Company / Members

2014年結成。ノンバーバル、フィジカルシアター、児童演劇、そして大人のための演劇を行なう多様な演劇集団を目指す。活動の場を日本のみならず、世界各国に広げることを志している。また、子どものための演劇ワークショップ、哲学ドラマワークショップ、精神障害当事者と共に行なう当事者研究ドラマワークショップなど行なう。NPO法人KAWASAKIアーツと提携。Founded in 2014. The company aims to be a theatre group with diversity performing non-verbal theatre, physical theatre, theatre for children, and theatre for all ages, not only in Japan but world wide. It also facilitates a wide range of theatre workshops inclusively with children and adults with different abilities. The company is associated with NPO Kawasaki Arts.



Photo: Ryo Ichii

原田亮 | Ryo Harada


小学校で演劇と出会い、夢中になる。19歳の時に大谷賢治郎と出会い、その後、1年間イギリスの演劇学校に留学。そして、サンフランシスコ州立大学芸術学部演劇学科でマイズナーメソッド、ビューポイントなどを学び、多くの舞台経験を積み卒業。卒業後、11th hour ensembleを設立。「Alice.」がサンフランシスコガーディアン紙のTop5に選出。帰国後、大谷演出「あやなす」「不思議の記憶」「わが町しんゆり」出演や演出助手として参加。近年では、脚本・演出・ワークショップを通してこどもたちへの児童演劇活動に携わる。最近ではアシテジ国際児童青少年協会の「次世代を担う若手アーティストプロジェクト」に参加し国内外で活動を広めている。日本児童青少年演劇協会会員。また、留学経験を通して通訳としての仕事もしている。

Actor. Born in Kanagawa Prefecture in 1983. He discovered theatre in Elementary School and fell in love with it. He met Keniro Otani at the age of 19 through a mutual friend in theatre. Continuing his passion for the performing arts he later attended Drama school in London for a year followed by San Francisco State University in the US. He learned “Meisner Technique” and “View Points”, and was involved in many performances at San Francisco State University. After graduating, he and his friends founded ”11th hour ensemble” a company based on movement and devised work. Their first collaborative movement piece Alice became a success and was nominated one of the top 5 best shows by SF Bay Guardian. After returning to Japan in 2011, he began to work with director Keniiro Otani devising and perfoming in Ayanasu (woven), Wagamachi Shinyuri and also assistant directed Memory of Wonder. Ryo currently works for children’s theatre, as a director, playwright and facilitator. His work is not only regional, but also international. He participated in “Next Generation Project” through ASSITEJ International Association of Theatre for Children and Young Audiences. Through his experience working abroad and in Japan, he is now able to translate between English and Japanese.


大谷恵理子 | Eriko Otani



Dancer. Born in Kanagawa Prefecture in 1982. She entered Theatre Arts College, following her passion to musical she had when she was in university. She learned acting, dance and singing for her musical skill at the college.. After graduating, she performed as a dancer mainly in Tokyo. She also choreographed for children’s dance at regional musical and major cultural centers. Currently she works as a dance instructor at her own school. She also facilitates a children’s theatre workshop and teaches dance at elementary school to train the young ones for future. In With Two Wings, She again realized enjoyment and power of the theatre through its creating process she had never experienced before.


森山蓉子 |  Yoko Moriyama



Actor. Born in Shimane Prefecture in 1988. She learned musical at Showa University of Music. After graduation, she appears in theatre, live concerts, and dance events. She met Kenjiro Otani at a regional theatre company “Our Town” where she has belonged since 2012, and found out a non-verbal theatre and has been attracted by it since then. She has also learned Kyogen from Tomitaro Zenchiku, Kyogen master of Okura School, and has performed in “Opera at Noh Theatre” in Tokyo in 2011 and toured in Europe with the production in 2014.

 ゲストメンバー|Guest Members

YUKI1_K松山侑生|Yuki Matsuyama / Guest Researcher


主要業績:論文:「ボディ・イメージと身体的命法 -女性Aの摂食障害からの回復の現象学的記述-」(修士論文・立教大学),2011年,「フェミニズム教育学へけた身体性 ~Gail Weissの身体的命法について~」,『メルロ=ポンティ研究第14号』(日本メルロ=ポンティサークル編),2010年.
-学会発表, “Philosophy for Women”, First International Seminar, University of Hawaii at Manoa Uehiro Academy for Philosophy and Ethics in Education, March 5, 2013,「フェミニズム教育学へけた身体性~Gail Weissの身体的命法について~」,日本メルロ=ポンティ サークル第15回大会(於立命館大学),2009年9月20日。翻訳:「障害と加齢の正常な異常 -メルロ=ポンティとボーヴォワール-」,『現代思想 メルロ=ポンティ特集号 臨時増刊号』(青土社),2008年(共訳)。その他:・平成23年度厚生労働省委託事業 保育士の再就職支援に関する調査等事業潜在保育士ハンドブック,2012年3月31日.・平成23年度厚生労働省委託事業 保育士の再就職支援に関する調査等事業・最終報告書,2012年3月31日.(共著)

MITSURU3_K水谷みつる|Mitsuru Mizutani / Guest Member


小学校の演劇クラブから演劇とのかかわりが始まる。高校の文化祭で演出のおもしろさを味わい、大学時代に学生劇団に所属して役者に挑戦するも、自分の身体があまりにも思うように動かないので諦める。教育学部学校教育学科で演劇に教育を生かすなんてことを考えるが、次第に芸術としての演劇の研究に興味が向かい、表象文化論へ転向。ところが美術への関心がより強くなり、卒業後はセゾン美術館に学芸員として勤務する。その後、イギリスに留学してロイヤル・カレッジ・オブ・アートでMA in Visual Arts Administrationを取得。帰国後、埼玉県立近代美術館、水戸芸術館などに勤務するが、健康上の理由で退職する。大学院博士課程に在籍しながら療養を続けるなかで当事者研究に出会い、自分がどのようなメカニズムで何に困ってきたのかを研究する。そうしたなかで、当事者研究と哲学対話を演劇を通して結びつける哲学ドラマという新たな試みに出会い、いまに至る。近年の仕事:論文:「受け取る名づけから生み出す名づけへ――『額縁問題』の研究を例に」石原孝二・稲原美苗編『共生のための障害の哲学:身体・語り・共同性をめぐって』東京大学大学院総合文化研究科附属共生のための国際哲学研究センター The University of Tokyo Center for Philosophy(UTCP)上廣共生哲学寄附研究部門、2013年。劇評:「問われる境界と私たちの慣性―演劇、障害、好奇、当事者性を架橋するメタシアター」『ワンダーランド』2014年10月29日(。翻訳:中村かれん『クレイジー・イン・ジャパン――べてるの家のエスノグラフィ』石原孝二・河野哲也監訳、医学書院、2014年(共訳)

A member of Komaba Tohjisya-Kenkyu (Patient’s First Study) Society. Born in Chiba Prefecture. Her involvement with theatre started when she joined a theatre club in elementary school. She tasted the joy of directing a play at a school festival in high school, then challenged acting, joining a students’ theatre company at university, but she gave it up as she could not move her body in a way she wanted to. She started thinking about using theatre in education when she was learning in education department at university, but as her interest was forwarded to research in theatre as art, she learned studies of culture and representation. Then again, her interest was forwarded to fine arts. So after graduation, she worked at Sezon Museum of Art as a curator. After that, she studied abroad at Royal College of Art and received MA in visual arts administration. After she returned to Japan, she worked at Museum of Modern Art, Saitama and Art Tower of Mito, but she resigned from her work for health reasons. While she was enrolled in a graduate school and under medical treatment, she met Tohijisha-Kenkyu (Patient’s First Study) and started doing research on mechanism of my own self which was troubling myself. Currently she meets a new attempt named Philosophy Drama that connects Tohjisya-Kenkyu and theatre as her new activity. Current work: Thesis: “From Accepting Existing Terms to Creating Original Terms: Reflections on Tojishakenkyu and the ‘Picture Frame Problem,’” Philosophy of Disability & Coexistence: Body, Narrative, and Community, The University of Tokyo Center for Philosophy (UTCP), 2013.