Setagaya Art Town 2023 Related Events
France x Japan Contemporary Circus Exchange Project

  • performance
  • Sponsored performance
  • Setagaya Public Theatre

Fierce 5

Fierce 5
Fierce 5
Fierce 5
Photo: Yota Kataoka

Raphaël Boitel, a leading French circus director, and Japanese circus artists collaborated on "Fierce 2021" (premiered in XNUMX).
Based on the theme of "falling seven times and getting up eight", the life-size figures of young artists living in the circus world will be drawn.

Performance schedule 2023/10/27 (Fri) ~ 2023/10/29 (Sun)
Venue Setagaya Public Theatre
Performance time About 1 hour 15 minutes (no break)
Lobby opens: 60 minutes before the start
Seats open: 30 minutes before the start of the performance
Prices generally:
Adults 4,500 yen High school students and younger (4 years old to high school students) 2,250 yen
Release date generally:
2023/08/27 (Sun) ~
Contact Setagaya Public Theatre Ticket Centre
03-5432-1515
Business hours: 10:00-19:00 (excluding year-end and New Year holidays)
Download

opening comment

Raphael Boitel (composition/direction)

the stage photo Click here for more information.

 

Compagnie Louvrier's masterpiece "5es HURLANTS" (original title: 5es HURLANTS), which has been successfully performed for a long time in France and Europe, will be performed today at the Setagaya Public Theater by six Japan-based artists and one Taiwanese artist. It will be re-performed in a new version by another artist.
In this work, the artist's talent, individuality and virtuosity are on full display, and the artist's talent, individuality and virtuosity are on full display, and the artist's talent, individuality and virtuosity are on full display, and the artist's talent, individuality and virtuosity are on full display, and the artist's work evokes the values ​​that are important to me: a sense of community, the power to transcend oneself, perseverance, and the inner strength that is still buried within us. Values ​​are expressed.

Funny, emotional, and full of spectacle, Fierce 5 is a homage to the circus, but also to life, its contradictions, and its journey.
But above all, this work is a tribute to humanity and to humanity's amazing ability to make the impossible possible.

Japan is a country that I love dearly, and one that provides me with a lot of inspiration in my artistic career.
We are very happy to be able to share this special moment with everyone who comes to Setagaya Public Theater!

“Fierce 5” rehearsal room report XNUMX

Setagaya Art Town related project France x Japan contemporary circus exchange project “Fierce 5”

Although the title is somewhat long, circus performances are held every year as a related project to the street performance festival called ``Setagaya Art Town ``Sancha de Daidoge'', which is an autumn tradition in Sangenjaya, Tokyo. ``Fierce 5'', which was born from the production, will be performed.

Although it is called a ``circus,'' it is not a traditional event where statues and clowns appear in a large tent, but an ``artistic circus'' created by using circus techniques and incorporating dance and theater. .
Although there is no clear story or dialogue, it has been revealed that it is a so-called "backstage story" that depicts young artists who live in the circus world, grow despite repeated failures, and finally stand on stage. ing.

We sneaked into the rehearsal room on the first day of rehearsal, where the five main cast members of "Fierce 5" were gathered.

 

There are a total of seven performers, but they will join in stages according to their roles, and although this work premiered in 7, two people from the main cast have been replaced.
(For more information about the premiere,Setagaya Public Theater websitePlease refer to the)

 

The cast that gathered on this day and their respective roles are as follows.

Acrobatic dance = Kei Asanuma
Aerial Ring = Manami Hasegawa
Aerial Strap = Ambrose Hu (Hu Jiahao)
Juggling = Yosuke Meguro
Tight rope = Kento Yoshikawa
In addition, Hironobu Yamamoto and Asami Yasumoto will fill in the secondary cast (staff roles) who are absent on this day.

Hasegawa, Meguro, and Yoshikawa have been in the cast since the first performance.Asanuma and Fu become new members.
Although Asanuma is known as a contemporary dancer, she has worked with Hasegawa and rehearsal assistant Yoshida, and has been able to get along well with the team since day one.
Fu, an aerial artist who was the only Taiwanese participant, seemed to be more happy to have friends to create the circus with than to be worried about.
Hasegawa, Meguro, and Yoshikawa, who are aware of the rigors of the premiere, have been coming to the rehearsal hall for a week in advance to make adjustments, and the rehearsal hall is already fully prepared.

Although it was the first day of rehearsals, Raphaël Boitel, the composer and director, and Tristan Beaudoin, the technical director, were still in France for the Lyon performance of "When Angels Fall", which was also performed at the Setagaya Public Theater in 2018. I'm in.For this reason, rehearsal assistant Aki Yoshida will meet with Boitel in advance to create and proceed with the rehearsal menu for the first and second weeks.
First, we will focus on checking the choreography and setup, and handing it over to the new members.We will send rehearsal footage to Boitel every few days and get feedback as we move forward.

This was the first day that the five main cast members would be together, so the show started with a workshop by Yoshida, which also served as a warm-up.Through simple games, we get to know each other's characters and build a relationship of trust.

Once your body and mind are warmed up, rehearsal begins.
On the first day, two scenes with many detailed choreography and setups were performed.
The complex movements performed by five people (plus two secondary cast members) will be confirmed one by one while watching the premiere footage.
However, each member, including the new members, has been practicing independently before joining, and things are going very smoothly.
Once everyone understands the general movements, members returning from the premiere will supplement by explaining the detailed movements that cannot be seen in the video and the reasons why those movements occur.

All equipment changes are done by the cast during the performance, and depending on the scene, if the movement line or order is incorrect, it could lead to a major accident, so check the video → move slowly while calling out to each other → move in time with the music. Repeat this process until you feel no longer anxious.
If there is something that they don't understand, they may discuss it and change their actions.
It's easy to get caught up in each individual's superhuman movements, but as you can hear from people all over the place saying, ``My head is getting blown out,'' it seems like there's a lot of work that requires a lot of mental effort.
In reality, there are equipment, props, lighting, etc. that are moved by the secondary cast, so the stage manager and Yoshida cover for any areas that are lacking.

After the rehearsal, Boitel and secondary cast members Yamamoto and Yasumoto in France were connected via Zoom to meet and discuss.

From Boitel,
・The theme of the work is "persistence",
It depicts how one can achieve success by persevering even in the face of failure.
It also comes from the Japanese proverb, ``Fall down seven times, get up eight times.''
・Everyone must memorize the choreography and overall flow by the time you join.
Then, after Boitel joins us, we add the direction.
However, each person should work on imagining the situation to understand why such movements occur.
・It is okay to change the choreography to suit your own technique.
・This is a modern circus work that pays homage to traditional circus.
The circus costume worn at the end of the work is
It is an important gift inherited from Annie Fratellini, the first woman to hold a crown.
etc. were conveyed in a passionate tone.

Boitel has said many times that he wants to go to Japan as soon as possible, and now he is also in charge of the Cultural Olympiad, a large-scale cultural program leading up to the 2024 Paris Olympics and Paralympics. Her busy schedule didn't allow for that.
However, after Boitel comes to Japan, he will rehearse for two weeks using the theater stage.
Even just one day at today's rehearsal, you can see the growth and changes that this piece has made since its premiere, and I'm looking forward to seeing how much it evolves in the month leading up to the performance.

“Fierce 5” rehearsal room report XNUMX

October 10th. Raphaël Boitel, the composer and director, and Tristan Beaudoin, the technical director, have joined the Japanese team for Fierce 16.Although they came from France, there was no quarantine period like there was at the premiere (October 21.10), and they entered the cabin immediately from October 10th.On-the-spot rehearsals with all performers have begun.

The cast that gathered on this day and their respective roles are as follows.

Acrobatic dance = Kei Asanuma
Aerial Ring = Manami Hasegawa
Aerial Strap = Ambrose Hu (Hu Jiahao)
Juggling = Yosuke Meguro
Tight rope = Kento Yoshikawa

The secondary cast (staff roles) will be Hironobu Yamamoto and Asami Yasumoto.

Since the rehearsal room and the actual stage are different, we first carefully and carefully check the flow lines during the dark, the placement of equipment, and each person's standing position.

During rehearsals, Japanese, French, English, and Chinese are spoken.Raphael calls artists with honorific titles such as ``Aimi-san'' and ``Kento-san,'' and sometimes speaks in Japanese, saying things like ``Please'' and ``Amazing.''Although the cast sometimes communicates with Rafael and his friends in English, it seems that the presence of an interpreter is essential in order to share the delicate nuances of direction and fine movements.Coincidentally, on this day, Shun Sugimoto, a cast member who appeared last time, was there.His usual interpreter was absent, so he suddenly appeared as an assistant.His participation went beyond his role as an interpreter and would have been a reassuring presence for the team.

Even during the waiting period, the cast members continued to move on stage, dancing, doing headstands, and touching the ball.Sometimes they helped each other stretch and gave each other massages.You can also see them silently making each other laugh with their body movements and facial expressions.Although there was a sense of tension, there was no tense atmosphere at all, and a glimpse of the relationship of trust and friendship that had been built up to this day could be seen.

 

 

Yasumoto joined the five people who started playing with shadow puppets without saying a word.

 

The lighting technique that was highly praised at the premiere is still alive and well.
2021 performance photos Photography: Yota Kataoka

 

However, it really keeps moving.This is not a result of impatience; it is probably natural for them.All of them are from the circus world through and through.This work is a so-called ``backstage movie,'' and although each character has their own distinct character, there are no fixed role names.There seems to be no particular designation regarding the hairstyle.As I watched them rehearse, I felt like each character was an extension of them, and each character was an extension of them.It feels as if a part of my life has been cut out and I am witnessing the way of life.

 


Yoshikawa Fu starts doing a handstand.

 

Rafael's words, ``Don't look at the other person. Focus more on your inner self'' were memorable.This is the scene in the beginning where Asanuma extends his hand towards Yoshikawa. ``At first, he recognizes Yoshikawa, but gradually his focus turns to his inner self (to his own challenges).We will work on his acting from now on, but this will not change in the future, so please keep that in mind.'' Throughout the work, the performers appear to be ``facing their roles,'' but in reality, they are being asked to ``face themselves.''

However, it is by no means a work that is full of theatrical elements and emotional scenes.This is a ``modern circus'' production, and the performers are current circus artists who are active in various fields.In a normal circus, the big tricks that would be performed after a drum roll were performed one after another as if it were natural.During rehearsals, Rafael repeatedly told the members to "safety first" and "be careful."Even though the members have excellent techniques, as it is a circus, there is always danger.Taking proper breaks at appropriate times is also part of the safety considerations.Acting and directing are based on this most important issue, ``safety.''

 

The cast members not only use their own skills, but also take on a variety of roles on stage.Moving the lights, arranging the chairs, setting up the tight rope, cleaning up the aerial ring...The curtain never comes down from the time the show begins until the end, and the entire cast is almost always on their toes.Although there was no detailed acting instruction given as the performance was mostly impromptu, it looked like they were already doing something quite complex.For example, the scene in which the five main cast members sit on chairs and are intricately intertwined at close range was probably already rehearsed quite a bit before they entered the production room.It's extremely smooth without getting clogged, and I'm impressed.


This scene must have left an impression on many viewers at the premiere.I'm already breathing properly

As expected, these are elite people gathered through auditions and offers.I don't think there are many artists who can handle these difficult tasks...

The highlight of "Fierce XNUMX" and one of the most dangerous performances is "Spider" at the end.A harness is attached to Asanuma, the dancer, and Hasegawa, Fu, Meguro, Yoshikawa, and Yasumoto stand at the end of five ropes extending from the harness. Five people grabbed the rope and put their weight on it, causing Asanuma's body in the center to be dragged across the stage and suspended in midair.A slight difference in timing or a careless mistake could lead to an accident, so first of all, without making any noise, we carefully check each other's movements by calling out to them.Asanuma, who was on his butt, was being pulled backwards, and a voice leaked out, ``Oh, I see.''Because it is a very large-scale device, it seems that before entering the hut, simulations were conducted in the rehearsal room, and from there, the students began to refine it while actually handling the device.How will this scene, which brought tears to the audience at the premiere, evolve?The seven members are already showing outstanding teamwork.My heart swells with anticipation.

The cast members have been training on their own for this performance, and rehearsals began on October 10rd.Until Rafael joined us on October 3th, we were just working on getting the choreography into our bodies.After today's impromptu performance, we will move on to the stage where we will continue to direct the performance on stage and deepen our understanding of the motives and passion behind our acting and movements.This time, the performance will be performed with the members' bodies moving, so it is likely that the creations will be even more sophisticated than last time. The skills of the returning members, who have been training for two years without fail, have improved, and there are also new elements with the addition of new members.Please come and see it at Setagaya Public Theater.

“Fierce 5” rehearsal room report 3

October 10nd.Following on from the incident the other day, I once again went undercover to stage rehearsals for ``Fierce 22''.The day started with a warm-up, followed by the ``Spider'' scene, the talc scene, juggling, and aerial strap scenes.Additionally, on the same day, ``Sancha de street performance'' was held in the area around Sangenjaya, where the Setagaya Public Theater is located, and the public was invited to the audience seats for about an hour from 15:1 pm as a public rehearsal.

When I opened the door to the theater, I saw the cast forming a circle on the stage.If you look closely, you can see Rafael, the interpreter, and the stage manager among them.This is a warm-up for everyone to participate.

Relaxing music without any sense of beat is playing. ``Listen to the music'' and ``Don't forget to breathe.'' Guided by Rafael's words, each student rotated their neck, waist, and shoulders, swaying from side to side, and placing their hands on the floor. Use it to move freely.The music became rhythmic.The tempo of the song increases, and the body movements are intense, like an exercise.When the music became calm again, each body drifted and swayed again.I got the impression that it was similar to healing or meditation.

This time, the work to imitate the leader's movements began.The leaders change one after another, but each one has their own individuality and is interesting.They bounced from side to side, swung their legs in the air, and proceeded like Bon dancers... By the time it was over, everyone was out of breath.Basically, he does this kind of warm-up every day.The content varies depending on the day, but the participants engage in work that connects each other's bodies and minds.The relationship of trust and friendship that I felt during the previous encounter is probably being nurtured in situations like this.

 

``Every time the leader made a comical move, there was a lot of laughter.It looked like a lot of fun>

 

After taking a breather, rehearsals for ``Spider'' began.A harness was attached to Asanuma's waist, and they started by checking his movements while calling out to each other without playing any music.My life is at stake.Director Rafael and technical director Tristan give detailed instructions to the cast, such as the speed and slowness of their movements, standing position, posture, pauses, how to send their gaze, nuances, and what they want them to think about in that moment.However, this is not a top-down creation, with the cast actively exchanging opinions and working together enthusiastically.Although physical technique alone is a considerable skill, it also requires a variety of abilities such as memory, responsiveness, and teamwork.This scene had a strong impact at the premiere, but even watching the creative process, I find myself wondering, ``How could something like this happen?''We have a really great group of members.

Next, rehearsals for the talc (white powder) scene begin.At this point, it was time for the public rehearsal to begin.Some of you reading this may have actually witnessed it.Like Spider, this is one of the memorable scenes in "Fierce XNUMX."On the white powder scattered on the stage, the cast, illuminated by the lights, dance, slide, and move.

They share prerequisites and intentions that don't come to the fore in the work, and Raphael and Tristan demonstrate them before the cast members act out their roles.One person who attended the public rehearsal said, ``It's completely different before and after Raphael's direction. I'm glad I got to see that.''

 

The scene progresses to Meguro and Asanuma's hands-on duet, Asanuma's solo talk, a five-person group talk, and an aerial strap scene.

Yoshida, a rehearsal assistant, was running around today with a tablet in hand, going back and forth between the stage and the sound and lighting team.Tablets were used to record rehearsals and view footage from past performances.There are some scenes that are based on the premiere and the French version, but there are also scenes that have been significantly updated.

In the spider scene, Tristan played Yasumoto's position, and in Asanuma's solo talk scene, Raphael demonstrated the director's intentions and the nuances of movement.They are the director and technical director, but Raphael has a track record of working in famous companies as an aerialist and contortionist, and Tristan is currently appearing in the original version of Fierce 5 in the position of Yasumoto.Explanations accompanied by demonstrations are persuasive.The cast members' ability to understand and respond immediately was also amazing.

 

〈Tristan shows himself how to manipulate the rope〉

<Rafael next to Asanuma conveying the nuances>

 

In one scene, Rafael said, ``What you're showing is not your technique, but your state of mind. It's an emotional thing to finally stand on stage after all kinds of rehearsals. Every event is a risk of failure. I want you to come in,” he said.Regarding the comments regarding the production, it seems that there are many aspects that the cast can relate to.

<Fu Asanuma, who will be appearing from this time onwards.Attractive with a different character from the first performance

 

 

At the end of the rehearsal, Rafael commented, ``There are things that need refinement, but it's gotten really good.''Even to an untrained eye, I can see that the work is getting better and better.Even though he was just rehearsing, there were many moments where I couldn't help but watch him.

────The theme of the work is "persistence," and it depicts a person who achieves success by persevering even in the face of failure.It also comes from the Japanese proverb, ``Fall down seven times, get up eight times.''

This time it will be performed again two years after the first performance, but it is unknown if there will be a third time. Some people may feel that "modern circus" is a bit of a barrier, but the message that Raphael wants to convey through his work is universal and familiar to us all.This "Fierce 2" will surely accompany you at random moments and give you power even after you return to your daily life.This weekend, the curtain finally opens.

“Fierce 5” public rehearsal held

Prior to the next week's performance, "Sancha"deWe will be releasing rehearsal footage during the "Busking" period!

 

▼ Release date and time
10Month22Sun (Sun)
Group ① 15:00-15:30
Group ② 15:30-16:00
*Please meet at the entrance of Setagaya Public Theater (10rd floor of Carrot Tower) 3 minutes before the start of each group.Please line up in order of serial number.
*You may enter and leave the theater midway through, but the seating area is small and it may get dark at times, so please watch from beginning to end if possible.

▼ Venue
Setagaya Public Theatre

▼How to enter
Free admission/numbered tickets distributed
10Month22Sun (Sun)11:00From “Sancha”deNumbered tickets will be distributed at the ``Street Performances'' festival headquarters (inside the plaza venue).
each time60Name limited.Ends as soon as it runs out.
Receiving numbered tickets1by name2up to one piece.

▼Notes
・Please refrain from taking photos, videos, and recordings.
・ 2You will be guided to the seats on the first floor.Please be careful if you are not comfortable with heights.
・You cannot meet or chat with the performers.
・The rehearsal (creative process) will be open to the public.Please note that the content may differ from the actual content.

Overview

A Japanese-French-Taiwan collaboration between young circus artists.
5 people's growth story to the second chapter!

In the fall of 2021, Raphaël Boitel, a leading figure in the modern French circus world, will direct the production of Fierce 5, an international collaboration with Japanese circus artists.

Based on "5ES HURLANTS" (premiered in 2015), which has been performed around the world as a representative work of Company Louvrier, the performers have been depicted life-size by combining techniques such as dance, aerial, tightrope walking, and juggling.

Based on the Japanese proverb "Fall down seven times, get up eight" as a theme, this work depicts the "perseverance" of people living in the circus world who always stand up despite the many difficulties they face.At the time of the premiere in Japan, it overlapped with the daily lives of people living in the corona wreck and caused a great response.But as Rafael puts it, "A tribute to the circus and a metaphor for life," let's make the impossible possible through perseverance, courage and solidarity.The appearance of the circus artists is also a universal message of hope, not limited to the corona disaster.

In this recreation, which will be held with new members, we will bring out the full potential of the work, the artist, and the space of the theater, and deliver "Fearth 5" that has grown up.

Continuing from the first performanceAimi Hasegawa,Yousuke Meguro,Kento Yoshikawa,Hironobu Yamamoto,Asami YasumotoIn addition, he has been active as a contemporary dancer, and in recent years has participated in circus performances as a choreographer.Kei AsanumaAnd a former member of Taiwan's Formosa Circus Art (FOCA), who also appeared in "Goku ~ Adventure Begins ~" screened at the Setagaya Public Theater in 2021.Ambrose HuPlease enjoy the story of growth that makes the impossible possible by a Japanese-French circus artist who has added

Raphaël Boitel Comment

The trailer is Click here for more information.

Raphael Boitel (composition/direction)

I am very happy to be able to perform "Fierce 5" again at Setagaya Public Theater this fall.
We created this piece with multinational artists from different fields of expertise, including wire, aerial hoops, straps, juggling, and acro dance.Using a device called a spider designed specifically for this work, we will deliver a highly emotional and spectacular spectacle.
This work depicts "persistence," and it can be said that "persistence" is extremely important in today's world.I freely drew inspiration from my favorite Japanese proverbs, which I use as inspiration in my daily life as an artist.The proverb is ``Fall down seven times and get up eight times''.
This project is very important to me because it is truly a project of exchange, inheritance, and encounter.Additionally, it's a really great opportunity to meet people from Japan.
I'm really looking forward to meeting you all.

Cast staff

[Construction/Direction] Raphaëlle Boitel
[Cast] Ambrose Hu, Kei Asanuma, Aimi Hasegawa, Yosuke Meguro, Kento Yoshikawa, Hironobu Yamamoto, Asami Yasumoto

[Lighting and set design] Tristan Bodwan
[Music] Arthur Bizon
[Rehearsal Assistant/Understudy] Aki Yoshida

[Advertising art] TAKAIYAMA inc.
[Promotion photo] Hiroko Matsubara
[Promotional video] Eiji Kurasawa

[Setagaya Public Theater Artistic Director] Akira Shirai

Profile

Raphaëlle Boitel

Raphaëlle Boitel 
(Construction/Direction)

Born in 1984. From the age of 6 she studied acting and started performing. She was first seen by Annie Fratellini at the age of eight, and in 8 entered the National Circus School Academy Fratellini. From 92 to 1998, she worked with French contemporary circus standard-bearer James Tierre, appearing in La Symphonie du Hanneton and La Veilléedes Abysses. During the 2010-year tour, he was also active in theater, film, and television. In 13, she starred in Aurélien Bory (Cie 2012) "Géometriede caoutchouc".Later he founded the Company Louvre.In addition to his own productions, he has choreographed operas at La Scala in Milan, Théâtre du Châtelet in Paris, and Opéra-Comique. In 111, he will be selected to direct the graduation production of the French National Circus Art Center (CNAC). In 2020, due to the influence of the pandemic, he realized his long-awaited co-production in Japan with this project, even though he was affected by the theme of his work, "Fall seven times and get up eight".

Schedule

February 2023, 10 (Friday) - March 27, 2023 (Sunday)

10/27
(Fri)
10/28
(Sat)
10/29
(Sun)
15:00
19:30
Curtain
Time
15:0019:30
10/27
(Fri)
10/28
(Sat)
10/29
(Sun)

◎=There will be a post-performance talk
10 / 27 (Friday) 19: 30
Speakers: Raphael Boitel Akira Shirai (Artistic Director, Setagaya Public Theater)
*Those who have tickets for another day can enter after the performance ends.There is a capacity.

We are accepting questions for post-talk speakers using the form. (Reception deadline: Until the start of post-talk)
Please fill out the form below.
Click here for more information.

ticket

All seats specified
General
Prices
Adults 4,500 yen High school students and younger (4 years old to high school students) 2,250 yen
Release date
2023/08/27 (Sun) 10:00~
Membership priority, discounts, etc.
Tomonokai member
Prices
Adults 4,000 yen High school students and younger (4 years old to high school students) 2,000 yen
*Handling only in advance
Release date
Release date: 2023/08/20 (Sun) 10:00-
Setagaya Public Theater Online Ticket Members
Prices
Adults 4,500 yen High school students and younger (4 years old to high school students) 2,250 yen
Release date
Release date: Saturday, August 2023, 08 from 26:10
U24 member
Prices
2,250 Yen
*Handling only in advance
Release date
Release date: Saturday, August 2023, 08 from 26:10
Setagaya Arts Card Members
Prices
Adults 4,000 yen High school students and younger (4 years old to high school students) 2,000 yen
*Handling only in advance
Release date
Release date: Saturday, August 2023, 08 from 26:10
Same-day ticket information

``Fierce 5'' will sell same-day tickets in the following way.

1.Telephone reservation
Tickets are available on a first-come, first-served basis at the Setagaya Public Theater Ticket Center (telephone 10-00-2) from 03:5432 on the day of the performance until 1515 hours before the start of the performance.

2.Theater window
Tickets will be sold at the ticket counter at the entrance of the Setagaya Public Theater from 60 minutes before the start of the performance.Priority will be given to those who make reservations by phone.

Price:
General 4,500 yen
High school students and younger (4 years old to high school students) 2,250 yen

*There are no member discounts for same-day tickets.
*High school students and younger must present a certificate on the day.
*We accept up to 4 tickets per person, but we may not be able to prepare consecutive seats.

*Advance tickets can be reserved up to the day before as long as there are seats remaining.
Setagaya Public Theater Ticket Center: Call 19-00-03 until 5432:1515 the day before the performance
Setagaya Public Theater Online Ticket: Available until 23:30 the day before the performance

Ticket agency information

Setagaya Public Theatre Online Ticket
Setagaya Public Theatre Ticket Centre
03-5432-1515 (10: 00 ~ 19: 00) https://setagaya-pt.jp/membership/booth/
Ticket Pia
P code: 520-700 https://t.pia.jp/
eplus

Other notes

About tickets and seats

*Children under the age of 3 are free only on the lap of their parents.
* Preschoolers must be accompanied by a guardian to enter.
*We may not be able to guide you to your original seat after the performance.note that.

About number limit

* Up to 1 tickets per performance per application

About various membership systems

*Registration takes time, so please complete the membership application well in advance.
*How to join each member Click here for more information. for more information.

About purchasing at the Setagaya Public Theater Ticket Center

* Tickets will be sold at the Setagaya Public Theater Ticket Center only by phone and online, and will not be sold or issued at the counter.
* The payment method is "Seven-Eleven" or "online credit card payment", and the pick-up method is "Seven-Eleven ticket issue only".
*We will also ask for your contact information (phone number) when purchasing tickets by phone.In that case, please be sure to tell us what you can contact during the day.

Appreciation support

Childcare service

Childcare services are basically available for performances where advance tickets are sold.
Due to the limited number of seats available, reservations are required.

Prices 2,200 Yen(per person)
Target Over 6 months old and under 9 years old
application Setagaya Public Theatre 
TEL 03-5432-1526
Consignment Kids Room Tinker Bell Sancha

Reservations will be accepted until noon three days before the desired date of use, but will be closed as soon as the capacity is reached.
Please make your reservation as soon as possible.
In addition, please consult about children with disabilities.

Wheelchair space

There is a wheelchair space where you can watch the theater while in a wheelchair.
Due to the limited number of seats available, reservations are required.

Prices 10% discount on the applicable area ticket fee [Up to 1 attendant is free]
application theater ticket center 
TEL 03-5432-1515

It will be closed as soon as it becomes capacity.Please make your reservation as soon as possible.

Theater with an assistance dog

You can watch the play with an assistance dog.
Seats vary in size, so please contact the theater for details.

Inquiry Setagaya Public Theatre 
TEL 03-5432-1526

writing instrument

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Prohibition of resale

Resale of tickets for profit is strictly prohibited under any circumstances.
If resold tickets are confirmed, we will refuse admission, and if it is found after admission, we will ask you to leave.
You may be asked to confirm your identity when entering the Setagaya Public Theater/Theater Tram.
We appreciate your understanding and cooperation so that everyone can purchase tickets fairly.

Organized by

Setagaya Arts Foundation

Planning and production

Setagaya Public Theatre

Sponsorship

Setagaya Ward, Embassy of France in Japan / Institut Français

Sponsor

Toho Holdings Co., Ltd./Toyota Motor Corporation/Bloomberg (in alphabetical order)

In cooperation with Unnan City Tourism Association

TOKYU RAILWAYS Co., Ltd.

premiere/co-production

The Japan Foundation, Setagaya Cultural Foundation

 

Contact

Setagaya Public Theatre Ticket Centre

TEL. 03-5432-1515

Business hours: 10:00-19:00 (excluding year-end and New Year holidays)

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