小林徹也

Theater Specialist Participation

What are the requirements for a great theater? It is essential to have a stage that is large enough and capable of accommodating a wide variety of entertainment performances. Special stage equipment is also necessary to make the stage more spectacular and attractive as a production. The number of seats, seating configuration, and sight lines must also be thoroughly considered. The ease of use of the dressing rooms is also an important factor. As you can see, there are a wide variety of factors that determine whether a theater is good or bad. It is not easy for even the best architects to find the best answer for each of these factors. This is where we come in, with our vast amount of data and experience in theater construction.

When constructing a theater or hall, the role of the hardware staff during consulting is to provide the designer with the information and advice necessary to realize a facility plan based on the concept of the facility and how it will be used. For special stage equipment such as stage mechanisms and stage lighting, the hardware staff may also be responsible for the design itself. In addition to providing technical support and information on functions, they may also be asked to help expand ideas for space design. We have collected materials that serve as a source of design inspiration, provided ideas, and worked with designers to create theater facilities that will open up a new era through discussions from the formulation of design concepts to their realization. Many of the facilities we have participated in have been highly acclaimed for their architecture, winning awards from the Architectural Institute of Japan and the American Society for Theatre Technology's Architectural Award, among others, as a result of our efforts.

Proposal skills honed through practice

At Theatre Workshop, students participate in proposals from the time they are new to the company. This is because the planning stage requires not only in-depth knowledge of theater architecture and technical support, but also new ideas born from free thinking. Immediately after joining the company, I myself prepared materials that would serve as the basis for a project, and repeatedly submitted proposals to prominent architects. Of course, this approach is made possible by the fact that all of our employees have had a fascination with the performing arts in their lives and have continued to explore it. In my case, my experience of going to the theater many times has been a great help. In addition to our individual experiences, our company's expertise in theaters and halls is also greatly utilized as a shared asset. The results we accumulate in this way lead to the improvement of each staff member, and at the same time, the knowledge and experience gained from new initiatives become our company's know-how, creating a virtuous cycle.

Because we are trusted experts in theater construction, our work is broad in scope and requires a comprehensive ability to respond and make it possible. In order to meet the expectations of the client and partner architects, we study every detail of the proposal and prepare many documents. In addition to obtaining information from experts, we also attend public workshops to listen to the users' voices. We never compromise in our efforts to create a better theater.

小林徹也

劇場プロデュース部門　執行役員

早稲田大学理工学部、同大学院で建築学を専攻、劇場ゼミを立上げ帝国劇場や東京宝塚劇場等の研究を行い早稲田大学演劇博物館にて帝国劇場の模型を製作。無類のミュージカル好きで、学生時代には早稲田大学ミュージカル研究会の作曲を手掛け、商業演劇系の劇場でアルバイトをしながら、ニューヨークやロンドンの劇場を巡る。劇場建築を追求しようとシアターワークショップ入社。多くのプロジェクトにハード担当として参画し、豊富な観劇経験を活かした提案で、施主や建築家の信頼も厚い。作曲家としての経験を生かし、当社が運営を担う渋谷ヒカリエホールの自主事業ではBGMの作曲を手がけている。

小林 徹也

Theater Specialist Participation

Proposal skills honed through practice

小林徹也