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Butoh and creating a performance with sumak Kose
of
I
Sabella Moroni
sumak Koseki, butoh dancer was one of the artists who were able to share their knowledge with European trials. In the seventies he collaborated with Grotowsky, Beard, P. Leotard, creating a personal style and complete a teaching method that takes 18 to 27 July in Italy offering a workshop 
the Magazzini del Sale of Messina, conceived and organized by the Theater of the Sea in Ships. Today Butoh has evolved, it has been contaminated with other modes of expression, the proposals coming from Japan (or that Europe where the arts are processed and processed) have perhaps lost their meditation on the essence of collective renewal. present anew and, therefore, an interview with 90s sumak Koseki in which the dancer recounts della trasformazione della vita. #gallery-1 { margin: 0 0 0 40px; } #gallery-1 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-1 img { border: 2px solid #cfcfcf; } #gallery-1 .gallery-caption { margin-left: 0; }
Quando ho cominciato a lavorare with Tadashi Suzuki in the seventies, there was a tendency in Japan to renew the theater to the other movements that corresponded quite theatrical era as, for example, the underground ol'happening whose main idea was to destroy, to break with the traditional theater. But, as in Japan, the tradition had been lost at the beginning of the century when they wanted to learn Western modernism, meant for us to break tradition and use it to find the Renewal without destroying it completely. The appearance of the tradition that he wanted to carefully resealed and kept Tadashi Suzuki was that of labor as is used in the No and Kabuki theater where all the drama lies in the body. So our work, which aimed almost exclusively on physics, also represented the revolt against the psychological drama that had invaded Japan.
E 'can define the
Defining Butoh with words is very difficult. The work on the dramaturgy of the body, for example, is only part of Buto as is also the notion of death that is very broad and is never morbid or negative. There is also the notion of cancellation of self-denial which, moreover, what it means to live in our hearts as the nature, the supernatural or even more-distant-memory is personal and collective. The Buto has no form and therefore must be renewed each time. Unfortunately, the human tendency is to keep things once they are found, so the Buto is meant to represent a beginning, a proposal, but no end.
Japan is a very special country that has always distinguished from the rest of Asia.
A country that, throughout history, from time to time it is opened, took some things from the outside and the producer. The most striking case was that of writing taken from Chinese and transformed. beginning of this century is the same thing happened against the West: they open the doors and you learned everything at full speed, from technology to lifestyle. Buto is also an example of this ability to open and close. The three founders of Butoh, for example, were much influenced West: Hijikata was a classical dancer, a mime Kazuo Ono and another was even a Christian. Even at the level of thinking has been influenced by Butoh Western artists such as Genet, Artaud and Bataille. What we have created is totally different from the West but also in other Asian traditions.
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There is a technique of Butoh in the work of the actor? A technique down there and every danzotore has its own method of training. Many are based on Eastern techniques like yoga or tai chi quan, others to the ballet or the pantomime. However, there are movements of essenzali all do: walking, running, relaxation, breathing in order to find the primary energy, listening to the silence, force in the basin. But I think in Butoh
There is a technique of Butoh in the work of the actor? -
What is the conception of the character in the theater Butoh?
- But most of that identification (in the sense of Stanislawskij) is more appropriate to speak of incarnation. In Japan there is always this game incarnation, which moreover is deeply religious in our memory there is, in fact, the possibility of finding all roles and all the characters, the game is to call and be invaded by them.
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What was the influence Butoh in the West?
Japan is a very special country that has always distinguished from the rest of Asia.
A country that, throughout history, from time to time it is opened, took some things from the outside and the producer. The most striking case was that of writing taken from Chinese and transformed.
What is your goal in Butoh?
's why the Butoh takes time, because it is not only to learn, but to transform their lives. sumak Koseki
studied Butoh dance in Japan under the guidance of Issus Miura, also interested in contemporary dance influenced by the No and Kabuki theater. In Europe Grotowsky and has collaborated with many other artists (E. Barba, P. Leotard, P. Adrien). In 1980 he founded his company in France, a company that has several holdings all'Avignon Dance Festival and has performed throughout Europe. A 'La Comedie Francaise' (National Theatre) sumak worked the choreography and performed under the direction of directors as Znorko and Adrien Philippe. His style is characterized by a contamination of butoh, theater and traditional Japanese martial arts. He is a fervent activities taught in workshops across Europe.
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