Workshop for International Collaboration

APAF 2018 Workshop for International Collaboration

A workshop where young Asian artists gather together, exchange ideas, and collaborate on small pieces on a selected theme. This year, participants will fully create and present three 15-minute original works on the theme “Violent,” as chosen by APAF director Junnosuke Tada.

This program has been closed. Thank you very much for coming.

A New Normal Cinderella ~新しい平凡なシンデレラ~ (Directed by Dendi Madiya)

Q & APAF (Directed by Tomohiko Kyogoku and the performers)

Wo(E)man (Directed by Issa Manalo Lopez)


■Workshop Recitals (3 pieces)
Date: 2018 Nov. 10 (Sat) 17:00- / Nov. 11 (Sun) 13:00-
Venue: THEATRE WEST, Tokyo Metropolitan Theatre [ MAP ]
Admission Free, Reservation Required

【Reservation】*NOW CLOSED*
Nov. 10 (Sat) 17:00-

Nov. 11 (Sun) 13:00-
Duration: 90 min.(TBD / including stage set change)

Date: 2018 Nov. 11 (Sun) 15:30-
Duration: 90 min.(TBD)
Venue: THEATRE WEST, Tokyo Metropolitan Theatre [ MAP ]
Admission Free, No Reservation Required


Dendi Madiya (Indonesia)

Director’s Comment on A New Normal Cinderella ~新しい平凡なシンデレラ~

While making a way with empty white papers, Cinderella sings Bengawan Solo. The stepmother calls out to Cinderella to clean the house and Cinderella hides. Cinderella’s stepbrother also refuses to clean the house because dancing is more important to him. The prince spreads papers about the palace party but he doesn’t want to get married. The road becomes a mess. Fairy mother pushes Cinderella to go to the palace party. Apparently the prince who comes to Cinderella’s house. They dance. The prince falls in love with Cinderella. The clock is ticking. Cinderella leaves in a hurry and get lost in Aokigahara forest.
Perhaps we are always having trouble recognizing ourselves and others. When interacting with an object, sometimes we feel close, sometimes we feel far away. Often we see things only from a single perspective. Violence always happens, however hard we try to avoid it. Maybe one of the ways we deal with violence is to make fiction.
“A New Normal Cinderella” presentation was made in two ways: a rational and intuitive way. Every creator in this team opened his views on violence. The improvisation is taken as a way of communicating through the body. We tried to make connections from every idea as a way of seeing the theme of violence.

Tomohiko Kyogoku (Japan)

Director’s Comment on Q & APAF

Our creative process started from sharing my own dance and theater experience with the performers. After that, each performer took turns being the role of the director, the critic, and the performer; each day, the director would produce a short work, which was reviewed by the critic, and the piece was improved and re-performed in response to the critique given. I also conducted one-to-one interviews with each participant, asking the same set of questions. Through this approach, I wanted to consider the latent systemic power dynamics at play in the creative process. If human life itself is inherently violent, where and in what ways does it exist? Through the exploration of this question, we were able to generate new ones beyond the theme of violence. Valuable insight is not found in the answer, but rather in the act of questioning. This was the realization that I came to through this APAF workshop.

Issa Manalo Lopez (The Philippines)

Director’s Comment on Wo(E)man

When do you draw the line?
W(E) contemplate the notion of the FEMALE BODY as a site of “Violent” – how the woman is not allowed to take up space and negotiate the geography of what is accessible to “her”, not allowed to own and freely mobilize their bodies, not allowed to escape and challenge the male gaze.
The performance examines the body politics of Gender and Patriarchy as socio-political constructs and how it creates the complex intersections embedded in the real and the everyday. Through a multi-vocal approach, the performance maps a contemporary definition of “the woman” ‒ as energy, as wife, a transgender, a person belonging to a cultural minority. In this body to body negotiation we attempt to locate our own positioning. How are we complicit in perpetuating violence ‒ direct or indirect, organized or inorganized, actual or potential?


Paopoom Chiwarak (Thailand)

Pei-Ching Hung (Taiwan)

Tomoko Kurihara (Japan)

Chen-Chih Liao (Taiwan)

Jared Jonathan Luna (The Philippines)

Natsumi Mase (Japan)

Olive Nieto (The Philippines)

Fitri Rainy (Indonesia)

Takaki Terakoshi (Japan)

Masaki Tsuruoka (Japan)

Jit Yang Tung (Malaysia)

Hanako Wada (Japan)

Wei-Chen Yang (Taiwan)


※Yu Kitagawa, who was planning to appear on workshop recitals, was compelled to cancel the appearance due to an injury of her foot. Thank you very much for your understanding.


Stage Manager: Hiroo Nakai(Stage Work URAK)
Assistant Director: Kozue Ito, Takeshi Ohashi, Gaku Nishi
Sound: Masashi Wada
Lighting: Yuho Shimada(LST)
Photography: Kazuyuki Matsumoto
Video Documentation: Kazuomi Furuya
Interpreters: Nobuko Aiso (Art Translators Collective), Kanoko Tamura (Art Translators Collective), Maiko Ishii, Tomomi Yokosuka
Production Coordinators: Saoko Ikuno, Yuko Uematsu, Fumie Nakashima, Miyuu Kamikawa, Megumi Yamashita