This is a remix soundtrack, of popular or favored duel choruses from the Student Council Arc (Seitokai) and Black Rose Saga (Kurobara Hen). These songs are re-recorded by Seazer’s theater group, 'Theater Laboratory - Universal Gravitation' [Engeki jikken-shitsu - ban'yū inryoku], meaning that the style and pace of them now more closely reflects the songs used in the final episodes of the series. Many of them are drawn out in length, and sound slower as a result. Missing Link, the final ‘duel’ chorus in episode 39, appears here. The version of Absolute Destiny Apocalypse on this CD is the same as the one on OST 2, Virtual Star Embryology.

I’m a huge fan of this soundtrack, there’s a weightiness to the songs presented here, and given they’re often extended, you don’t feel like you just started listening to a song before it ends. Adolescence Apocalypse is a track without lyrics, and manages, though it doesn’t appear in the film, to be very much in the same vein.

A year has past since Mr. Ikuhara requested to do this project with Mr. J.A. Seazer's music. Since Mr. Ikuhara was acquaintances with Mr. J.A. Seazer's manager, I could contact him and set up a meeting at a hotel front lobby in Shinjuku where anime industry people (not to mention loan sharks and date club members) often use. When I think about Mr. Seazer's music, I can remember the music from the movie "Boxer" by Director Shuji Terayama more clearly than his theatrical music. I recorded only the music from "Boxer" on a cassette tape when it aired late at night, and I listened to it day and night.

"Whenever I hum the BGM from "Boxer," I get inspired and it makes me want to work harder." As I said this, I suddenly started humming the melody. Mr. Seazer looked sort of shocked, but impressed, and his manager was moved a little. We then started to talk about business, but the main theme from "Boxer" continued to echo in my head. I truly feel lucky that I had the opportunity to work on "Utena."

I experienced Mr. J.A. Seazer's music long ago back in my teenage years. Since then, his music has provided motivation to my world and it continues unchanged today.

— I owe it all to Producer Ohtsuki's competence for having the chance to work with Mr. Seazer. But that is not the only thing Mr. Ohtsuki has done; he shouldered the huge risk to deliver "Revolutionary Girl Utena" to this world. We, the staff, got the total creative freedom despite his risk. Although I've met many fake adults who said, "believe in your youth and possibilities," it was my first time to meet with an adult who actually took a risk. Of course I carried some risk, but the risk that he was shouldering was too big compared to mine. However, not even once did he demand of me to take any more of a risk. He taught me the importance of taking a risk for a production. That became a valuable motivation for me in terms of the production for this project. Perhaps, the project, "Revolutionary Girl Utena" was the project that I co-directed with Mr. Ohtsuki.

So, I may be a loser in a sense. The reason is that I betrayed many friends whom I shouldn't have betrayed, but motivations provided by Mr. Seazer's music and the producer, Mr. Ohtsuki, didn't betray me. If I have the next time, I shall... that's how I hope to be.

The adolescence is a mystical time when the origin of existence intertwines with the time of illusion, perhaps for the first and last time. -T.T. Cheval

The language that I use in my lyrics are coined words that immediately create an interesting language which evolves from illusionary and imaginative and fictitious language that you will probably never ever see or hear again. It's similar to the symbolic language that comes from the spiritual climate of magical alchemy which prospered after the Renaissance. In other words, it is the principle of the absence of human existence in language that consists of dreams, the madness of sensation, eroticism, myth, legend, mystery, natural history, ancient animals, religion, universe, philosophy, medicine, geometry, strange tales, and strange reason. My composition style is to let these concepts and words fly freely in space by borrowing power from the law of sound in musical to naturally evolve as a non-revolving incident into immediately interesting songs. Perhaps my revitalization technique is to multiply my eternal adolescence and feel every single incident that happened around me as an "inner incident."

My favorite musical genius Furtwängler, who is also a famous performer, maestro, philosopher, psychologist, and poet, once said:
"Great art, or music is not created by instruments of by perfect skill in reproductive arts (by smashing the whole and dissolving it to recreate the original mental condition). Instead, it is created by being human - pure hearted, simply noble minded, passionate and devoted to personality and life, where the instinct is the issue. The artist is none other than someone who lives strictly for pure heartedness and devotion, and one who pursues such a classic home to his limit."

Even now, Furtwängler's words resonate with my eternal adolescence that lives in the "secret cavern" that exists inside me. Therefore, my music might be the music oscillation. My music may also be the music of resonance that is like a U-shaped tuning fork that eternal adolescence lives in within the "secret cavern" which exists in between the inner self from stranger to stranger.

In addition, I don't usually study music or composition. In fact, I don't even listen to music. I just take a walk around town or play in town with music everyday. In such Atonal = the time of nil tone becomes a power source for all kinds of time that will soon be here.

The element of creation does not mean to copy others, but rather comes from your own experiences especially from the time when you, yourself tried to overcome such a simple and stern life of destiny full of ups and downs. -G.S. Rival

Born: October 8, 1948 in Miyazaki prefecture. Musician/Producer

From 1969 to 1983, he was in charge of the music production as well as being a producer for the Drama Laboratory, Ceiling Gallery which was presided over by Shuji Terayama. He made his sensational debut as a producer by producing Antonin Artaud's brutal play, "The Cenci" in 1982. The play, performed by all male actors, shocked many theater people and audiences. After the dissolution of the Drama Laboratory, Ceiling Gallery, he adopted the dramatic art style of Shuji Terayama and in 1983, established the Drama Laboratory, Universal Gravitation. Since he presided over the Drama Laboratory, he has produced many projects as director, producer, and musician. He also has exhibited many of his talents in stage costuming, make-up, art, and lighting. He produced the "Julius Caesar Trilogy" performed only by new play actors in 1987 for the first time, and their performances won the highest praise in Greece and England.

Besides the theater, he has been actively performing for musical concerts. commercial music, music for fashion shows, concert production, and acting as a music advisor for various events as well as doing the music production for other theatrical groups.

The Major Projects Beside Theater
[Cinema Music] "Throw Away Your Book, Rally in the Streets" ('71), "Adventurers" ('73), "To Die in the Country" ('74), "Boxer" ('77), "Grass Labyrinth," "Shanghai Foreign Whore House," "Good-by Ark" ('80) and others. He produced music for films including "Tomato Ketchup Emperor," a short film by Shuji Terayama, and other promising French and American directors.
[Records] "Throw Away Your Book, Rally in the Streets" (Live Version) ('88), "For the Moment When All People Die" ('70), "Throw Away Your Book, Rally in the Streets" (Soundtrack Version) ('71), "Heresy Gate" ('72), A Song of the Border Pilgrim" ('73), "Fool's Ship" ('78), "Sindhu" ('78), "Heresy Gate + Sindhu," "Good-by Ark" ('83)
[CD] "Throw Away Your Book, Rally in the Streets," "Heresy Gate," "A Song of the Border Pilgrim," "Sindhu," and also the NHK Stereo Drama, "Tears of the Gourd," arranged by Shoko Morita and Kazuki Tomokawa.

After the dissolution of the Drama Laboratory, Ceiling Gallery presided by Shuji Terayama who passed away on May 4, 1983, J.A. Seazer organized 32 other members of the Ceiling Gallery to establish the Drama Laboratory — Universal Gravitation on August 1, 1983 and it continues to exist today.

The name, Universal Gravitation means the attractive force = attraction between people, intention of gravitation that organizes destined meetings - the world connected by immense gravity. The naming of his theater troupe evolved from ideas about questioning and verifying such relationships and various connections produced by gravity. The launch project was "Sino's Emperor" by Giorgio Libumon Desene. This play drew a record breaking audience for days on end and established a record for Lu Pirie Theater. The troupe participated in Scotland's - Edinburgh International Art Festival with "The Zoo of the Desert = SUNA" and received the Fringe First (Best Theatrical Award) in 1986. In 1988 at the Tokyo Glove, Shinokubo, the troupe performed "Directions to Servants," the most important work of the Ceiling Gallery. This play was once referred to as "the perfect play" by the author Mandiargues. Many people of the theater went to see it and some cried for Shuji Terayama's early death, while others were moved to tears by Shuji Terayama's art. The troupe had been on the road in England, Germany, and Denmark with the highly acclaimed play, "Directions to Servants." During the same period, the troupe challenged themselves with a new performance style for the Shakespearean project, "King Lear = The Moon and Play's Laws of Perspective, or Domain of the Moon and Sex" and it was performed at the Japan Festival in England in the Royal Shakespearean Theater (The Other Place) and they won the highest praise. They also did a workshop for a theater club at a high school nearby the Royal Shakespeare Theater and brought in an audience of over 200. They have established their unshakable status as direct succession to the theatrical troupe of Terayama through performances based on Shuji Terayama's town theater = a principle of open-air theater to be performed in a "100-Year Balloon Metropolis," and the huge open-air theater was performed over Parthenon Tama. The Drama Laboratory - Universal Gravitation continues their activities with an unchanged stance in their principle that they go beyond <a given barricade> through various styles of plays, questioning the nature of theater itself, through many theatrical performances, and the territory of eras. This is probably one of the last troupes to continue its original activities and inherit its mantle from the late 1960s as the Drama Laboratory troupe or as an organized theatrical troupe while many other theatrical troupes have dissolved and disappeared.

February 20,1992 to March 1, 1992 (The Suzunari, Shimokitazawa)

The main theme of this play is the action of placing theatrical equipment or game equipment between the "invisible play" and the "visible play." The invisible "darkness" and the visible "light." The darkness is collective but the light is individual. If we can see the play without using light, we would be able to share the play even more.

Also in this play, the fleeting and false nature of the transient world is metaphorically expressed through the mechanical world. Therefore, the machines represented here are not so much: <machine/nation>, <human/machine>, or <organize/mechanize> or in other words, talking about human nature through the analogy of machines. Rather, in order to escape from the metaphor that the machine represents, I actively volunteer to sacrifice myself as an alien device or substance that can cut through the system.

February 10-12,1994 (People of Ohta Plaza)

A boy named Satyricon mutters while he drags his own corpse from the Paleozoic Era.

"I shall go back to the sea soon
the darkness of the deep navy blue
endless silence
that's where I
was inspired by the curious words of seawater
to write a short poem."

An age (especially adolescence) when fossilization occurs at such a fast speed, is like a symbol of "the regeneration of life and death." The existence of life is driven into the depths of memory and oblivion... that depth... the bottom of the sea... as I sink, there is an infinitive birth of corals that my life could meet... then I finally reach the bottom of the sea to see the infinite number of ammonite fossils that are far more numerous than all living things.

The second theatrical play in the "Visionaire Musical" (Child in time = the moon from memory that rises over the shores of time) series that draws on the canvas of theater! "Light Bulb Type Ammonite - deeply, our supira mirabirisu theater -" is an epic poetry play that consists of a mixture of the temper art of drawing in a theatrical performance and the temper art of drama in a painting.

The ammonite is an expression of the source of the human spirit while actualizing the death and regeneration that constantly goes through renovation.

The motif of the play is the light bulb ammonite and an electrical Japanese foot warmer ammonite. The drama synonymously depicts the small history of the 4 and 112 tatami mat sized room of an aspiring artist, Satyricon, against the huge scale of history from the Paleozoic Era to the present. I needed it to be acknowledged that the pursues the unrevealed mythology of the reality from the life-sized world, or already given world, to the other world's borderline by horizontally jumping or vertically crossing barricades from my territory to the other territory. The drama formed like an endless Japanese Parcheesi game (in other words, a virtual reality of human identification based on the mixture of incidents that happened within the huge scale of history and within myself = the recuperation of oneness.) Of course there are as many performers as audiences of the night versions of unrevealed mythologies of reality, however, if these various versions might be developed into one, we shall give birth to a pure and clear new-born child (theatrical child, Ammonite) on the stage.

And for those who participate in this play, they must start from a fossil excavation from the late 1960s to 1970s (Oriental Shinjuku Castle Little Renaissance Period). The reason for this is because this play is written based on my (J.A. Seazer) autobiography (the adolescence section), and it would at least be a keyword = a dramatic engagement, when participating in this project.

November 10-20, 1994 (Otsukaman Studio)

In this play, I once again get back to the fascade of the theatrical play to incubate and restore myself to outgrow, transform, deform, metamorphose or revel myself. I attempt a new world's origin of light from within my childish theatrical body (a flexible body that is way before it reaches its complete body). The theatrical equipment, as well as the story composition are indecisive, kaleidoscopic, and fantastic just like a hatching butterfly, dragonfly or locust.

Universal Gravitition uses topics from various episodes from the mode of life of actors within which the single light's rock. `n' roll requiem and the end of the world's {play) lullaby run wild towards the game like ending of "Cover Your Face, Pathetic One Before Long."

Also this play is an ad lib for "One Other Mn," and an instant play for "The Actors Of The Sleeping Acting Forest." Another important point to note about the theme of the play is that it's a warning against the vulgarization, mannerism, in') privatization of dramatic art.

March 8-12,1995 (Ohta-Kumin Plaza)

The birth of time and the invention of the clock are the human history of the time schedule, within which surrealistic visionism and Darwinism are melted together to create a fantasy of poetical drama that symphonizes with the phantom present! Perhaps it is a theory of origin for a screw style by a clock maker who seeds the connection between you and I and his grandchild! It is a dream come true, the big natural history of the panoramic stage!

If anyone calls this play a new meeting of the past's theatrical stage that has become long gone within the history of theater (according to King Solomon, "All novel things are nothing else but the forgotten things."), I would promptly say it is just like meeting the "Impression of Africa" by Raymond Roussel in 1915. However in this play, Roussel's idea of the plays are already in our theatrical bodies, and they come through in his words such as "Words and objects are synonyms and are extremely integrated," "Words are not an affair, but objects," and "Even history is unrestricted for rearrangement like a crossword puzzle." Instead, it is a novel meeting between Roussel's unconventionally haphazard nonsensical surrealism and the law of expression for dadaism's fantasy. The important point in the art of this theatrical production is the new reunion with the time in which Roussel and others lived. When it comes to theatrical performances, I don't believe in the word "revive" (revival). Rather, the so-called art of revival should be called "Retransformation of changes." Therefore, everything is novelty. - from Book of Memory • Drama episode <Die Off >

"The currently existing, supposedly existed existence of something that would be born someday" would be proven as "provisional" by the one night theatrical performance (events, incidents). Also, "the truth is a delusion of provision, and delusion is a provision of provision" as quoted from a mysterious old man who disappeared while sitting down by the lakeside bench and his loneliness would become equipment for the stage.

Invisible time, a time machine, a clock maker's journey of searching his past, the young grass of the heartless version of first love, what lies ahead for a brother and sister who were confined in the darkness until age 15, and "origin of spices" turned into a stage play.

Then there would come the slaughter for the sake of the preservation of a dominant species and a dominant theatrical performance!

November 22 ~ 28, 1095 (Shinjuku Space Zero)

In this play, as a fundamental rule, desks and chairs are placed to evoke the image of a place for education in a temple from the medieval period (14th century). (The name of a rose = there is nothing but a name left for a withered rose, there is only a fruitless name left behind now).

An actor continues to write while he appears and exits from the stage. It is a place in the wings of the stage and in a dressing room where the roles are made up and replaced. The masks are used during the replacement of those roles except for his own role. There are at least three masks needed per actor.

In this play, there are only a few pieces of equipment used, and the drama is expressed by the actors' mime. (meaning of minimum necessity...) At first, everything and anything are absent, and the people are educated to symbolize as if there is something to be considered as the participants of the society, by adding one law of representation (to let him exist, be larger than life) in an actor's time which would make it possible to have one other time.