Door indoor

  • photo: Kazuo Higashiura
  • choreography: Alessio Silvestrin

  • dancers: Naoya Aoki, Sawako Iseki, Jo Kanamori, Yoshiko Kinoshita,Yasutake Shimaji, Yuka Seike, Shintaro Hirahara

  • music: Béla Bartók; Bluebeard’s Castle op.11 (excerpt) 

  • text: Alessio Silvestrin 

  • translation: Megumi Suzuki
  • set design: Alessio Silvestrin
  • sound design: Alessio Silvestrin, Toshifumi Kaneko 

  • sound assistance: Masaharu Takahashi 

  • light design: Alessio Silvestrin, Satoe Morishima 

  • costume design: Alessio Silvestrin, Ayumi Funaki

  • length: 24 min.

  • premiere: Noism, Ryutopia Niigata-City Performing Arts Center,
    Niigata 15.07.2005

I heard and I remember as well the couple talking and discussing with their eyes open staring at the territory while walking from the waterfall to the river and along the river up to the mountain.

I witness that they did not see the water of the river becoming snow and that they did not listen the sound of the waterfall.

They were arguing and did not leave the prison of their laws.

They were threatening each other that the stronger one will kill the other.

When the light became darker they returned to their homes and remained the masters of their movements and their unspeakable environments.

In the silence of their uncomplicated beauty if they wanted they would have started to sing while waiting for the unthinkable truth.

Who knows where they were born?

Alessio Silvestrin


In “Door Indoor”, Italian choreographer and dancer Alessio Silvestrin transports the audience into a misty cosmos of dim lighting and swirling colors, amid which seven dancers perform a fantastical abstraction from Bartok’s opera “Bluebeard’s Castle”.

Nobuko Tanaka
The Japan times 03.08.2000

In Alessio Silvestrin’s piece “Door Indoor”, Bartók’s “Bluebeard’s Castle “ was used and it reminded of his previous work “ Bluebeard’s Doors” in which he danced with Naoko Shirakawa at Aichi Art Center this year .
The dancers behind a gauze drop curtain looked as if they were holding
a secret ceremony. The personality of each dancer was shown to good advantage.
The movement was not in line with the music. Alessio’s choreography which is continuously cut off raised uncertainty and tensions.
The theme has been expressed very well.

Takao Norikoshi