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Hijikata Tatsumi's explosive 1959 debut Forbidden Colors sparked a new genre of performance in Japan - butoh: an art form of contrasts, by turns shocking and serene. Since then, though interest has grown exponentially, and people all over the world are drawn to butoh's ability to enact paradox and contradiction, audiences are less knowledgeable about the contributions and innovations of the founder of butoh. Hijikata Tatsumi and Butoh traces the rollicking history of the creation and initial maturation of butoh, and locates Hijikata's performances within the intellectual, cultural, and economic ferment of Japan from the sixties to the eighties.
Hijikata Tatsumi and Ohno Kazuo by Sondra Fraleigh,Tamah Nakamura Pdf
Part of the "Routledge Performance Practitioners" series, this book deals with the contribution of two of modern theatre's most charismatic innovators. Including a glossary of English and Japanese terms, it presents an account of the founding of Japanese butoh through the partnership of Hijikata and Ohno.
"Tokyo during the 1960s was in a state of uproar, full of protests, riots, and insurrection. Tatsumi Hijikata - the initiator of the 'Butoh' performance art and the seminal figure in Japan's experimental arts culture of the 1960s - created his most famous works in the context of that turmoil. Central to Hijikata's vital 1960s work are his many films, from experimental projects undertaken in collaboration with artists, to horror and sex films made for Japan's ailing studios, to his participation in the corporate, state-power spectacle of the Osaka World Expo '70. Based on original interviews with Hijikata's collaborators as well as new research, Film's Ghosts illuminates Hijikata's world-renowned, spectral 'Dance of Utter Darkness', Butoh, and explores Hijikata's films directly against the backdrop of 1960s urban culture in Tokyo, with the rise of its screen-constellated mega-towers, its fierce protests and riot-police battles, its ascendant security-guard and surveillance industries, and its experimentations in art, sex and tourism. This will be an essential book for readers engaged with film and performance, urban cultures and architecture, and Japan's experimental art and its histories"--Back cover.
Hijikata Tatsumi's explosive 1959 debut Forbidden Colors sparked a new genre of performance in Japan - butoh: an art form of contrasts, by turns shocking and serene. Since then, though interest has grown exponentially, and people all over the world are drawn to butoh's ability to enact paradox and contradiction, audiences are less knowledgeable about the contributions and innovations of the founder of butoh. Hijikata Tatsumi and Butoh traces the rollicking history of the creation and initial maturation of butoh, and locates Hijikata's performances within the intellectual, cultural, and economic ferment of Japan from the sixties to the eighties.
Costume en Face by Tatsumi Hijikata,Moe Yamamoto,Takashi Morishita,Sawako Nakayasu,Yelena Gluzman Pdf
Drama. Dance. Performance Studies. East Asia Studies. Transcribed by Moe Yamamoto and translated from the Japanese by Sawako Nakayasu. Tatsumi Hijikata (1928-1986) is a founding father of the radical dance form that he called Butoh, whose choreography required dancers to internalize complex and often grotesque images, experiences and perspectives in order to produce precise movements. Though influenced by Western artists and writers the expressionist dance of Mary Wigman, the writings of Artaud, de Sade, Bataille, and Genet, and the drawings and paintings of Goya, Picasso, Toyen, Beardsley, and others he was dedicated to the particular experience of the marginalized, Japanese suffering body after World War II. In the mid-1970s, Hijikata became concerned with developing notation for his Butoh, and some of these Butoh-fu notations remain, largely in the form of notebooks transcribed by his disciples. COSTUME EN FACE is the first publication of one of Hijikata's notebook notations in either English or Japanese. In it we can see, for the first time, the profound interconnectedness of language and body in Hijikata's process of composition."
Approaching the avant-garde Japanese performance art form of butoh from a cross-cultural, gender studies, and scientific perspective, award-winning artist and teacher Vangeline brings a fresh look at this postmodern dance form.Butoh, a performance art form that grew out of the Japanese avant-garde scene of the 1950s, has traveled from east to west over the last 60 years, growing in popularity as it evolves. With origins in modern dance, French mime, and the surrealist movement, this fascinating postmodern dance genre is often thought of as mysterious and is frequently misunderstood. Through twenty years of research, interviews with some of the world's top practitioners, historical documents, and rare photographs, Vangeline shines light on this "dance of darkness." New revelations include the under-represented role of women in the development of the form, the connection between butoh and neuroscience, and the cross-cultural perspective of international influences on the evolution of the dance. Butoh: Cradling Empty Space will appeal to dance students, teachers, performance art scholars, somatic healers, and anyone interested in choreography, theater, and Japanese history, culture and art.The book includes rare photographs, helpful graphics, a detailed bibliography and footnotes, and resources for additional information."[A] handbook for the butoh practitioner, the (art) historian, the dance critic, and the curious reader. Encompassing, and reconciling, problems of movement, gender, race and universality, Cradling Empty Space guides the reader through the many possibilities of butoh."-Alice Baldock, Faculty of History, University of Oxford, from the ForewordPraise for Vangeline's choreography and dance work:"Captivating." -New York Times "[She] moves with the clockwork deliberation of a practiced Japanese Butoh artist."-Los Angeles Times
The Routledge Companion to Butoh Performance by Bruce Baird,Rosemary Candelario Pdf
The Routledge Companion to Butoh Performance provides a comprehensive introduction to and analysis of the global art form butoh. Originating in Japan in the 1960s, butoh was a major innovation in twentieth century dance and performance, and it continues to shape-shift around the world. Taking inspiration from the Japanese avant-garde, Surrealism, Happenings, and authors such as Genet and Artaud, its influence can be seen throughout contemporary performing arts, music, and visual art practices. This Companion places the form in historical context, documents its development in Japan and its spread around the world, and brings together the theory and the practice of this compelling dance. The interdisciplinarity evident in the volume reflects the depth and the breadth of butoh, and the editors bring specially commissioned essays by leading scholars and dancers together with translations of important early texts.
Hijikata Tatsumi and Ohno Kazuo by Sondra Fraleigh,Tamah Nakamura Pdf
Now re-issued, this compact book unravels the contribution of one of modern theatre’s most charismatic innovators. Hijikata Tatsumi and Ohno Kazuo combines: • an account of the founding of Japanese butoh through the partnership of Hijikata and Ohno, extending to the larger story of butoh’s international assimilation • an exploration of the impact of the social and political issues of post-World War II Japan on the aesthetic development of butoh • metamorphic dance experiences that students of butoh can explore • a glossary of English and Japanese terms. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today’s student.
The Night is Still Young by Eric C. Shiner,Simone Fukayuki Pdf
With The Night Is Still Young, Los Angeles-based, Japanese photographer Tomoaki Hata returns to his roots-the underground club scene of Osaka's gay, nightlife district. Filled with intimate images of the radically-creative drag queens who performed at various venues in the city from the late 1990s through the present, this book is a peek into the underbelly of modern Japan. Hata occupies a much-deserved place in the ranks of the great Japanese photographers-on par with the likes of Daido Moriyama and Nobuyoshi Araki-yet he achieved this rank not by following the example of these greats, but via the presentation of his own unique view of a slice of Japanese culture that otherwise remains largely undocumented. Gay life and culture in Japan remains mostly secretive, and tends to take place within the safe confines of gay bars and gay districts that are many times hidden in plain view within the entertainment districts of major urban centers. A passionate and intimate portrayal of the gender-bending performers as they cavort, both on and off the stage, Hata exposes this elusive subculture for the entire world to see. The results are campy and combustible images of drag performers going full tilt. Glitter, glamour, sequins, and seediness are all on display, up-close and unrestrained. Including an essay on Hata's photographs-and the world they examine-The Night Is Still Young captures and contextualizes drag culture in Japan at the turn of the century, and is the ultimate primary-source document of this otherwise obscure scene.
Hijikita: Revolt of the Body examines the life and work of Tatsumi Hijikata (1928-86), who invented a revolutionary performance art and dance known as Ankoku Butoh, or "Dance of Darkness." The Butoh style of performance and movement premiered in Japan in 1959 and developed in subsequent years in response to the student riots and the 1960s protest movement. Hijikata is the supreme figure in the last half-century of Japan's experimental culture, and he remains a seminal and inspirational presence for Japanese artists, choreographers, film-makers, musicians, and writers. Based on extended interviews with Hijikata's family and all of his surviving collaborators, this is the only book to focus exclusively on Hijikata and his work, including his interest in European art and figures such as Genet, Artaud, Sade, and Lautréamont, as well as the Japanese Surrealist movement. It also provides a unique, in-depth analysis of Japanese avant-garde culture of the 1960s--including film, visual art, and literature--in direct relation to Hijikata's performance pieces. Butoh and Hijikata's performance art continue to grow in popularity and appreciation around the world, and this text is the definitive study of Hijikata and his radical art. "A brilliant and illuminating study of Hijikata and the Japanese avant-garde"--Donald Richie
In Butoh Ethan Hoffman creates virtually a new genre of photographic theater and gives us an invaluable contribution to the literature of contemporary dance and theater. 100 full-color photographs.
What is Butoh?When I first saw Tatsumi Hijikata performed Butoh, my young soul was broken. I could just stand with shivering.It was 1972. Hijikata's Butoh company "HangiDaitohKan" performed at the Seibu Theatre of Kyoto University in Japan. I was twenty-three years old.Throughout the performance, several dancers were hiding under old tatami mats on the stage. When they finally emerged, moving as if dying, like the collapsed bodies of people poisoned by mercury, someone started crying in the depths of my heart.Twenty-five years later, I decided to become a Butoh dancer."What is Butoh?""Why do we need to dance?""What Abyss of Life did Hijikata performed in the "Quiet House"?""What is the Numinosum of Sick Dancing Princess?"I traveled around these questions for two decedes in the activities of Subbody Resonance Butoh Himalaya, and wrote this book.This is a small gift to you to share the Quest.
When Hijikata Tatsumi's "Ankoku Butoh" appeared in 1959, it revolutionized not only Japanese dance but also the concept of performance art worldwide. It has however proved notoriously difficult to define or tie down. Mikami Kayo was a disciple of Hijikata for three years. In "The Body as a Vessel," which is partly based on her graduate and doctoral theses, she combines the insights from these years with earlier notes from other butoh dancers to decode the ideas and processes behind Hijikata's novel form of theatre. This book is the first full translation of Mikami's work, and also includes fresh material not published in the Japanese edition, as well as numerous photographs, many in full colour.
