2400 HUF / Student: 1900 HUF
Trafó Passes are accepted
Accompanying programThis content is available only in Hungarian.
Kaori Ito was born in Japan, she has been dancing since her young age. At age 20, she moves to New York, she is continuing her studies there and later in Tokyo. She is dancing with Philippe Découflé, James Thierrée, Angelin Preljocaj, and even Sidi Larbi Cherkaoui before coming to her own choreographic work: I dance because I do not trust words.
With: Kaori Ito (daughter) and Hiroshi Ito (father)
Text, Staging and choreography: Kaori Ito
Choreography assistant: Gabriel Wong
Playwriting and support: Julien Mages
Stage design: Hiroshi Ito
Lighting: Arno Veyrat
Music : Joan Cambon
Design of masks and outside view: Erhard Stiefel
Costumes : Duc Siegenthaler (Haute École d'Art et de Design de Genève)
Production : Améla Alihodzic (Playtime)
Touring : Sarah Benoliel /
Administration Pierre-André Kranz
In March 2011, the year of the Tsunami, after ten years of being away, I saw my old room
again at my parents’ house in Tokyo. It has not changed since I was in my twenties. My
parents have always left it the same. Then, I saw the photos of me in the living room. This
made me feel like a kind of dead person in the house. It was as if, since I left, they kept my
belongings intact to preserve the daughter they had before, when I was still in Japan, it
was as if time had stopped since my departure.
For a girl, the father represents both authority and a person to be overcome. I have
always tried to please my father. So I have worked my whole life to make him happy with
me. As a young girl, he told me what I should do. Before, I would respectfully listen to his
artistic advice; my father is a sculptor in Japan. He was someone I admired, someone who
held a truth, and I meticulously followed what he told me to do.
Sometimes his comments were very profound, like this one: “you needn’t move within
the space, but make space be moved by your dance”.
My father always wanted to maintain his authority over me, perhaps so that I remain his
daughter. Now that I’m away, paradoxically I realise that I feel closer to him artistically,
but far away emotionally. Today I realise that it is he who strives to please me. Now he
respects me as a dancer. He recognises me as a professional and that is why he wants to
dance with me.
When I return to Japan, my father still wanted to do ballroom dancing with me. It always
bothered me, but now I’m ready to dance with him in public.
I would like to see him on stage again.
May the space be moved by the reunion of our blood kin bodies, his shaped by sculpture
and mine by dance.
The distance requires us to show our love in different, more subtle ways. In Japan, we do
not show our feelings. When a family is reunited in the same country, the intimacy is
created by seeing and sharing things together, yet whilst living on the other side of the
world, we have the feeling of becoming a stranger to one’s own family, and we lose the
Perhaps the purpose of this show is the dance that we’ll do together, once said what can
be said by words. Because in Japan, we do not trust words.