-彼女-は地下にいる。壁は切り立って高い。 -私-の体は痛む。耳鳴りがする。乾いた日差しが落ちてくる。 -虫たち-が歩いている。 踊り手と語り手。ふたつの身体によるモノローグとダンスのステージ、傷穴のあいた空間の素描。幻視譚［傷－風化］（2024/5-6 スタジオ空洞）のための小品を、TEDxUTokyo2024特別バージョンにて。 作品は、天井の崩れた地下倉庫と朽ちていく身体、虫のまなざし、日本語では遺体衛生保全と訳されるエンバーミングの仕草、のぼんやりしたイメージから作り始めた。embalmの語は、フランス語のembaumer（を香りで満たす；の匂いがする；死体に(香油・薬品を入れて)防腐処理を施す）から来ており、さらにはラテン語のbalsamum（芳香のある樹脂）に由来するという。 エンバーミングは匂いをはらむ。（同時に匂いを拒絶する。） エンバーミングが傷をふさぎ、風化に抗う行為ならば、小さな虫たちの這う崩れゆく地下倉庫は、圧倒的なスケールの分解と風化を抱く墓である。Two human bodies, a dancer and a teller, drawing a wounded room. TEDxUTokyo2024 version of 20-minute performance produced for genshi-tann’s spatial installation [Kizu-Fuka (Wound-Weathering)] which was held at Studio Kudoh, 2024. This performance started with some images — a basement stock with a collapsed ceiling, a gaze of insects, and the process of embalming. The word embalm comes from a French word embaumer (to fill with a nice smell; to smell lovely; to preserve (a dead body) from decay by treatment with spices or drugs), which derives from Latin balsamum (balsam; pleasant-smelling oil obtained from trees). Embalming involves smell — and refuses smell as well. genshi-tann interprets embalming as an act of closing wounds and striving against weathering, describing crumbling basement stock where tiny bugs crawl as a grave that holds decomposition and weathering within."The group, led by Tamao Nishiyama and Hazuki Kato, is actively engaged in unrestrained creative activities under the banner of ""Maboroshi wo Miru Monogatari"" (The Tale of Seeing the Maboroshi). Their work demonstrates a strong commitment to exploring new creative avenues and pushing the boundaries of artistic expression.
or 直訳
Led by Tamao Nishiyama and Hazuki Kato, the group engages in unrestrained creative activities under the banner of ""Maboroshi wo Miru Monogatari (The Tale of Seeing the Maboroshi).
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西山珠生と加藤葉月を中心とし、「まぼろしをみるものがたり」のもと気ままな創作活動を行う。 This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at https://www.ted.com/tedx
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