演劇ユニットハイドロブラスト #1(TPAMフリンジ STスポットセレクション vol.2参加作品) 『幽霊が乗るタクシー』

Theater Company Hydroblast “Gohsts take the taxi”
English information (click here!)

Redefine “ghost” as an act of “thinking to the dead”. Not a noun.
Based on that definition, the actor rides a taxi against the “dead” he wishes to see, and imagines, interviews with the dead, and interacts with the dead. An attempt to perform the text written through the process while making full use of the body and video.
Question abstraction of “boundary” or “territory” with original methodology which fused method of “dance” “rakugo” “documentary”.


My best friend committed suicide in the winter of 2010. It seemed to be crushed by many emotions such as the guilt feeling that he was not nearly able to save it, the sense of alienation that he survived, and the anger of not allowing suicide. I thought that I wanted to see him, he could be a ghost, and I visited a river-side park where he committed suicide at midnight. However, no matter how much I waited, no ghost appeared. The following year, the East Japan Great Earthquake occurred, and after a while I heard the story that taxi drivers looking at ghosts will continue in the streets along the coast of Tohoku-area, which was greatly damaged by the tsunami, visited the local coverage. Although I was able to touch the episodes of the drivers who saw the ghosts, those episodes had the existence of “ghosts” that they met, the desire to meet and feelings I felt and various emotions were projected I firmly embraced the thought that it was a product of imagination. Perhaps we survived, It is important to us that we have a sense of guilt (Survivors Gilt) that we survived, not to say whether there are ghosts or not, but rather to continue dialogue with those who have become dead It was thought that it was a posture of a person.

So I thought that I should define the existence of “ghost” again. Do not put the ghost in the framework of entertainment / consumption named “spirit” or “horror”. Ghosts can act more actively on our lives. To face ghosts is a posture that “do not forget” the past tragedies and disasters, because continuing that dialog will lead to not making the same mistake. For example, we define a ghost to be invisible. Those not to be visualized. No, it should be able to be visualized, but it is a figure that is hiding. By redefining such ghosts, the existence of people who live with their breath is emerging. Living / dead, ghost / non-ghost thing, center / periphery … I hope that every boundary will dissolve, decided to launch the work around the form of theater.

We will produce this work in Germany. A country that made a choice to leave a negative heritage to keep Nazi Germany memorable. Also, it is a country that has shown positive attitude toward actively accept refugees and actually accepted it. What comes to my mind living in Japan is the debate over dark tourism as to whether we should leave the site of nuclear power plant accident or not to leave, the war remains during World War II that have already been destroyed, In contrast to Germany, the circumstances surrounding refugees whose forced repatriation continues. In Germany’s long-term creation, in Japan, places and people who are “invisible” may be “visible” in Germany. Dialogue with them hopes to raise the resolution of our sensitivity to everyday life and hope that the urgency will be reflected in the work.


​[Director&Script] Shingo Ota

Ayuko,Kazuha Komiya,Hayato Mori,Yoshiki Nobori
Venue:ST Spot
Date:2019.02.15(Fri) – 2019.02.17(Sun)
2/15(Fri.) 19:00-
2/16(Sat.) 13:00- / 18:00-
2/17(Sun.) 13:00-
Admission:Adv¥2,000 Door¥2,500
TPAM Registrant Benefit: ¥1,500 (TPAM Pass required)
Please make reservation from the TPAM.
Subsidized by: Arts Commission Yokohama, The Saison Foundation
Supported by PACT Zollverein (Essen, Germany), Asobi System, M.Mattina, Kuukankikaku, Tokyo Arts and Space (Museum of Contemporary Art Tokyo, Tokyo Metropolitan Foundation for History and Culture)
Planned and organized by HydroBlast
Shingo Ota
Born 1985. Majored Philosophy at Waseda University(JAPAN). He is Winner of the Excellence and Audience Award in the 2010 Image Forum Festival for his documentary “Graduation”. “The End of the Special Time We were Allowed”, a film taking on the suicide of a friend, which took 7 years to complete, was chosen for the New Asian Currents Category in the 2013 Yamagata International Documentary Film Festival. The same film has been distributed in 12 countries, and shown in multiple international festivals after its national release. The film shot in Kamagasaki, Osaka , “Fragile”, premiered at the Tokyo International Film Festival, and has since been decided on a national release. Has participated in Chelfitsch works as an actor since 2010.
Theater Company Hydroblast
Hydroblast was established in 2017 by Shingo Ota(writer, director) Hydroblast is to clean cast metal by blasting high water pressure with or without sand combined from a nozzle. The object being cleaned called “work”, is blasted by water, and the water removes any dirt or paint. Hydroblast is used mainly for removing the white lines on the streets, graffiti, or dirt, but these days it has been introduced to the nuclear power plants to clean out infected metal. They have been named after this cleaning process in the hopes that they will obliterate, remove, and clean various stereotypes, segregation, and prejudice instilled in society and to symbolize social diversity by using drama.







出演:あゆ子 小宮一葉 森 準人 昇 良樹
*出演を予定しておりました 宍 泥美、椎橋綾那、大山実音が一身上の都合で降板する運びとなりました。(2018.12.25)


前売 2,000円
当日 2,500円



舞台監督 鈴木宏侑
音響 牛川紀政
宣伝美術 横山 雄
照明 中佐真梨香(空間企画)
振付協力 メンセ・カティ
英語翻訳 糸川里彩子
演出助手 宮越悠哉
制作 藤田理子
音楽 Kakinoki Masato(abirdwhale)

ハイドロブラスト http://hydroblast.asia
『幽霊が乗るタクシー』特設サイト https://www.ghosts.land/

協力:エムマッティーナ、空間企画、チェルフィッチュ、デューズ、岡本あきこ、酒井清、Residency PACT Zollverein

太田信吾 映画監督・演出家・劇作家・俳優