The Sonic Life of a Giant Tortoise

In the “Hot Pepper, Air Conditioner, and the Farewell Speech” (2009), chelfitsch had pursued in the naturalism, in order to illustrate the daily lives. In this dance work, they had put a focus on the movements of people, using them in an enlarged way. In the “We Are the Undamaged Others” (2010), their method was pushed forward into the next level. Dimensions of time and space became more abstract in this new theater production, and they showed an example that a production can only be completed with the audience’s imagination.
What will chelfitsch present to us in 2011? Please keep an eye on their endeavors.



A couple that lives in Tokyo. They are the main characters in the new work. Despairingly, they are encountering the difficulties to be content in their daily lives now. They have no hopes for mentally content lives, even though they have a partner who loves another from the bottom of their hearts. Is it because of the locked up feeling of Japanese society, or of Tokyo? Or, is there any more universal reasons? They cannot find out the reason exactly. They would imagine. They would imagine about the alternative way of life. Maybe, they can try to live positively, with all the excitement and enjoyment supplied in this sensational city. Or, maybe they can live, being much more sensitive to little things that happen in the ordinary lives…

But, these imaginations can only put them into a misery. Why can’t they live like how they imagine? And even worse, there is no decisive reason for them to live in a way they do at this moment; and that makes them feel even more miserable. This couple is reflecting the current mental situation of us, Japanese. (I don’t know whether I should restrict as Japanese or not.) In this work, I will look into this circumstance as deeply as I can, and if possible, I would like to do it without losing a sense of humor. In speaking of the form, I would like to develop to flee the narrative even more than before.


Performance Schedule
*with subtitle : 2011/2/14(Mon),15(Tue)
2011/2/27(Sat) 16:00
2011/2/28(Sun) 14:00
Kirari Fujimi Multi Hall
2011/3/4(Fri) 19:30
2011/3/5(Sat) 14:00
Yamaguchi Center for Arts and Media[YCAM]
2011/3/13(Sun) 14:00



*Please contact to each theater.

_ tel: (+81)-(0)45-633-6500 / e-mail:

_ tel:(+81)-(0)29-227-8111 / e-mail:

Kirari Fujimi Multi Hall
_ tel:(+81)-(0)49-268-7788

YCAM (Yamaguchi Center for Arts and Media)
_ Reserve Ticket: (YCAM ticket information desk)
_ e-mail:


chelfitsch profile
chelfitsch Theater Company was founded in 1997 by Toshiki Okada, who writes and directs all of the company's productions. The name “chelfitsch” comes from a baby’s mispronunciation of the English word “selfish.” The company made its debut with Canyon [Kyokoku] at the Yokohama Sotetsu Honda Theater. It first defined its radical aesthetic philosophy by using an extremely colloquial Japanese in Surprised by Their Hopes premiered in March of 2001. With Five Days in March [Sangatsu no Itsukakan] (2004), which won the prestigious Kunio Kishida Award for Best Script, and Apartment [Mansion] (2002), chelfitsch began to refine its aesthetics by juxtaposing words with a peculiarly noisy choreography derived from everyday gestures. In July 2005, Air Conditioner [Cooler] was chosen as a finalist at the Toyota Choreography Awards. The company's international debut was in 2007, when Five Days in March was invited to KUNSTENFESTIVALDESART in Brussels. In 2008, Freetime was jointly commissioned by and premiered at KUNSTEN FESTIVALDESART, Wiener Festwochen (Vienna) and Fesitval d'Automne (Paris). The works of chelfitsch have been enthusiastically received at prominent international theater festivals and venues throughout Europe and Asia, including Brussels, Paris, Cardiff, Salzburg and Singapore.
岡田利規 Toshiki Okada profile
Toshiki Okada (writer/director) was born in Yokohama in 1973 and formed the theater company chelfitsch in 1997. Since then he has written and directed all of the company's productions, practicing a distinctive methodology for creating plays, and has come to be known for his use of hyper-colloquial Japanese and unique choreography. In 2005, his play Five Days in March won the prestigious 49th Kishida Drama Award.
Okada participated in Toyota Choreography Award 2005 with Air Conditioner (Cooler) (2005), garnering much attention. In September 2005, Okada won the Yokohama Cultural Award/Yokohama Award for Art and Cultural Encouragement. As the representative of his country, he took part in Stuecke'06 International Literature Project and in December of the same year, he presented Enjoy at New National Theatre, Tokyo. He has also served as the director for the 2006-07 Summit, an annual drama festival hosted by the Komaba Agora Theater (General producer, Oriza Hirata). In February of 2007 his collection of novels The End of the Special Time We Were Allowed debuted and was awarded the Kenzaburo Oe Prize. As a director he has directed Beckett’s Cascando for the Tokyo International Arts Festival ~ Beckett Centennial Memorial Festival, and Kobo Abe’s salient work Friends at the Setagaya Public Theater. More recently he also directed a workshop production of Strangeness with local actors at the Itami Ai Hall in Hyogo prefecture, Ghost Youth created through collaboration with students of Obirin University, and wrote a new play called Three Women for director Naoto Takenaka, among other projects.
In recent years, he has widely drawn attention not only from the theater world and the contemporary dance scene, but also from those in fine arts and literature. He has been invited to numerous art centers, museums and festivals such as Nam June Pike Art Center (Seoul), Walker Art Center (Minneapolis), Museum of Contemporary Art (Chicago), The National Museum of Art (Osaka) and Mori Museum of Art (Tokyo), and Yokohama Triennale. In March 2008, he presented Freetime, a piece co-produced by KUNSTEN FESTIVAL DES ARTS (Brussels), Wiener Festwochen (Vienna), and Festival d’Automne (Paris). In May 2009, New National Theater of Japan commissioned Okada to adapt and direct Dea Loher’s TAETOWIERUNG. As his stories as well as plays have continued to be published in Japan, his works have been translated into many languages and published abroad. Moreover, he has provided scripts for other theater companies in Japan. In October 2009, his newest piece Hot Pepper, Air Conditioner, and the Farewell Speech was premiered in Berlin, in co-production with Hebbel Am Ufer (Berlin).
The End of the Special Time We Were Allowed
Novel :
The End of the Special Time We Were Allowed
The End of the Special Time We Were Allowed Pocket edition
Drama : Five Days in March
Drama :
Five Days in March
Drama collection :



Playwrite and Direction : Toshiki Okada
Performaers : Taichi Yamagata, Shoko Matsumura, Riki Takeda, Tomomitsu Adachi,Yukiko Sasaki
Art Direction : TORAFU ARCHITECTS (Koichi Suzuno, Shinya Kamuro)
Ligting director : Tomomi Ohira
Sound director : Norimasa Ushikawa, Ayumu Okubo
Stage manager : Koro Suzuki, Tetsuya Hiromitsu, So Ozaki
Planning : precog
Planning & Production : KANAGAWA ARTS THEATRE, ACM THEATRE [ART TOWER MITO], Yamaguchi Center for Arts and Media[YCAM]
Flyer Design : Atsuki Kikuchi, Takehito Koganezawa
Website Design : Rui Ishiguro
Website Editing : Ryohei Nakajima