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"A creative and intellectual examination of the history, ideas, and practice of butoh performance by an experienced performer, choreographer, photographer, educator, and scholar"--
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Issue d'une thèse de doctorat, cette étude porte sur le travail de Hijikata Tatsumi, créateur de l'ankoku buto (danse des ténèbres). Au fil de son analyse, l'auteure met au jour ses influences personnelles, artistiques, culturelles et sociales, son esthétique et son influence majeure sur la danse contemporaine. ©Electre 2017
Buto --- Hijikat, Tatsumi --- Critique et interprétation --- Hijikata, Tatsumi, --- Butō --- Butō.
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Drawing on avant garde and classical Japanese dance traditions, the Alishina Method offers a systematized approach to Butoh dance training for the first time in its history. With practical instruction and fully illustrated exercises, this book teaches readers:· basic body training and expression exercises· exercises to cultivate Qi (energy) and to aid improvisation· about katas (forms) and how to develop your own· the importance of voice, sound and music in Butoh· to collaborate and be in harmony with others· techniques to manipulate time and space· how to develop the imagination and refine th
Butō. --- Ankoku Buto --- Butoh --- Modern dance
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Both a refraction of the bombings of Hiroshima and Nagasaki and a protest against Western values, butoh is a form of Japanese dance theater that emerged in the aftermath of World War II. Sondra Fraleigh chronicles the growth of this provocative art form from its midcentury founding under a sign of darkness to its assimilation in the twenty-first century as a poignant performance medium with philosophical and political implications. Through highly descriptive, thoughtful, and emotional prose, Fraleigh traces the transformative alchemy of this metaphoric dance form by studying the international movement inspired by its aesthetic mixtures. While butoh has retained a special identity related to its Japanese background, it also has blossomed into a borderless art with a tolerant and inclusive morphology gaining prominence in a borderless century. Employing intellectual and aesthetic perspectives to reveal the origins, major figures, and international development of the dance, Fraleigh documents the range and variety of butoh artists from around the world with first-hand knowledge of butoh performances from 1973 to 2008. Her definitions of butoh's morphology, alchemy, and philosophy set a theoretical framework for poetic and engaging articulations of twenty butoh performances in Japan, Europe, India, and the West. With a blend of scholarly research and direct experience, she also signifies the unfinished nature of butoh and emphasizes its capacity to effect spiritual transformation and bridge cultural differences.
Butō. --- Modern dance --- Zen arts --- Buto.
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Une analyse philosophique et textuelle de l'œuvre du créateur du butō, Hijikata Tatsumi : l'auteur propose une lecture déterritorialisante du danseur et chorégraphe japonais, le reliant à des figures comme Genet ou Artaud, tout en lui restituant sa spécificité propre.Hijikata Tatsumi (1928-1986) créateur de l'ankoku butō (danse des ténèbres) à l'aube des années 1960 au Japon, révolutionna la notion même de danse moderne, imposant un univers fantasmatique et transgressif, renversant toute notion d'harmonie ou de beauté chorégraphique. Artiste visionnaire, il accouche d'un corps humain difforme, souffrant, orgiaque et impie, d'une obscénité inacceptable dans une société en pleine normalisation consumériste.Son style puise à des sources hétéroclites, mêlant onirismes traumatiques de son enfance rurale et mondes artistiques hérétiques qu'il phagocyte et régurgite en une version érotique et grotesque inimaginable avant lui.À travers une fine analyse philosophique mêlée à sa propre expérience du poète de la chair – qu'il rencontra dans la dernière période de son activité de chorégraphe – Uno Kuniichi propose une lecture déterritorialisante du génie de l'Asubesuto-kan, le reliant à d'autres figures hérétiques comme Genet ou Artaud, mais restituant également une specificité subjective de cet artiste japonais hors du commun. La précieuse exploration du « corps-texte Hijikata » que livre ici M. Uno, nous donne accès à un atoll de sens et de cheminements à la fois ouverts et précis. En particulier par son analyse subtile du texte central de Hjikata, Yameru Maihime (Danseuse Malade). Une approche unique de Hijikata, par un grand spécialiste japonais des auteurs contre-culturels francophones (Artaud, Genet, Beckett, Deleuze) dont il est traducteur et penseur.Cet ouvrage est la première publication d'un ensemble de textes sur Hijikata rédigés ou traduits en français par Uno Kuniichi lui-même
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We begin in the middle. Paris. Late fall 1977. Three Japanese avant-garde dancers, Murobushi Kô, Carlotta Ikeda (Ikeda Sanae), and Hanaoka Mizelle (Yoshioka Yumiko) arrived in Paris, but not to present an avant-garde dance. Rather they aimed to audition a burlesque show at the cabaret Le Jardin Champs-Élysées. If this were a movie, we would show the three approaching the cabaret and then pan to show the nearby Eiffel Tower. Do not be fooled though. Their goal was to use the cabaret as a foot-in-the-door, with the hope of performing their experimental dance. Alas, their burlesque show did not appeal to the promoters. It was just too strange. They tried the Crazy Horse Saloon and Folies Bergères, but their show was not only too bizarre, but also much too small for such venues. At this point, they gave up, their hopes of establishing a foothold in France dashed. Yoshioka reached out to her mother (a high-end cabaret producer in Japan), and she arranged a job for them in Tehran.
Butō --- Modern dance --- History. --- Butō - History --- Modern dance - Japan - History --- Modern dance - France - History --- Butō. --- Butō.
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Butō --- Modern dance
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