Kaori Ito/Cie.Himé (FR/JP)

After dancing with her father and with her life partner and giving birth to a little boy, Kaori Ito is left facing herself and confronted with her constantly moving artist’s life. She discovers the very contemporary feeling that time is accelerating. Putting herself in the shoes of a robot who must learn everything about human behaviours to come to life allows her to stand back from mankind, to live at last in the present time, to be really alive on stage. She is finally alone to accept death and learn how to love what really makes the essence of human beings, their fragilty.

Living as artists, we are very often on tour, travelling; our life seems very far from the idea of settling. We have very intense and very short encounters. We say hello and goodbye as in a series of little deaths. I often met the fear of being alone in this almost robotic way of life. Everything happened very fast and I felt like never having a rest. After a while, I needed a time of emptiness, the time of emptiness letting me think that maybe we can escape death. So I try to put myself in the shoes of an android imitating human behaviours by working on emptying my body. After giving birth to my child and living his delivery, I feel today that death and birth are closely related.

– Kaori Ito

Duration: 50 min.

A Production by Association Himé. In Coproduction with ADC in Geneva – Switzerland, KLAP – maison pour la danse – Marseille, MA scène nationale – Pays de Montbéliard, Théâtre Garonne – scène européenne – Toulouse, Lieu Unique – Nantes, Avant-scène – Cognac, Théâtre de Saint-Quentin-en–Yvelines, MAC de Creteil. Partners : Ministère de la culture – DRAC Ile de France, Fondation Sasakawa. With Support by Compagnie 111 – Aurélien Bory / nouvelle Digue, Flux Foundation in Geneva. The Himé Association is supported by the BNP Paribas Foundation for the whole of its projects. Kaori Ito is an associate artist to Creteil’s Mac, in artistic fellowship with KLAP Maison pour la danse and in residence at the 104. Compagnie Himé is being supported by Pro Helvetia for its tours .

Text, direction, choreography and performance
Kaori Ito

Assistant choreographer
Gabriel Wong

Collaboration aesthetics
Aurore Thibout and Erhard Stiefel

Original music
Joan Cambon

Light Design
Arno Veyrat

Dramaturgical advice
Julien Mages, Zaven Paré (robotics) and Jean-Yves Ruf

Assistant choreographer on tour
Chiharu Mamiya

Stage management and sound design
Adrien Maury

Light technician
François Dareys

Operator and stage technician
Yann Ledebt

Stage design
Pierre Dequivre, Delphine Houdas and Cyril Trupin

Thanks to
Théo Touvet

Améla Alihodzic (Playtime)

After having recently met, Kaori Ito and Théo Touvet pay tribute to all the people they’ve loved and who “prepared” them for other romances. Creating with two voices, they unprudishly disclose their love “anatomy” in the form of a logbook. Fragments of break-up letters, empty promises, declarations, words of love, form this impassioned corpus. An emotional experience.

First divided in two groups in different spaces, we invite everyone in the audience to be the confidant of the love and sexual experience of either one of us. By quite openly telling you about our love stories through our first romantic experiences, we try to reveal ourselves as much as we can to establish a genuine contact with you and sincerely share a slice of life. You may hear a break-up letter, the love sentences that left a mark on us, the promises we vainly made to our ex, or the criticisms we received. We also explore our taboos, our scars and our wounds by telling you about intimate parts of our bodies. To continue this stripping of our cornered beings, both guided groups then merge and we will venture to turn our guests into witnesses of the physical encounter of our hands, our mouths, and then of the whole extent of our bodies in a tenderly delicate and considerate as well as brutal choreography.

– Kaori Ito and Théo Touvet

Duration : 90 min.

A production by Compagnie Himé. In coproduction with Ménagerie de Verre in Paris (studiolab)
With the support of Festival Antigel (Switzerland), Flux Laboratory (Switzerland), La Ménagerie de Verre as part of Studiolab (France), ADC Genève (Switzerland) and Jean Guizerix. Compagnie Himé is supported by the BNP Paribas Foundation for the whole of its projects since its creation in 2015. Kaori Ito is an associate artist to Creteil’s Mac, in artistic fellowship with KLAP Maison pour la danse and in residence at the 104. Compagnie Himé is supported by Pro Helvetia for its tours .

Choreography and performance
Kaori Ito and Théo Touvet

Gabriel Wong

Stage manager
Adrien Maury

Assistant choreographer on tour
Chiharu Mamiya

Production manager
Améla Alihodzic (Playtime)

For ten years, Kaori Ito lived thousands of kilometers apart from her father. She has dedicated this poetic dance piece to their reunion and the two can be seen together on stage. They portray love, separation, disillusion, resignation and pride. I dance because I do not trust words gives an open-hearted insight into the bond between father and daughter Ito. He happens to be a famous visual artist in Tokyo and she has made a world-wide breakthrough as a dancer. He was authoritarian and she revered him. He is now older and more fragile and perhaps the roles have reversed. But the duet nonetheless shows the universal father and daughter bond. The man who was your first hero in life, who has fallen off his pedestal, the one you are trying to break free from until the moment that you sense invisible forces are pulling you back to him because he is a part of you. Kaori and Hiroshi Ito show courage by reuniting and openly discussing everything that was left unspoken for all those years. She asks him many questions: “Why do you smoke? Why are your images so dark? Why don’t you stand up straight? Why do you always cook curries? Are you frightened by the distance between us?” He is old and his answers are wise and true: “I believe I see you more often than other parents see their children.” This conversation between father and daughter thus not only becomes a dance-like document of relationships, but also makes the unspoken between the generations visible and tangible to the public. “Because in Japan, we do not trust words,” says Kaori.

Duration: 60 min.

A production by Compagnie Himé. Coproduction and residency : Théâtre Garonne – Toulouse/ FRANCE, Théâtre de Saint-Quentin-en- Yvelines – Scène nationale/ FRANCE, Théâtres de la Ville de LUXEMBOURG, Ménagerie de verre – Paris/ FRANCE, ADC Genève/ SWITZERLAND, Lieu Unique – scène nationale de Nantes/ FRANCE, Klap Maison pour la danse – Marseille/ FRANCE, Avant-Scène – Scène conventionnée de Cognac/ FRANCE, Channel – scène nationale de Calais/ FRANCE and Filature – Scène nationale de Mulhouse/ FRANCE, Fondation Sasakawa/ JAPAN. Partners: Ville de Genève, Arcadi Île-de-France, SSA, Pro Helvetia, Loterie Romande and Fondation Ernst Gohner. The Association Himé is supported by the BNP Paribas Foundation for the whole of its projects. The company is supported by the direction régionale des affaires culturelles d’Île-de-France – Ministère de la Culture et de la Communication. Kaori Ito is an associate artist to Creteil’s Mac and Le Centquatre Paris as well as in artistic partnership with KLAP Maison pour la danse.

Kaori Ito, Hiroshi Ito

Text, direction and choreography
Kaori Ito

Choreography assistant
Gabriel Wong

Playwriting and support
Julien Mages

Stage design
Hiroshi ito

Light Design
Arno Veyrat

Joan Cambon

Design of masks and outside view
Erhard Stiefel

Duc Siegenthaler (Haute École d'Art et de Design de Genève)

Coaching actor
Jean-Yves Ruf

Coaching vocal
Alexis Gfeller

Assistant choreographer on tour
Chiharu Mamiya

Sound management (alternately)
Adrien Maury and Bernard Lévéjac

Light management (alternately)
Arno Veyrat, Carole China, Thomas Dupeyron and Pierre Montessuit

Améla Alihodzic (Playtime)

Kaori Ito was born in Japan and studied Classical Ballet from the age of five. At the age of twenty, she moves to New York and integrates the dance department of the Purchase College. After returning to Tokyo, she graduates in sociology and gets a grant to return to New York as part of the Japanese Government’s Program of Overseas Studies for Artists. She studies at the Alvin Ailey Dance Theater. As early as 2003, she plays the leading part in Philippe Decouflé’s Iris, then integrates Ballet Preljocaj for Les 4 saisons. In 2006, she dances in Au revoir Parapluie by James Thierrée and collaborates with him on Raoul and Tabac Rouge. Next, she assists Sidi Larbi Cherkaoui for the movie Le bruit des gens autour with Léa Drucker and becomes soloist in Guy Cassiers’s opera House of the sleeping beauties.

In 2008, she creates her first performance Noctiluque at Vidy-Lausanne. In 2009, she presents her second creation Solos in Marseille. This show will be recreated for Lyon Dance Biennale in 2012. Island of no memories was born in 2010 during the competition “(Re)connaissance”. It scoops the first prize and is selected for the program Modul-Dance of the EDN (European Dancehouse Network). In 2012, Aurélien Bory dedicates her a portrait with Plexus, for which she co-signs the choreography. After dancing with Alain Platel in Out of Context, Kaori creates Asobi, produced by Les ballets C de la B. In 2014, she creates La Religieuse à la fraise with Olivier Martin Salvan at the Festival d’Avignon.

As a polymorphic artist, Kaori also makes videos (Carbon Monoxide-2004, The sea is calm– 2006, Niccolini-2008 with James Thierrée, Damien Jalet and Niklas Ek), paintings and regularly collaborates in theater, particularly with Edouard Baer and Denis Podalydès (Le Cas Jekyll 2, Le Bourgeois Gentilhomme by Molière, L’homme qui se hait by Emanuel Bourdieu and Lucrèce Borgia by Victor Hugo) for the Comédie Française.

In 2015 she founds her own company and creates I dance because I do not trust words, a duo with her father, a sculptor in Japan, which is still touring. She receives the SACD prize Nouveau talent chorégraphie and is named chevalier de l’ordre des Arts et des Lettres. Kaori also works with Alejandro Jodorowsky in Poesía sin fin, released during Cannes’ Quinzaine des réalisateurs in 2016, and in Ouvert la nuit by Edouard Baer, released in January 2017. In 2017, she creates Fire me up for the Antigel festival in Geneva, a performance about love with her partner Théo Touvet. In 2018, she creates her latest solo Robot, Eternal Love.

She is currently working on a duet Is it worth to save us? with Mirai Moriyama and preparing her new group piece which will premiere in 2020.

Robot, Eternal Love

Fire me up

I dance because I do not trust words