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Manga Discourse in Japanese Theater: The Location of Noda Hideki's Yume no Yuminsha (review)

Manga Discourse in Japanese Theater: The Location of Noda Hideki's Yume no Yuminsha (review) 5ATJ_396-424 6/1/06 12:17 PM Page 419 BOOK R EV IEWS 419 “But what I really wanted to get across to everyone here including myself is that dance is nurtured by our lives, and not by techniques. To participate in these workshops I want us all to understand that dance springs from care. Any- way, let’s take that as a starting point; abandon all your ideas about moving in this and that way; it doesn’t matter in the slightest what you do as long as you dance with your soul” (p. 252). He exhorts the dancer to move beyond expected notions of chore- ography, structure, and technique. He notes, “Well, then, how should we approach the working method required to create a butoh performance? Let me put it this way: I don’t want to waste our time together explaining some- thing that I myself don’t have an answer to” (p. 246). Ultimately the triumph of this text lies in its refusal to make declara- tive conclusions about Ohno’s life and work. It rather allows the reader to play in the mystery of his image and his teaching style. Like the title of one “ Work- shop Words” chapter, this text http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Manga Discourse in Japanese Theater: The Location of Noda Hideki's Yume no Yuminsha (review)

Asian Theatre Journal , Volume 23 (2) – Aug 17, 2006

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2006 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

5ATJ_396-424 6/1/06 12:17 PM Page 419 BOOK R EV IEWS 419 “But what I really wanted to get across to everyone here including myself is that dance is nurtured by our lives, and not by techniques. To participate in these workshops I want us all to understand that dance springs from care. Any- way, let’s take that as a starting point; abandon all your ideas about moving in this and that way; it doesn’t matter in the slightest what you do as long as you dance with your soul” (p. 252). He exhorts the dancer to move beyond expected notions of chore- ography, structure, and technique. He notes, “Well, then, how should we approach the working method required to create a butoh performance? Let me put it this way: I don’t want to waste our time together explaining some- thing that I myself don’t have an answer to” (p. 246). Ultimately the triumph of this text lies in its refusal to make declara- tive conclusions about Ohno’s life and work. It rather allows the reader to play in the mystery of his image and his teaching style. Like the title of one “ Work- shop Words” chapter, this text

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Aug 17, 2006

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