, efforts to nurture tolerance with powers of imagination in response are becoming increasingly important. Traveling the world brings one into contact with new sensations that impart the joy of tasting them and sharpen curiosity, but encounter with the unknown in the daily routine is liable to produce stress. I consequently think that it is vital to have places enabling encounter with previously unknown sensations even in a very familiar environment. This is surely also one of the roles of local theaters and art space. I believe such venues are important for building a society in which each and every member can engage with the world, with anticipation and enthusiasm.
precog is likewise a challenging attempt at continuing to work, in a creative and experimental way, with an awareness of such considerations while probing the possibilities of multi-office setups and work-sharing based on mobile and fixed arrangements. It feels like a both thrilling and fragile off-road drive. I hope to make paths into the unseen territory ahead with more agile teamwork as needed to jauntily drive this vehicle, which has now entered its 14th year. I am committed to doing my level best to deliver projects, and condition the creative environment they need, that generate a “glocal” dynamism through the work of genuine artists.
In these endeavors, I am counting on your support once again this year.

Akane Nakamura
CEO・Director
“Pratthana – A Portrait of Possession” Bangkok, Paris
Jejak-旅 Tabi Exchange  Yogyakarta, Kuala Lumpur
PUNTO PRECOG Beppu
YAMABUKI FACTORY Tokyo

In 2018, I was blessed with many challenging opportunities related to chelfitsch. The new theatrical technique of EIZO-Theater opened up different creative possibilities, and the “Five Days in March” Re-creation toured 14 cities inside and outside Japan as we carefully nurtured its growth. For 2019, I intend to leave the job of tour manager, which I have done for the last eight years, to a younger colleague, and do my best to make new works full of surprise, begin to build ties with new artists, and try to eat better and get more sleep and exercise to these ends.

Tamiko Ouki
Chief Producer
“Beach, Eyelids, and Curtains: chelfitsch’s EIZO-Theater” Kumamoto
chelfitsch “Five Days in March” Re-creation Japan, China, Europe, South America 14 cities tour
chelfitsch “Super Premium Soft Double Vanilla Rich Solid” Tokyo

Last year was a back-office one for me. Somewhat distanced from projects, I did things such as revising the accounting flow, thinking about work styles, and conditioning the environment of the newly opened YAMABUKI FACTORY and office. Our staff acquired many new members, and before we knew it, I had been given a title that sounds rather imposing, but we are working at our own pace. Personally, I turned 30, so I would like to make a fresh start and do something completely new and different this year!

Mai Hyodo
Chief Administrator
chelfitsch “Five Days in March” Re-creation Japan 6 cities tour
Toshiki Okada Artist Management
Desk Chief

Last year, I learned about various indigenous outlooks on value through three projects: “Pratthana – A Portrait of Possession” which finally reached the stage after a process of research and creation that lasted a remarkable three years, and took me to Bangkok; Jejak-旅 Tabi Exchange, a newly launched project that sent me to Jogjakarta and Kuala Lumpur; and “a quiet day,” the Mikuni Yanaihara Project for which I went to Mexico City and Guanajuato. This year, I want to continue progressing a little at a time with a keener awareness of what I can and/or should do.

Megumi Mizuno
Producer
Mikuni Yanaihara Project “AIMAI DOG” Tokyo
Mikuni Yanaihara Project “a quiet day” Guanajuato
Nibroll “Drama Queen” Tokyo
Okazaki Art Theatre
Desk
“Pratthana – A Portrait of Possession” Bangkok, Paris
Jejak-旅 Tabi Exchange  Yogyakarta, Kuala Lumpur

Last year, I relocated my own quarters to London and accompanied the spring and autumn tours of the “Five Days in March” Re-creation. To water the seeds sown, nurture the growth of the vines reaching out, and see the flowers bloom here and there – our job could be likened to this. Plenty of flowers bloomed in the total of 20 performances in seven cities in five countries. This year, too, I will be in charge of tour management in Europe and intend to participate in several projects. I want to make 2019 a year of thorough watering so that we can present some beautiful flowers to audiences again.

Takafumi Sakiyama
Tour Manager (London Branch)
chelfitsch “Five Days in March” Re-creation Europe, South America tour
Spring Tour Europ 2 cities (Brussels, Lisbon)
Autumn Tour France2 cities(Toulouse, Paris)
Brazil(São Paulo)
Germany 2 cities (Düsseldorf, Frankfurt)

 

 

 

About one year has passed since I joined precog. Last year, I worked as a production assistant for theMikuni Yanaihara Project and Nibroll, and as the desk for Jejak-旅 Tabi Exchange. There, I learned about theater that was quite different from the conversation-type theater and small entertainment-oriented playhouse troupes and productions I had been involved with up to that time. The year was filled with new things that bewildered me. This year, I hope to get my feet planted a little better on the ground.

Minako Iwai
Administration Assistant
Mikuni Yanaihara Project “AIMAI DOG” Tokyo
Mikuni Yanaihara Project “a quiet day” Guanajuato
Nibroll “Drama Queen” Tokyo
Jejak-旅 Tabi Exchange  Yogyakarta, Kuala Lumpur

 

 

In 2018, I was involved in the premiere performance of “Pratthana – A Portrait of Possession” in Bangkok and the subsequent performance in Paris. Supported by the energy of this newly born piece, I somehow rushed all the way down the path I had first entered that year. I would like this year to be one in which I gradually draw a map as opposed to merely running at full speed, totally absorbed. And yet it would be boring just to obediently do my job! I want to go about my work with a youthful zest, not forgetting to have fun at times. I hope 2019 will be a year that brings smiles to the faces of all of you to whom I am grateful for last year and those with whom I may become acquainted this year.

Sara Gunnare
Administration Assistant
Assistant Tour Manager
chelfitsch “Five Days in March” Re-creation Europe tour
“Pratthana – A Portrait of Possession” Bangkok, Paris

 

 

It has been about four months since I came to precog. I have been doing work for YAMABUKI FACTORYsince last year. At first, I struggled even with little things, and felt how hard it was to work for a living. But lately, I have begun to enjoy work. This year, I would like to get more involved in various things at Yamabuki Factory while looking for permanent employment after I graduate from college!

Miwa Saki
Administration Assistant
YAMABUKI FACTORY Tokyo

 

 

Last year was when I learned the term “performing arts” and how to use dropbox. This year, I intend to note “進化/shinka” as the reading for the characters meaning “aging.” “進化/Shinka” could mean “evolution,” “deepening,” “genuineness,” and “discretion.”
There is an old saying that the aged should obey their children. In keeping with it, I ask for your continued instruction and encouragement.

Hiroko Saito
Accounting

I began working at precog in December 2018. I still do not have enough skills, but am determined to steadily progress, one step at a time, until I acquire the power to really be able to support projects from behind the scenes.

Motonori Watanabe
Administration Assistant

 

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