Spotlight on Ryoji Sasamoto: THE LONE FIGURE

by: Kristina Hanna

It seemed only fitting to conclude this series with Ryoji whose role has been influential in the story and the making of EXIT. Ryoji who has been working with Larry since 2006 and has been working freelance for about a year now. He joined us this past summer during our residency at the Green Box Arts Festival in Green Mountain Falls, Colorado to generate material and then returned to Japan to work with a choreographer there. In January of this year he returned, and he’s joined us in the studio ever since. While EXIT has been in the works every day for a year, you can imagine it’s been an interesting ride for Ryoji, who has had to jump in and out of the process throughout. But this is something the remarkable mover does with ease. His generosity of both physicality and spirit allow him to be fully present in this moment and while he’s away from us for stretches of time, when he returns, it’s as if he never left.  It goes to show just how much every element can play into the lasting life of a piece of work.  Ryoji’s character in EXIT, though fully empathetic with the others, seems to be in this world that we’re creating, rather than of it. It’s a fantastic contradiction of sorts that while he stands alone, there is no doubt we stand with him. This week I sat down with him to hear more about his side of the experience. Here are some of the highlights:

K: You’ve been in and out of the process for so long. You joined us this past summer for a bit, and now since January. How has that been for you?

R: I’ve been working with Larry since 2006 and the process with him always feels very natural. It’s also new every time, so I try to think about it like that. It can be a little scary, working from project to project, because I worry how I will fit into the piece and the group dynamic.

K: But that might also give you the chance to have fresh eyes, whereas for us when we’re in the studio together every day I think sometimes we get attached to material and we can’t look at things as objectively.

R: Well, I’m freelance now and I’m working with a lot of different choreographers. I’m interested in discovering each choreographer’s style and how they assemble things. It’s my challenge to bring some of the aspects from the experiences I’ve had with other choreographers to this creative process. I love that each dancer in this company is really original and I learn so many things from all of you.

K: With this piece I feel like your character sort of stands alone. How has it been, discovering the character of who you are within the world of this piece?

R: When we’re on stage we do have to act a little bit because of the scale of things, but I think it’s important in some parts to be as natural as possible. The more we rehearse, and the more I get to sync in with all of you, the more I find my character. I think the story is already there, because everyone is trying things every day, we show up. It’s just a matter of the story continuing to refine itself.

K: You and I have worked together with Larry for a couple of different creative processes but the making of EXIT is by far the longest process we’ve ever done. I think out of that longer process, we’ve really had the time to cultivate both aesthetics of really physical dance and more pedestrian movement. What’s fun about this particular piece for you?

R: For me, it’s been the physical conversations and interactions I can have with each dancer. When we explore those in a deeper way the audience can see and feel the relationships between us.

K: It’s so funny though because sometimes you can be shy. And you’re so polite and such a nice guy. And there are these moments in the piece where it feels appropriate to do so, but I’m like “I don’t want to come on to you!”  But, I’m going to try!

R: (Laughs) I don’t know if I’m shy.  I definitely won’t be on stage. But exploring those relationships can be really challenging, to be that open to each other, but I really like this piece. I like thinking about what we should show to the audience and what will help to create the space of this world.

K: What do you want to accomplish in your performances next week?  What would mean a lot to you personally?

R: I just want to show onstage that everybody has different faces and for the audience to feel both the light and the dark aspects that make up those faces. My philosophy used to be that each choreographer has different colors, and I tried to be their color. But now I’m trying to find and be my own, to truly know myself.

Ryoji’s 5 Words for 2011:

ELEMENTS. FEEL. NATURAL. TRUE. ENJOY.

Select photos by Matt Murphy