Title | DALI-NOH: DALI BACK FROM THE BEYOND |
Brand | SALVADOR DALI EXHIBITION |
Product / Service | SALVADOR DALI EXHIBITION |
Category | D03. Live Events |
Entrant | DENTSU INC. Tokyo, JAPAN |
Idea Creation | DENTSU INC. Tokyo, JAPAN |
Idea Creation 2 | DENTSU LIVE INC. Tokyo, JAPAN |
Production | DENTSU LIVE INC. Tokyo, JAPAN |
Production 2 | TESSENKAI Tokyo, JAPAN |
Production 3 | RHIZOMATIKS Tokyo, JAPAN |
Name | Company | Position |
---|---|---|
Shiro Murakami | DENTSU INC. | Planner |
Kanji Shimizu | TESSENKAI | SHITE-KATA |
Ryosuke Omachi | DAISHIN SEIKI CO.,LTD | CEO |
Seiichi Saito | Rhizomatiks co.,ltd. | CEO |
Keita Yoneyama | DENTSU INC. | Producer |
Masao Takebayashi | Dentsu Live Inc. | Producer |
Shinichiro Sekiguchi | Dentsu Live Inc. | Producer |
Shiro Murakami | DENTSU INC. | Planner |
Kanji Shimizu | TESSENKAI | SHITE-KATA |
Hiroyuki Matsuda | NOHGAKUSHI | HUE-KATA |
Hiromi Koga | NOHGAKUSHI | KOTSUDUMI-KATA |
Kazuyuki Haraoka | NOHGAKUSHI | OHTSUDUMI-KATA |
Takao Nishimura | TESSENKAI | SHITE-KATA |
Kengo Tanimoto | TESSENKAI | SHITE-KATA |
Takayasu Ando | TESSENKAI | SHITE-KATA |
Yumiko Biwa | Freerance | Freerance |
Masashi Yasunaga | DAISHIN SEIKI CO.,LTD | Engineer |
Kunihiko Kayama | DAISHIN SEIKI CO.,LTD | Engineer |
Shunsuke Omachi | DAISHIN SEIKI CO.,LTD | Producer |
Ayako Watanabe | Rhizomatiks co.,ltd. | Producer |
Tatsuya Ishii | Rhizomatiks co.,ltd. | Digital Artist |
Yoshiki Horie | Pyramid film inc. | Producer |
Kyohei Kanagawa | Pyramid film inc. | Production Manager |
Kohei Sanada | Freerance | Freerance |
Kisyuu | Freerance | Freerance |
Kenji Aritomo | TYO Inc. | Producer |
Yuki Tsujimoto | Freerance | Freerance |
We wanted to envision what would happen if Salvador Dali was here to talk to us today. Noh, having strong themes of resurrection, was the perfect medium for this entry. We decided to create a Noh play in which Salvador Dali himself returns from the grave to talk to us about the present, and pray for the exhibit's success.
Resurrecting Dali through Noh comprised of three main design elements: an authentic performance by traditional Noh actors; mask design by an engineer and artisan; and visual effects designed by a digital artist. We brought together a variety of design elements and combined them in the style of Noh, a national treasure of Japan and the world oldest traditional performance art. Noh is conservative and extremely resistant to change, so it was especially epoch-making to produce the fully metal mask by machining duralumin. That was the most unique element in this work. More than being simply novel, its design is based on research into deep Japanese classical works. When designing the performance, we produced a new type of traditional music based on knowledge gained from biographies and research on Dali and a knowledge of traditional music.
The media exposure we received was worth over $1 million in ad spending, and reached unprecedented media outlets for a museum exhibit. Seven TV programs, including business and talk shows, dedicated a combined 27 minutes of air time, while 17 publications and 53 web media outlets wrote up articles about the exhibit. Various media organizations shared powerful images from Dali Noh on social media, further spreading the the news even well after the end of the live event. Approximately 400,000 people visited the Dali exhibit. Many guests from Japan and abroad offered their praise.
We were very limited due to tight artist's likeness rights and works restrictions. Still, we placed the greatest focus on PR, beginning with a press conference in the form of the an opening ceremony. We didn't want to just reach art aficionados, but anyone with a strong interest in culture. We didn't bill this event as an art exhibit, but as a cultural phenomenon of high artistic value. To achieve this, we approached traditional arts as well as media publications. This allowed us to place emphasis on the new value created by Japanese performing arts and craftsmanship.