かもめマシーン
2007年設立。西洋から輸入された「公共」という概念をいかに個人の身体を通じて身体化していくかを中心テーマとしながら作品を創作。現在のメンバーは主宰の萩原雄太のほか、清水穂奈美、伊藤新の3名。
主な作品に、2011年の福島第一原子力発電所事故後に福島県の路上で上演され、ローマ市演劇記念館や早稲田大学演劇博物館などで展示が行われた『福島でゴドーを待ちながら』、日本国憲法をテキストにしてTemps D’images Festival CLUJ(ルーマニア、芸術監督・Miki Braniste)でも上演された『俺が代』、シアターコモンズ’18（ディレクター｜相馬千秋）でも上演された『しあわせな日々』（サミュエル・ベケット作）などがある。
コロナ禍以降は、電話回線を舞台とした「電話演劇シリーズ」を制作。俳優と観客が1対1で行った『もしもし、わたしじゃないし』『もしもし、シモーヌさん』『もしもし、あわいゆくころ』、天王洲アイルで行われたMEET YOUR ART Festival 内の現代美術展『SSS: Super Spectrum Specification』（監修｜山峰淳也）で上演された、災害伝言ダイヤルをモチーフとしてパレスチナの人々が書いた手記を参加者自身が読む『ガザモノローグ＜伝言ダイヤルver.＞』などを発表。2022年からは南京大虐殺についてのリサーチを開始し、これまでにリサーチやワークショップ、ワークインプログレスなどを日本、台湾、イギリスで実施している。
Founded in 2007, Kamome Machine creates works with a central theme of exploring how the Western-imported concept of “publicness” can be embodied through the individual body. The current members are Yuta Hagiwara (artistic director), Honami Shimizu, and Shin Ito.
Their major works include Waiting for Godot in Fukushima, performed on the streets of Fukushima Prefecture after the Fukushima Daiichi Nuclear Power Plant disaster in 2011, and later exhibited at the Theatre Museum in Rome and the Tsubouchi Memorial Theatre Museum at Waseda University. Another notable piece is Oregayo, a performance based on the Japanese Constitution, which was presented at the Temps D’Images Festival CLUJ (Romania, Artistic Director: Miki Braniste). The company also staged Happy Days by Samuel Beckett at Theater Commons Tokyo '18 (Director: Chiaki Soma).
Since the COVID-19 pandemic, the group has been producing the Telephone Theater Series, which uses telephone lines as its stage. This includes one-on-one performances between actor and audience such as Hello, It's Not Me, Hello, Simone, and Hello, In the Intervals. They also presented Gaza Monologues <Message Dial ver.>, in which participants read personal testimonies by Palestinians using a disaster emergency messaging system as a motif. This was part of the contemporary art exhibition SSS: Super Spectrum Specification at MEET YOUR ART Festival in Tennozu Isle (Supervised by Junya Yamamine).
Since 2022, the company has been conducting research on the Nanjing Massacre, with research activities, workshops, and works-in-progress held in Japan, Taiwan, and the UK.
萩原雄太
演出家、かもめマシーン主宰。1983年生まれ。愛知県文化振興事業団「第13回AAF戯曲賞」、「利賀演劇人コンクール2016」を受賞。公共と個人の身体との関係を描いた創作を行う。主な作品に、原発事故後、福島の路上で行った『福島でゴドーを待ちながら』、日本国憲法をテキストに使った『俺が代』、サミュエル・ベケットの『しあわせな日々』、ダイヤル式電話を舞台として、演劇を上演する『電話演劇シリーズ』など。
2018年、ベルリンで開催されたTheatertreffen International Forumに参加。19-20年、22-23年、24-25年セゾンフェロー1に採択。23年、Asian Cultural Council New York Fellowshipに採択され、ニューヨークに滞在。24年、中国の演出家・王梦凡、キュレーター・张渊、 劇作家の山本卓卓とともに日中当代表演交流会を開始。 ジョージタウン大学・Laboratory For Global Performance & Politics 2024-2026のGlobal Fellowに採択される。
Profile of Yuta Hagiwara:
Yuta Hagiwara is a Tokyo-based theater director and the founder of the performance company Kamome Machine. He began his theater practice while studying at Waseda University.
In 2007, he founded Kamome Machine, a performance collective that explores the relationship between the individual body and the public sphere. His directing credits include Waiting for Godot in Fukushima, staged in the aftermath of the Fukushima Daiichi Nuclear Power Plant disaster; OREGAYO (2017), a performance using the Constitution of Japan as its text, which was also presented at the Temps D’Images Cluj festival in Romania; HAPPY DAYS, part of Theatre Commons Tokyo '18; and the Telephone Theatre Series, which developed during the COVID-19 pandemic using telephones as a medium of performance. Since 2022, he has also been developing The Nanjing Project, a series of research-based and work-in-progress performances that take the Nanjing Massacre as its subject matter.
He received the 13th Aichi Arts Foundation Drama Award and the Excellence in Direction Award at the Toga Theater Competition.
In 2018 he participated in Theatertreffen International Forum in Berlin. He has been a Saison Fellow I (2022–2023, 2024–2025). In 2024, he co-founded the Japan–China Contemporary Performance Exchange Project with Chinese dance director Mengfan WANG and independent curator Yuan Zhang. He was selected for the Asian Cultural Council New York Fellowship and The Laboratory For Global Performance and Politics Global Lab Fellows 2024-26.
清水穂奈美
1987年、埼玉県北部生まれ。早稲田大学第一文学部演劇映像専修卒。高校演劇、大学演劇サークルを経て、東京小劇場の演劇作品等に出演している。近年、気功や太極拳等をかじり始める一方、「民俗芸能調査クラブ」に参加。“身体”に焦点をあてながら、「俳優という視座からの創作の可能性」を探っている。
Profile of Yuta Hagiwara:
Born in 1987 in northern Saitama Prefecture. Graduated from the Theatre and Film Studies program in the School of Humanities and Social Sciences (formerly the First Faculty of Literature) at Waseda University. Following her experience in high school theatre and university drama clubs, she has performed in theatrical productions at small Tokyo theatres. In recent years, while beginning to dabble in qigong and tai chi, she has also participated in the "Folk Performing Arts Research Club." With a focus on the "body," she explores "the possibilities of creation from an actor's perspective."