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Riseiteki-na-Henzintachi vol.2 “Oroika Song”

  • Organization : Riseiteki-na-Henzintachi
  • Section : Artistic and creative activity in Tokyo
  • Type of Grant Program : Single
  • Art Forms : Theater


Due to concerns over the outbreak of coronavirus (COVID-19) and in consideration of the health and safety of participants and staff members, this program was canceled.

Riseiteki-na-Henzintachi planned to stage its new work “Oroika Song” as its second production. The play’s director and performers alike were closely involved from the creative process onwards, seeking to leverage their own experience and words in the making of the work. Related special events included a reading of stories generated in the process of creating the work, and an interactive pre-event on Zoom where company members read excerpts from the script. However, the spread of coronavirus meant that the production was postponed. The company is makings preparations to reschedule performances for after 2022.

This is the story of three generations of Saiki family women: Oto, who got a job in the city with under the old Japanese ‘group employment’ system; Yayoi, who was raised by an adoptive mother; and twins Rinko and Yuko, who take different paths as the result of sexual violence. Through their stories, the play unflinchingly addresses the problems inherited by Japanese women, and the problems they face today.

Written by: Erika Kamata
Directed by: Miyuki Ikuta (Bungakuza)
Performed by: Hanano Takizawa, Ayako Umemura (Bungakuza), Zhang Ping (Bungakuza), Mio Nishioka, Yui Yamawaki
Event appearances: Marino Aramaki, Erika Kamata
Stage direction/lighting: Takaaki Kurota (Kurozaru)
Sound: Koji Ozono
Publicity art/visual design: Marino Aramaki
Production: Aya Hayasaka, Saika Kimura


Riseiteki-na-Henzintachi is a female-led performance group whose members chose to work in theater despite graduating from Tokyo University of the Arts, which has no theater department. After leaving the university they refer to as a ‘salad bowl of the arts’ for its interchange of diverse genres, the troupe’s members each built foundations in their respective fields, honed their specialties, and now engage in the pursuit of a “new salad bowl of the arts.” The group challenges itself to consciously and continuously explore forms of theatrical expression which it considers required or missing in Japan, in order to reflect the times.




Atelier Dai Q Geijutsu, Setagaya City, Tokyo