A conversation with Shoichi Aoki, FRUiTS
I always feel that this is what was at stake there at the end of the 19th century; it was not only to, yeah, bring in the spirits, it was also to be free, to free yourself from a certain way of either writing or doing art, and I am now working on a super, on an amazing, character: it is a woman, she danced only when she was hypnotised. So, she became very famous at the beginning of the 20th century, she toured even, in London, Munich, and she danced, she had a hypnotizer, and then she would do this very special dance because she was not trained as a dancer. So, I am very ... So, why am I talking about that? To say that, in the past years, and this was also Covid, triggered by, by what it brought, the lockdown experience, but also this: at one point I saw that, okay, I had to trust my visions, you know, I can go different ways, but let's say that now if I have a vision, and now if I accept to be invaded by all these beings and touched by them, even if it is not in a, you know, it is not in a physical way [gestures into space]. But, I do not know how much it changes my, my, how to say, I do not know if I am very different now if I would go out. Does it change my, my three-dimensional self? I am not so sure. But something happened and yeah, I am surrounded, I accepted that we are, I think it is a very obvious thing, but we are so, and maybe this is why the night, night is so important. And I can see the difference between me and people going out a lot, because my daughter, she is 17, and she goes out almost, you know, every two nights. But she was already a night person when she was 11 years old, you know. She would ask, in the evening, she would say, ‘Let's go outside, because things are so different in the night’. So, I know from her that we are different, and I know that what she experiences as a teenager now is also probably very different from what I experienced.
But that she is, she ... the stories she tells me of what goes on, I know that this moment of transformation, that is really, this thing, I know that I can connect to that through the apparitions.
I think this is what I, this is what I, this is what fascinates me.
Yes, so, there was a starting point which was ... hmm ... So, I feel like, I am not a sincere singer at all, you know? And I started singing at 52, and I am very different from, it came a long way, and I worked with some French singers that you might not know, I worked with musicians, but I never thought in my life that I would go on stage. So, what helped me was to use these replicant characters ...
So, the first time on stage was at the Silencio, the club designed by David Lynch, and one of the most beautiful small stages that you can have in Paris. I do not know if you have been there, but in Silencio you go really deep down and then ... David Lynch designed this little stage, it is very magic. So this is where I, where I was born on stage.
Excerpt from Middle Plane Issue No.7 (Spring Summer 2023). Read the full interview in the magazine by ordering your copy here.