The Theatre of Suzuki Tadashi (review)

2006 ◽  
Vol 32 (1) ◽  
pp. 173-177
Author(s):  
Timothy Iles
Keyword(s):  
Suzuki Tadashi

The Theatre of Suzuki Tadashi (review)

Modern Drama ◽  
2005 ◽  
Vol 48 (3) ◽  
pp. 623-625
Author(s):  
Hayato Kosuge
Keyword(s):  
Suzuki Tadashi

Fragments of Glass: A Conversation between Hijikata Tatsumi and Suzuki Tadashi

2000 ◽  
Vol 44 (1) ◽  
pp. 62-70 ◽  
Author(s):  
Senda Akihiko
Keyword(s):  
Introductory Essay ◽  
Experimental Theatre ◽  
Suzuki Tadashi ◽  
Poetic Texts ◽  
First Time

For the first time in English, we present many of Hijikata's aesthetic and poetic texts. These texts are put into context by Kurihara Nanako's introductory essay. The section includes an interview with Hijikata and a conversation between Hijikata and Japanese experimental theatre innovator Suzuki Tadashi.

Hijikata Tatsumi Chronology

2000 ◽  
Vol 44 (1) ◽  
pp. 29-33
Author(s):  
Kurihara Nanako
Keyword(s):  
Introductory Essay ◽  
Experimental Theatre ◽  
Suzuki Tadashi ◽  
Poetic Texts ◽  
First Time

For the first time in English, we present many of Hijikata's aesthetic and poetic texts. These texts are put into context by Kurihara Nanako's introductory essay. The section includes an interview with Hijikata and a conversation between Hijikata and Japanese experimental theatre innovator Suzuki Tadashi.

Introduction: Hijikata Tatsumi: The Words of Butoh

2000 ◽  
Vol 44 (1) ◽  
pp. 10-28 ◽  
Author(s):  
Kurihara Nanako
Keyword(s):  
Introductory Essay ◽  
Experimental Theatre ◽  
Suzuki Tadashi ◽  
Poetic Texts ◽  
First Time

For the first time in English, we present many of Hijikata's aesthetic and poetic texts. These texts are put into context by Kurihara Nanako's introductory essay. The section includes an interview with Hijikata and a conversation between Hijikata and Japanese experimental theatre innovator Suzuki Tadashi. Hijikata Tatsumi died in 1986, but his impact on Japanese and world performance remains strong. One of the founders of butoh, Hijikata's dances were “blistering images of emaciation and death”, yet beautiful.

Inner Material/Material

2000 ◽  
Vol 44 (1) ◽  
pp. 34-42
Author(s):  
Hijikata Tatsumi
Keyword(s):  
Introductory Essay ◽  
Experimental Theatre ◽  
Suzuki Tadashi ◽  
Poetic Texts ◽  
First Time

For the first time in English, we present many of Hijikata's aesthetic and poetic texts. These texts are put into context by Kurihara Nanako's introductory essay. The section includes an interview with Hijikata and a conversation between Hijikata and Japanese experimental theatre innovator Suzuki Tadashi.

Angura

2018 ◽  
Author(s):  
John D. Swain
Keyword(s):  
Wide Spectrum ◽  
Social Protest ◽  
Art And Politics ◽  
Security Treaty ◽  
Alternate Forms ◽  
1960S And 1970S ◽  
Suzuki Tadashi ◽  
The 1960S ◽  
The Aesthetic ◽  
Terayama Shuji

Angura has been called the most effective fusion of art and politics from Japan’s turbulent years of social protest in the 1960s and 1970s. Angura is the Japanese contraction for the term ‘andaaguraundo engeki,’ or ‘underground theatre.’ Although Japan borrowed the term ‘underground’ from the counterculture movement in the U.S. and England in the 1960s and applied the word to many different aspects of evolving youth culture, the contraction angura refers only to the theatre form. Some scholars conflate ‘angura’ with ‘shōgekijō-undō’ (‘the little theatre movement’), while others argue the two are separate movements within the same stream of counterculture theatre beginning in 1960. The aesthetic genesis of angura was the growing dissatisfaction of Japan’s first post-WWII generation with shingeki. The generation that came of age in the late 1950s and 1960s was hungry for alternate forms of theatrical expression. In the political arena, that same generation was mobilized by opposition to renewals of the Japan/U.S. Security Treaty in 1960 and 1970. Although angura gave highly effective artistic voice to the politics opposing treaty renewal, the fusion of art and politics in angura covers a wide spectrum that includes apolitical authors and directors such as Betsuyaku Minoru (b. 1937) and Terayama Shūji (1935–83). Others at the heart of the angura phenomenon are Kara Jūrō (b. 1940), Suzuki Tadashi (b. 1939), Ōta Shōgo (1939–2007), and Satoh Makoto (b. 1943).

Sign in / Sign up

Export Citation Format

Share Document