From their beginnings, Japanese performing arts are all about humanising the intangible world of the gods. The hardly accessible vastness of the Japanese mountains provides plentiful sources of religious imagination.
The ICPA becomes a filter not of inside versus outside but of connecting two worlds. Rather than enclosing building, the ICPA is an intermediary between village and mountain, past and future.
Sublimity of movement –minute control of subtleties that in their abrupt finiteness express more than what showing the whole could– is the essence of Noh. The Noh performer’s play of precision is driven by perfected emptiness.
Stage and acoustic perfection is replaced by the immediacy intrinsic to the origins of the Japanese performing arts: The immediacy of nature and the gods within it.
FBA: Florian Busch, Sachiko Miyazaki, Tomoyuki Sudo, Momoyo Yamawaki, Akira Miyamoto, Suguru Takahashi, María Soler (intern)
Structural engineering: OAK (Masato Araya, Tomonori Kawata)
Environmental & mechanical engineering: ymo (Hiroyuki Yamada, Natsumi Tsuchiya)
Acoustic & Theatre Consultants Nagata Acoustics (Toshiko Fukuchi, Makoto Ino)
FBA: フロリアン ブッシュ、宮崎佐知子、須藤朋之、山ももよ、宮本啓、髙橋卓、マリア・ソレール（研修生）
構造: OAK 新谷眞人、川田知典
設備: ymo 山田浩幸、土屋なつみ