Meet the dancers! 4

Hello there, sorry to keep you waiting, let's go on with the introduction to our great dancers!

Today we give you Tatsuya Nakamura and Num!! Here's our guy from Japan, Tatsuya Nakamura.
―――How is the rehearsal going?

It’s different from our usual Idevian Crew. The language is different, and we spend more time on communicating to each other. There’s things that can be understood by words, and there’s other things understood through the body, and when it’s by words, there’s interpretation there, but things through the body passes on very fast. I think there’s more “dialogue” in the creation where Ide changes some moves to fit their nuances, and instruct the feeling and atmosphere. It’s not that there’s a right Idevian answer, we’re searching within this piece, and the image is being born. The slow speed and winding process of the communication is not necessarily a negative thing, and we are sharing the process of thinking and feeling together.

―――Do you feel any difference in the creation in Bangkok and rehearsals in Tokyo?

I’ve never thought of that before. It’s just me being in Bangkok, or being in my home ground, in Tokyo. I think we are walking each step.

―――Do you have any questions to any one of the members?

Kero, teach me how to make Tom yam kung.

―――Now these are questions for you.

―From Num：Are you OK???

I think that tension is important to creation too. I’m observing myself as one performer.

―from Bubble：Nakumura, what do you feel when you’re at home, in the studio, on stage? (Because you always have the same expression)And what does your wife think about it?

I’m just poker face. For real I’m sensitive! I’m different at home, and I just think tension is important too!

Now we give you Grisana Punpeng A.K.A "Num"

―――How many times have you been in Japan?

It’s my fifth time. The past four times were all for traveling. My last visit was in last May. It’s different this time because when you’re on vacation, you have to go to many places in a limited time, but this time it’s for work, so I don’t have to be going places.

―――How is the rehearsal?

It’s different from what I have been doing before. I have to jump into dancing.

―――Do you feel any difference in the workshop done in Bangkok and in Tokyo?

Because there’s nothing else to do other than this, I can be more focused. After a few days, I got used to the structure of the rehearsals and what Ide is trying to communicate.

―――What impressions do you have of Ide?

It wasn’t like anything I’ve seen before and was very interesting. Ide’s work is really nothing like what I’ve ever seen. It’s not traditional. I like it. I was surprised to see his dance. It flows, and when I saw him dance it looked easy, but when I tried it was difficult. It has a nice flow.

―――Do you have any places of Japan that you want to go?

Every where. The past four times I went to Fukuoka, Osaka, Kyoto and Nara, so I want to go to places far away like Hokkaido. If I had time, I want to explore many places. And also Mt. Fuji.

―――Can we have a message to the Japanese audience?

Thank you for coming. I hope you enjoy as much as we are making it.

―――Do you have any questions to the Japanese members?

To Nakamura. Are you OK??? (because your face is always the same. And make that three question marks!)