Dance and Theatre

Previews, Interviews, and Reviews (yes, and Photos) of Dance and Theatre in Thailand (well, and elsewhere) written by "The Nation" dance and theatre critics
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Wednesday , December 31 , 2008

STEPPING into JAPAN

Posted by dance_and_theatre , Reader : 1445 , 00:43:01 | Category : Dance 2008 Theatre 2008 Bangkok Festivals 2008

Bangkok theatregoers moved to the graceful rhythms of Kabuki this month, then met the modern madness of Butoh. The Japan Foundation Bangkok in co-operation with the National Discovery Museum Institute hosted the “Kabuki Demonstration and Nishiki-e Exhibition” at Museum Siam. And for a few hundred audiences who were quick enough to call the organizers and book their free tickets for the afternoon and evening show, they could watch both. Before the performance, the audience was invited to the museum’s Pipit Plern Room to view the collection of "Nishiki-e", Japanese multi-colour woodblock printing considered to be among the first of their kind in the world. Here, our entry to the world of Kabuki came via vibrant "Yukusha-e" (actor prints) which, dating back to the mid-19^th century, not only show Kabuki actors in full costume but also how and where Kabuki was staged. Some audiences even chose to repeat this gallery visit after watching the demonstration by the lead performers from the National Theatre of Japan. In the Berk Rong Room, "Sambasou", a traditional dance of blessing even older than Noh and Kabuki, fittingly started the performance programme. After the insightful lecture “What is Kabuki?”, an actress showed us how to apply make-up and put on costumes for the character Shizuka Gozen, a character from "Yoshino Yama" ("Mount Yoshino") play. Next, led by two young performers, all audiences had a chance to try some hand gestures of Kabuki. When popular Thai song “Sook Kan Ter Rao” (“Let’s Be Merry”) was piped through the loudspeakers, these gestures travelled across countries and centuries to fit the rhythm perfectly. By the time the audience watched the evening’s highlight--a scene from “Yoshino Yama” (Mt. Yoshino) whose main characters were also depicted in one woodblock--we had already become acquainted to basic theories and practices of Kabuki, enough to appreciate it at our full attention. I came away feeling that this small yet well-curated event was a great example of how to introduce traditional performing arts to a foreign audience--it might be a model for our own national troupes for their trips abroad. Shifting greatly in time from the traditional Japanese to the post-modern, the “4^th International Butoh Festival Thailand 2008” was held at Tadu Contemporary Art under the name of “Butoh Rising” by the country’s sole Butoh company Butoh Co-Op Thailand in collaboration with B-Floor Theatre, whose works have been partly influenced by this Japanese art. Both at the lobby and at the entrance to the gallery were two collections of Butoh photographs by Bangkok-based Finnish and Israeli lensmen Stephan Funke and Boaz Zippor, serving as good introductions to what’s to be performed inside. Often referred to as “dance of darkness,” the four butoh performances staged on December 12 aptly retained the gloomy and mysterious elements of the dance form. However, they have at the same time moved quite a way from what one would expect authentic Butoh to be. The first piece by Spiro-ha Butoh Group “The Totally Unexpected Organ” featured Takayuki Takita covered entirely with white gooey substance and taking each step as if wading through setting cement. Strange got stranger when a model donkey split open to reveal the red make-up-coated figures of Shiyuki Sasano and Totsugu Wakako. They proceeded to march absurdly while playing a trumpet and a tambourine. Performances by the Butoh Co-Op Japan and Bare Bones Butoh, “Demolition of Rainbow” and “Heart/Cored” brought out the dance's livelier side. In the former, Kiyoko Yamamoto and Masato Nakayasu played an almost naked couple who gradually descended into throes of ecstacy. In the latter, Robert Webb stripped off his toga down to only a red thong in his solo performance. Last on stage was “Song of Spring”, a duet with a feminist flavour by Shinonome Butoh’s Yuko Kawamoto and Hayabusa Jet, in which one daringly cast off her underwear and the other manhandled a male mannequin. All performances seemed strangely longer than they really were. Admittedly, the troupes’ attempts to create something different out of a firmly established dance form were admirable, but going too far in doing is simply not the best way, especially perhaps when the performers’ physical skills can still be perfected. Both the schedule of Kabuki demonstration and the Butoh festival coincided with Bangkok Theatre Festival, and yet they were not part of it, and this makes one wonder whether both would have had stronger impact, attracted more audiences, and interacted more with local artists if they had been. Another thought: audiences are now wondering, since our curiosity has been shaken and stirred, when Bangkok will have a chance to welcome either such world-renowned companies as Sankei Juku or the full-scale production of Kabuki by this National Theatre of Japan in our International Festival of Dance and Music. Certainly, the cost will be high, but given the number of Japanese businesses in the country who may be able to lend support, this should not be a pipe dream. written by Jasmine Baker and Pawit Mahasarinand published in The Nation on Monday, December 30, 2008 The Nation photos by Thanis Sudto and Tatchadon Panyaphanitkul Nishiki-e photo courtesy of Japan Foundation Bangkok

Bangkok theatregoers moved to the graceful rhythms of Kabuki this month, then met the modern madness of Butoh.

The Japan Foundation Bangkok in co-operation with the National Discovery Museum Institute hosted the “Kabuki Demonstration and Nishiki-e Exhibition” at Museum Siam. And for a few hundred audiences who were quick enough to call the organizers and book their free tickets for the afternoon and evening show, they could watch both.

Before the performance, the audience was invited to the museum’s Pipit Plern Room to view the collection of "Nishiki-e", Japanese multi-colour woodblock printing considered to be among the first of their kind in the world.

Here, our entry to the world of Kabuki came via vibrant "Yukusha-e" (actor prints) which, dating back to the mid-19^th century, not only show Kabuki actors in full costume but also how and where Kabuki was staged. Some audiences even chose to repeat this gallery visit after watching the demonstration by the lead performers from the National Theatre of Japan.

In the Berk Rong Room, "Sambasou", a traditional dance of blessing even older than Noh and Kabuki, fittingly started the performance programme. After the insightful lecture “What is Kabuki?”, an actress showed us how to apply make-up and put on costumes for the character Shizuka Gozen, a character from "Yoshino Yama" ("Mount Yoshino") play.

Next, led by two young performers, all audiences had a chance to try some hand gestures of Kabuki. When popular Thai song “Sook Kan Ter Rao” (“Let’s Be Merry”) was piped through the loudspeakers, these gestures travelled across countries and centuries to fit the rhythm perfectly.

By the time the audience watched the evening’s highlight--a scene from “Yoshino Yama” (Mt. Yoshino) whose main characters were also depicted in one woodblock--we had already become acquainted to basic theories and practices of Kabuki, enough to appreciate it at our full attention. I came away feeling that this small yet well-curated event was a great example of how to introduce traditional performing arts to a foreign audience--it might be a model for our own national troupes for their trips abroad.

Shifting greatly in time from the traditional Japanese to the post-modern, the “4^th International Butoh Festival Thailand 2008” was held at Tadu Contemporary Art under the name of “Butoh Rising” by the country’s sole Butoh company Butoh Co-Op Thailand in collaboration with B-Floor Theatre, whose works have been partly influenced by this Japanese art. Both at the lobby and at the entrance to the gallery were two collections of Butoh photographs by Bangkok-based Finnish and Israeli lensmen Stephan Funke and Boaz Zippor, serving as good introductions to what’s to be performed inside.

Often referred to as “dance of darkness,” the four butoh performances staged on December 12 aptly retained the gloomy and mysterious elements of the dance form. However, they have at the same time moved quite a way from what one would expect authentic Butoh to be.

The first piece by Spiro-ha Butoh Group “The Totally Unexpected Organ” featured Takayuki Takita covered entirely with white gooey substance and taking each step as if wading through setting cement. Strange got stranger when a model donkey split open to reveal the red make-up-coated figures of Shiyuki Sasano and Totsugu Wakako. They proceeded to march absurdly while playing a trumpet and a tambourine.

Performances by the Butoh Co-Op Japan and Bare Bones Butoh, “Demolition of Rainbow” and “Heart/Cored” brought out the dance's livelier side. In the former, Kiyoko Yamamoto and Masato Nakayasu played an almost naked couple who gradually descended into throes of ecstacy. In the latter, Robert Webb stripped off his toga down to only a red thong in his solo performance.

Last on stage was “Song of Spring”, a duet with a feminist flavour by Shinonome Butoh’s Yuko Kawamoto and Hayabusa Jet, in which one daringly cast off her underwear and the other manhandled a male mannequin. All performances seemed strangely longer than they really were.

Admittedly, the troupes’ attempts to create something different out of a firmly established dance form were admirable, but going too far in doing is simply not the best way, especially perhaps when the performers’ physical skills can still be perfected.

Both the schedule of Kabuki demonstration and the Butoh festival coincided with Bangkok Theatre Festival, and yet they were not part of it, and this makes one wonder whether both would have had stronger impact, attracted more audiences, and interacted more with local artists if they had been.

Another thought: audiences are now wondering, since our curiosity has been shaken and stirred, when Bangkok will have a chance to welcome either such world-renowned companies as Sankei Juku or the full-scale production of Kabuki by this National Theatre of Japan in our International Festival of Dance and Music. Certainly, the cost will be high, but given the number of Japanese businesses in the country who may be able to lend support, this should not be a pipe dream.

written by Jasmine Baker and Pawit Mahasarinand

published in The Nation on Monday, December 30, 2008

The Nation photos by Thanis Sudto and Tatchadon Panyaphanitkul

Nishiki-e photo courtesy of Japan Foundation Bangkok

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