workshop di butoh con Motimaru
- individuare una qualità del corpo tra dentro e fuori -corpo/ spazio-;
- sezionarla attraverso una riflessione-stimolazione anatomica
- provocare l’avvenimento di una metamorfosi del corpo-mente in qualsiasi elemento
- migliorare la qualità della vita nel rapporto corpo- spazio-natura -persone-cose attraverso una sensibilizzazione delle percezioni
Sabato 14 Maggio 2011 (ore 14 – 20)
Domenica 15 Maggio (ore 10 – 16)
Motoya Kondo (danzatore/coreografo)
Nato a Nagoya nel 1983, dopo aver studiato Economia alla Keio University a Tokyo comincia una ricerca sulla Mitologia e sui nativi australiani. Il tema centrale non era spiegare il mito, ma farne un’esperienza, che cosa il mito significa per noi. Dal 2006, trovandovi temi comuni, studia danza butoh con Yoshito Ohno, figlio di Kazuo Ohno, e lavora come assitente. Nel 2008 studia teatro Noh; nel 2009 studia danze tradizionali balinesi a Bali, Indonesia, con Agun Anom Putra, I Made Djimat e Ida Bagus Oka Wirjana. In Giappone ha partecipato a seminari con i danzatori butoh Yukio Waguri and Torifune.
Tiziana Longo (danzatrice/regista)
Nata a Catania nel 1980, studia danza classica e danza moderna. Nel 2003, dopo aver visto un video di Kazuo Ohno, decide di spostarsi in Giappone per incontrarlo ed approfondire lo studio del butoh. Nel 2004 si laurea all’Università di Bologna in Arti dello Spettacolo. Dal 2004 studia con Yoshito Ohno allo studio di Kazuo Ohno e comincia a lavorare con lui come assistente. Nel 2006 vince una borsa di studio della Agency for Cultural Affairs in Giappone. Nel 2009 studia le basi della danza balinese a Bali, Indonesia, con Agun Anom Putra, I Made Djimat e Ida Bagus Oka Wirjana. In Giappone ha studiato con i danzatori butoh Tomiko Takai, Yukio Waguri, Mitsuyo Uesugi e Kayo Mikami.
14-15 Maggio 2011
“Form of soul”
workshop for body and dance
What is most important is a method, we believe. If you want to be a good baseball player, you need to know how and what to practice. If you want to know about Buddhism, what is most important is a method to practice it more than names of many legends or concepts. The case is simply same for dance indeed.
What we are looking for is a form which is not bound by traditions that is losing reality for us in this rapidly changing time but one which is more free and connected to our own daily life and own history but in the same time still deeply based on the principles of dance, a dance which can reveal the real image of life and death, a form of soul. But how? It is for sure that we first need to create bases if we want to construct these great buildings.
The seeds of our workshop roots in 5 years studies in Kazuo Ohno dance studio -lessons of son of Kazuo Ohno, Yoshito Ohno, which directly come from the two founders of butoh Tatsumi Hijikata and Kazuo Ohno-. The dance they have created represents one of the most meaningful reality of the 20th century performing art history. The contaminative cultural character of this dance style has given impact to Europe, and any other countries in the world. Having received echo by European expressionist dance, it was able to melt the structures of Japanese traditions into innovative boosts of the Japanese artistic avant-garde of the second postwar period; it has synthesized: Artaud’s visions, surrealistic painting and metaphysics, Rudolf Laban’s theories, Marta Graham’s rituality, Kantor’s ingenious madness, Mary Wigman’s freedom. The founders’ interests directed to the body-mind itself which had been used to express something or represent some other things on the stage. It is this centripetal approach to our existence that gives us centrifugal force to comprehend other dances and traditions, and even paintings, sculptures, ikebana, natures, environment around us and everything. Their dance was obviously free and avant-garde but in the same time could be more essential than traditions.
But there is one thing they never left us. The organized method. It seems that everything occurs in the chaos first, then it is a work for heirs to organize it. This chaos left by founders of butoh is what we would like to face and research on. By this work we are not intending to spread “butoh” to the world but to dedicate contemporary performing arts and all cultures by sharing the method to let something new and essential born.
Born in 1983 in Nagoya. He studied Economy at Keio University in Tokyo where he did research on mythology and native Australian culture. The objective not being to explain the myth but to experience it and its meaning. From 2006 finding a common theme in butoh he studied with Yoshito Ohno, son of Kazuo Ohno and worked as his assistant. In 2008 he also studied Noh theater; and in 2009 traditional Balinese dance in Bali (Indonesia) with Agun Anom Putra, I Made Djimat, and Ida Bagus Oka Wirjana. In Japan he received lessons by the following butoh dancers workshops: YukioWaguri; Torifune.
Born in 1980 in Giarre-Riposto (Catania); studied ballet and modern dance. In 2003 after discovering a recording of Kazuo Ohno in Bologna university archive, she decided to move to Japan to seek a deeper knowledge of butoh. In 2004 she graduated from Bologna University in Performing Arts. Her 2004 meeting with Kazuo Ohno was critical. From 2004 she studied with Yoshito Ohno at Kazuo Ohno dance Studio working with him as sound, stage and backstage assistant. In 2006 she won a dance scholarship from Agency for Cultural Affairs in Japan. In 2009 she studied Balinese dance in Bali (Indonesia) with Agun Anom Putra, I Made Djimat and Ida Bagus Oka Wirjana. In Japan she received lessons by the following butoh dancers workshops: Tomiko Takai; Yukio Waguri, Mitsuyo Uesugi , Kayo Mikami.,Seisaku. Left Japan in 2010 and is now based in Berlin.