PROFILE

1983年生まれ。幼少期はメキシコシティ、トロントで育つ。立教大学文学部比較文芸思想学科卒業。在学中より役者として舞台、映画に出演し始める。卒業後ハンガリーを拠点にダンサーとしてセッションを重ねる。旧ユーゴスラヴィア出身の振付家ジョセフ・ナジに師事し、「Length of 100 Needles」(2009ー2012)に出演。舞踊作品「ASAGAO」(2013)をトランシルヴァニア出身の作曲家Albert Markosと共作し、ブダペストで発表。 加藤直輝監督「2045 Carnival Folklore」(2015、第41回シアトル国際映画祭正式出品作)では主演、国外配給を務める。平成29年文化庁新進芸術家海外研修員としてバルセロナに研修。帰国後、日本スペインダンスプロジェクト「トポス」をプロデュース。パウ・アラン・ジメーノ、小暮香帆、尾角典子と舞台作品「Notes On Life」(2019)を発表。直感を大事にし、自分の目で見て、考えたことを書くように心がけ、ダンスをその延長線上に捉えて独学を続けている。

1983年4月21日生
出身地/埼玉県
身長/181cm

Actor, Dancer
Birth: November 27,1973 in Kanagawa
Height: 5’11” / 181cm
Language: Japanese, English (fluent)
BA. Comparative Literature, at Rikkyo University, Tokyo (2007)
Currently based in Tokyo.

Junya Ishii was born in Japan in 1983 and grew up in Mexico and Canada. He has been working across the fields of dance, theatre and film. His interest is to discover the state of consciousness and unconsciousness, state of being through the body and its perception.

In 2009, he began working for Regional Creative Atelier Josef Nadj, Kanjiza, Serbia to work for the theater pieces choreographed by Josef Nadj, such as “Length Of 100 Needles” (2009-2012), which toured in Germany, France, Hungary, Serbia, and Slovenia. He participated to the dance project “Asagao” (2013) to perform / co-choregraph for music composed by Albert Márkos and Szilárd Mezei at Skene Theater in Budapest.

As an actor, he worked for “A Bao A Qu” ( Dir : Naoki Kato | 2007 | Busan International Film Festival), “Flowers of Evil” (Dir: Tolnai Szabolcs | 2014 | 62nd  Belgrade Documentary and Short Film Festival, FIPRESCI Award), and leading role for “2045 Carnival Folklore” (Dir: Naoki Kato | 2015), which was premiered at 41st Seattle International Film Festival.

In 2017, he received a grant by Agency of cultural affairs, government of Japan “Program of Overseas Studies for upcoming artist” to study International cultural relations at Casa Asia in Barcelona then began to produce dance project TÓPOS (2018-). He believes in instinct, and have been practicing to write what he watched and thought. His dance is an extension of this self-practice.