SKINNERS -Dedicated to evaporating things
Choreography, set design, lighting design, costume design : Saburo Teshigawara
Original Sound : Akira Oishi
Dancers : Saburo Teshigawara, Rihoko Sato, Eri Wanikawa, Kafumi Takagi, Rika Kato,Jeef
Technical coordination/Lighting Assistant : Sergio Pessanha
Sound operation : Tim Wright
Stage manager : Markus Both
Wardrobe/Assistant : Mie Kawamura
Duration: 80 minutes
Premiere : 26th November, 2010 at Tokyo Metropolitan Theatre, Playhouse
Production: KARAS
Co-production: Festival / Tokyo
- Available on tour -
Micro differentiation inside the body.
Cold profoundness.
Heated bodies.
An open profound study towards death.
The nature of music – violence and unity.
A stream of life that forms and evaporates simultaneously.

A woman that innocently keeps on dancing.
Regardless to the pain from the stabs of the countless knives falling from the universe, aiming her fragile body.
Dancing not knowing that she is already dead.
A man trying to free himself from what he has come to know.
A penis sticking out of the crotch, piercing the sky.
The hole in the body becomes so huge that the body is no longer nothing but a hole, scattered with stardust, as is the dark sky.
Men and women who have already lost their bodies are in search of new memories, differentiating in micro within their bodies.

Saburo Teshigawara

The Sankei 4 Dec 2010, by Sae Okami
The control over space to change the stream in an instant is amazing.
Suddenly the curtain comes down low, and there are two completely different worlds behind and in front of the curtain. A white wall like a wall of ice, is filled with air, and starts to sway in soft curves. The contrast of sweet piano and noise sound changes the atmosphere.
And there appears a magical dance. A solemn solo by Rihoko Sato stands out in the jet black darkness. Teshigawara’s feet move in an unpredictable way, going back and forth with dizzy velocity between stillness and aggressiveness, tenderness and intensity, corresponding to the high-speed particles of sound produced from Ligeti’s piano music… The young dancers’ freshness has broadened its width of expression as well.
Light, sound and movement become transcending waves, and movement freed from meanings or expressions stimulate the audience’s senses prior to evolving into words. The audience perceive the breath of life inside the body which is covered by thin skin, a memory of eternal invisible life which would “evaporate” in normal temperature. One cannot see the world in the same way as before, after seeing a piece by Saburo Teshigawara.
Dance Magazine Mar 2011 edition by Shigeto Nuki
Sato’s phantasmagoric body quivers and grasps the undulation created from the dissonance that occurs between the notes. Saburo Teshigawara’s torso and limbs move in perfect coordination, and at the same time behave like completely different life sources…The space, sound, and the dancers’ bodies influence each other, and in the end, all create a world full of pure emotion.
The Koumei 10 Dec 2010, by Yuichi Konno
"Particles of sound tear the skin and are radiated"

With “SKINNERS-dedicated to evaporating things”, Saburo Teshigawara has gone one step further from his previous dance of cutaneous sensation that melts and synchronizes with the air and wind…. Originally Saburo Teshigawara’s dance bears within itself something far more intense and dangerous than how it may look from the outside. Now it has burst out of the skin, out into the exterior space. There are angelic time zones. And also time/space zones with the aggressive throbbing pulse of life.
A high-speed deep sound of piano (Ligeti) resonates the dancers’ bodies. You cannot tell which comes first. Whether it is sound, or the tremble of the body, or whether if they are both synchronizing.
There are moments when particles of sound tear the skin and are radiated. Before, this would have been as fragile as the particle of light, but it also has the intensity of shaking and breaking the body. The bodies face the particles of sound with great purity and honesty. Even in the field of “contemporary”, metaphors still tend to remain as a form of expression, but Saburo Teshigawara excludes all metaphors, and dances of, or relates to elements and principles themselves.
In the end, dancers individually tremble their bodies and gather their expanded skin back inside, and brought tranquility to the space.