Ankoku Buto: The Premodern and Postmodern Influences on the - download pdf or read online

By Susan Blakeley Klein

ISBN-10: 093965749X

ISBN-13: 9780939657490

A quick advent to the background, philosophy, and methods of the japanese avant-garde dance stream, Ankoku Butô. Evoking photographs of ugly attractiveness, revelling within the seamy underside of human habit, yetô dance teams corresponding to Sankai Juku and Dai Rakuda-kan have played to vast severe and well known acclaim, making yetô some of the most influential new forces within the dance global at the present time. The monograph lines the improvement of yetô from its beginning within the bleak post-war panorama of 1950's Japan, after which addresses the query of yetô as a post-modern phenomenon, earlier than occurring to ascertain the impression of conventional eastern functionality on yetô recommendations. The final bankruptcy analyzes a particular dance (Niwa - The backyard) through Muteki-sha, to teach how those options are used concretely. contains translations of 4 essays on yetô by way of modern jap dance critics.

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Additional info for Ankoku Buto: The Premodern and Postmodern Influences on the Dance of Utter Darkness

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86. This description is of course not necessarily true of aIl No plays, but only for those in which a ghost appears. 21Haga, "Japanese Point of View," unpaginated. 22Haga, "Japanese Point of View," unpaginated. "23 In this sense, the very attempt to analyze ButO in the manner undertaken in this essay may be seen as essentially contradictory to its spirit, since su ch an analysis reduces the works' possible meanings by employing the explanatory apparatus of rational thought. Although most audiences need sorne background for ButO to seem anything more than a new wave of spectacularly visu al expressionist theater, one should always keep in mind that this attachment to critical analysis is, from the perspective of the Buta dancer within the Japanese artistic tradition, a delusion.

In sorne ways," Nakajima has said, "1 feel that 1 was the first real student of Hijikata and Ohno. "2 That year (1962-63) a group of dancers was meeting on the weekends in Hijikata's studio. According to Nakajima, "Ohno was mostly teaching improvization; Hijikata gave us a list ofbooks to read during the week. We' d gather together on Friday and work non-stop--whenever we weren't dancing, we were discussing books. "3 INiwa (The Garden), program notes for performance at The Asia Society, New York City, September 27 and 28, 1985.

22Haga, "Japanese Point of View," unpaginated. "23 In this sense, the very attempt to analyze ButO in the manner undertaken in this essay may be seen as essentially contradictory to its spirit, since su ch an analysis reduces the works' possible meanings by employing the explanatory apparatus of rational thought. Although most audiences need sorne background for ButO to seem anything more than a new wave of spectacularly visu al expressionist theater, one should always keep in mind that this attachment to critical analysis is, from the perspective of the Buta dancer within the Japanese artistic tradition, a delusion.

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Ankoku Buto: The Premodern and Postmodern Influences on the Dance of Utter Darkness by Susan Blakeley Klein


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