斜めから恋しながら

A question about Delight Holiday

pellicano-sanguino:

I got tickets to Delight Holiday. I’ve been trying to google how to get to Maihama Amphitheater and while I did get some advise on what train to take and which station to drop off on, there’s one question that I didn’t get answered.

Maihama Amphitheater is in Tokyo Disney Resort. Do I need to buy entry tickets to the resort in order to access the theater? Or is it situated outside the resort, so that we can just walk in?

From what I understand, it’s inside the resort, but you can access it without a ticket to the resort itself through the Ikspiari shopping mall and Disney Ambassador Hotel’s Annex Parking.

There is a map here, from the Amphitheater’s official site.
This facebook post also details how to get there, with photos. (in japanese, if something is not clear I’d be happy to help)

Entry tickets to Tokyo Disney are not cheap, so it’s wise to consider the above option. If you’d rather go through the resort, Tokyo Disney Sea is the closest park to the Amphitheatre (for the record, Disneyland and Disney Sea are separate parks with separate admission tickets)

Hoshiai Hitoyo subbed stream

chemicalperfume:

Streaming tomorrow, Sunday 30th of September, 21:00 EEST time, Snow Troupe’s nihonmono masterpiece, One Night of Stars. Now with English subs for the ultimate Hoshiai and cry experience!

Check the trello card or HERE for time conversion.

Channel will be: rabb.it/chemicals 

Chatting is optional, bringing friends recommended, bringing tissues or towels to cry into is essential

Hope you join us!

In 45’ !

Hoshiai Hitoyo subbed stream

Streaming tomorrow, Sunday 30th of September, 21:00 EEST time, Snow Troupe’s nihonmono masterpiece, One Night of Stars. Now with English subs for the ultimate Hoshiai and cry experience!

Check the trello card or HERE for time conversion.

Channel will be: rabb.it/chemicals 

Chatting is optional, bringing friends recommended, bringing tissues or towels to cry into is essential

Hope you join us!

Nijinsky - Zukalations subbed stream

chemicalperfume:

Our first stream for our newest release is a go! Snow Troupe’s  “Nijinsky - The Miraculous God of Dance” will be streamed on Saturday, 22/9 at 19:00 UTC+1 (check the trello card for accurate time conversions)

Channel will be rabb.it/chemicals

The version streamed will be the Nippon Seinenkan final performance (senshuuraku), so it recommended you stick around for the many, tearful curtain calls

Hope you join us!

In about 40 minutes!

Nijinsky - Zukalations subbed stream

chemicalperfume:

Our first stream for our newest release is a go! Snow Troupe’s  “Nijinsky - The Miraculous God of Dance” will be streamed on Saturday, 22/9 at 19:00 UTC+1 (check the trello card for accurate time conversions)

Channel will be rabb.it/chemicals

The version streamed will be the Nippon Seinenkan final performance (senshuuraku), so it recommended you stick around for the many, tearful curtain calls

Hope you join us!

Nijinsky - Zukalations subbed stream

Our first stream for our newest release is a go! Snow Troupe’s  “Nijinsky - The Miraculous God of Dance” will be streamed on Saturday, 22/9 at 19:00 UTC+1 (check the trello card for accurate time conversions)

Channel will be rabb.it/chemicals

The version streamed will be the Nippon Seinenkan final performance (senshuuraku), so it recommended you stick around for the many, tearful curtain calls

Hope you join us!

Nijinsky Script Release

zukalations:

Another year, another script release to celebrate Sagiri Seina’s birthday! This is also Zukalations’ tenth release, we are officially in the double digits!!

The show was translated and edited by @chemicalperfume with some valuable contribution by @suitsuite. Subtitles were done by @flibbityflob and proofreading by @chemicalperfume.

(Please note that due to past issues with rule violations, subtitles are no longer released.)

Check below the cut for the translated script!

Keep reading

Let’s Talk Yukigumi!

damndecadence:

(Or: Yukigumi 101 - A Primer in Three Parts)

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I have wanted to write a Yukigumi primer for some time, and have finally decided to bite the bullet. I won’t lie - my main intent in doing so is to spread the Yukigumi love  ψ(｀∇´)ψ

The above notwithstanding, the primer will remain factual: it aims to show how Yukigumi is like in the past and how it got to the present moment. To distinguish between factual information and my personal opinions (as the latter would dilute the purpose of the primer), my two cents’ worth will be bulleted and not part of the para/sentence proper. What the primer will not do, nor be able to do, is to project the troupe’s future trajectory. 

Finally, the primer is not meant to be exhaustive, and all corrections and comments are welcome :)

Part One: A Brief Intro to Yukigumi through Key Facts and Stats 

1. Yukigumi is founded in 1924, three years after Hanagumi and Tsukigumi, to coincide with the opening of the Takarazuka Grand Theatre. It is the only troupe to share its anniversary year with the Takarazuka Company itself.  

• Yukigumi appears to have a certain affinity with the Takarazuka Grand Theatre: Hoshikage no Hito (1976) held the box-office record until the GT was renovated in 1992 to increase capacity; Chushingura (1992-93) was the last production staged. In 2017, Yukigumi made headlines as the first troupe with the most consecutive GT sell-outs, starting with Lupin III (2015).  

Keep reading

Flourish - Arisa Hitomi (GRAPH 2017.05)

Aaaand translation no. 3 of 3 is up! In this feature, she talks about memorable points etc in her so far career. Added visual references for everyone’s convenience.

-Stage makeup you were especially meticulous about

“Rurouni Kenshin” (shinjin kouen) / Takani Megumi (main actress: Daigo Seshiru)

I usually draw my eyes round, as a musumeyaku should, but this role was of an adult woman who is hiding a secret or two, so I made a point of doing my eye makeup almond-shaped, and being extra conscious of how to use my gaze. I generally tend to be the haphazard type, but with this I learned the importance of taking the time to do your makeup carefully and with precision. Daigo-san, who retired with this performance, taught me a lot of things, not only about makeup, but also about gestures or how to wear a kimono, so I was full of wanting to carry her advice along, as much as possible.

-Favourite costume

“Gin Nikan” / Maho

Tsukishiro (Kanato)-san who played the lead in this play, also had the lead role at the first shinjin kouen I got to play the heroine; she is someone who helped me grow a lot with her strict but full of love guidance. Having the opportunity to stand next to someone like her in total pure white, I felt complete happiness, both as my character and as myself. I could really feel the warmth of all our co-performers watching over us all around, it was a truly memorable scene and costume for me.

-Role that left an impression on you

“The Count’s Daughter” / Anna

This was a very intense character who even attempted to take Corinne (Sakihi Miyu)’s life; at that time, well, I completely set aside the fact that I’m a musumeyaku *laughs*. During rehearsals, Ikuta (Hirokazu)-san, the director, or kumichou (Rika Masumi) would point out to me every day things such as “you’re still acting like a typical musumeyaku” or “anyone could do this much!” so I was struggling, but once I got on stage, I got the feeling that the role finally dawned upon me and became my own. For this play, I thought deeply about how to perform as an actress, rather than as a musumeyaku.

Keep reading