Ohno Yoshito iniciou sua carreira com a obra Kinjiki (Cores proibidas), considerada a primeira performance de butoh, criada por Hijikata Tatsumi, em 1959, de quem se tornou discípulo durante a década de 1960. Posteriormente, tornou-se o principal parceiro de seu pai, Ohno Kazuo, com quem trabalhou por mais de três décadas. Da parceria com os fundadores do butoh surgiu o espetáculo Hana to Tori: mirai no watashi e no tegami (Flor e pássaro: uma carta para meu futuro eu), de 2013, primeira obra solo de Ohno Yoshito após a morte de Ohno Kazuo, em 2010. Assim, a presente pesquisa, ao traçar a trajetória de Ohno Yoshito junto ao desenvolvimento do butoh no Japão, traça um panorama dos anos iniciais que o levaram até a obra Kinjiki, assim como do período em que se estabeleceu o ankoku butoh (dança da escuridão) por Hijikata Tatsumi, fundamental na formação artística de Ohno Yoshito. Em seguida, debruça-se sobre a reconstrução de Admirando La Argentina, obra prima de seu pai, de 1977, refeita por Ohno Yoshito e parte de sua obra Hana To Tori. / Ohno Yoshito began his career with the work \"Kinjiki\" (Forbidden Colors), considered the first butoh performance, created by Hijikata Tatsumi in 1959, of whom he became a disciple during the 1960s. Subsequently, he became the main partner of his father, Ohno Kazuo, with whom he worked for more than three decades. From the partnership with the founders of butoh, the play \"Hana to Tori: mirai no watashi e no tegami\" (Flower and bird: a letter to my future self) of 2013, Ohno Yoshito\'s first solo work after the death of Ohno Kazuo, in 2010. Thus, the present research, tracing Ohno Yoshito\'s trajectory with the development of the butoh in Japan, gives an overview of the initial years that led to the work \"Kinjiki\", as well as the period in which the ankoku butoh (dance of darkness) by Hijikata Tatsumi, fundamental in the artistic training of Ohno Yoshito. He then looks at the reconstruction of \"Admirando La Argentina\", his father\'s masterpiece, 1977, remade by Ohno Yoshito and part of his work \"Hana to Tori\".

Butoh and Surrealism share some common features, three of which are: duality, symbolism and the manipulation of time. This project is an examination of the intersection of these elements and the development of a movement practice using these three, shared focusing lenses of Butoh and Surrealism, culminating in a performance. The methodology of this study sought to generate movement through improvisation and studio exercises based upon a melded Butoh/Surrealist universe developed through applied research in the convergent elements of duality, symbolism and the manipulation of time. The elements that I distilled ultimately informed movement choices shaping a movement offering; a generated example of what could happen when this choreographic process is applied.

This writing discusses the topic of lateness - mortality and how it affects my creative practice regarding the themes of memory and thought, experience and perception, depression and suicide, and their connection to the progression of my artistic work leading to my MFA thesis performance. I refer to my own experiences with clinical depression, anxiety, and suicidal moments to contextualize not only my own work, but also to extend Edward Said’s definition of late style. Establishing an analogy for lateness with hourglass imagery, I begin with the definition of perpetual lateness or late style and cyclical existence within Said’s linear episodes. Within the paper, I explore the impact of repetitious thought on my own issues with verbal and written communication and my creative approaches. Amongst descriptions of artistic influence and process, I express an interest in expressive art therapies, mindfulness, and exploratory meditation through sound. Through redefining late style and timeliness, I associate my processes in sound art with repetition, emanation, separation, isolation and their influential origins. I use the discussion of the progression of my sound art to inform how I arrive at the concepts for my thesis performance of The Human Reliquary, including the construction of experimental wearable instrumentation, costuming, and exploring butoh styles of improvisational movements.

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L'intuition de la présence du métissage dans la création du corps scénique de notre pratique est à l'origine de cette recherche. C'est donc plongée dans une réflexion sur ce concept que nous avons entrepris l'étude du corps scénique de notre pratique et l'observation de celui des pratiques de Tatsumi Hijikata, de Matthew Barney et de Björk. Cette étude du corps scénique selon la perspective du métissage a fait apparaître une notion centrale pour notre recherche: le corps pluriel scénique. Nous avons émis l'hypothèse que ce corps puisse fonctionner selon les principes d'une dynamique particulière du métissage. Notre recherche s'est orientée vers l'identification de la présence et du fonctionnement de cette dynamique du métissage dans le corps pluriel scénique. L'analyse du corps pluriel scénique de deux créations auxquelles nous avons participé et son articulation avec les autres pratiques étudiées ont mis en lumière les notions opérant dans la construction du corps pluriel scénique: la rencontre, l'assemblage maladroit, la transformation et l'ouverture du sens. Investie de ces notions de la dynamique du métissage, nous nous sommes replongée dans la pratique pour créer La noyée aux hirondelles -petits paysages sous la peau. Cette deuxième immersion dans la création a donné naissance à une nouvelle théorisation qui a nuancé les notions opératoires identifiées lors de nos précédentes analyses et a mis en évidence de nouvelles notions. Le spectacle a notamment fait ressortir les notions de mise en doute, de monstruosité et d'« inquiétante étrangeté » (Freud, 1985, p. 209), comme éléments opérant dans la dynamique du métissage. De plus, la création de ce nouveau spectacle fut une étape naturelle dans le maintien de la posture de praticien réflexif que nous adoptons dans la recherche. La création du spectacle « La noyée aux hirondelles... » jumelée à notre réflexion théorique nous permet de constater que le corps pluriel scénique émerge lorsque le corps sur scène est mis hors contexte. Cette mise à l'écart du corps face à la norme est atteinte à travers des activités qui mettent le corps scénique en doute: la rencontre, l'assemblage maladroit (avec sa part de monstruosité) et l'ouverture du sens (avec sa part d'« inquiétante étrangeté »). Le corps ainsi déstabilisé peut alors entrer dans le processus de transformation nécessaire à son émergence plurielle sur scène. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Corps scénique, Métissage, Théâtre, Butô, Imaginaire, Transformation.

Submitted by Diana Alves (ppgdancaufba.adm@gmail.com) on 2013-06-18T12:10:54Z No. of bitstreams: 1 Dissertação- 01-04-2013-PDF COM IMAGENS (1).pdf: 1608877 bytes, checksum: f71f67d6261b89956f2bc3242ccf7d7e (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-06-18T19:44:00Z (GMT) No. of bitstreams: 1 Dissertação- 01-04-2013-PDF COM IMAGENS (1).pdf: 1608877 bytes, checksum: f71f67d6261b89956f2bc3242ccf7d7e (MD5) / Made available in DSpace on 2013-06-18T19:44:00Z (GMT). No. of bitstreams: 1 Dissertação- 01-04-2013-PDF COM IMAGENS (1).pdf: 1608877 bytes, checksum: f71f67d6261b89956f2bc3242ccf7d7e (MD5) / FAPESB / Esta dissertação pretende estabelecer uma ponte flutuante para dar início a uma viajem com trânsitos, deslocamentos, migrações que exploram as misturas entre campos de conhecimento, entre linguagens, entre textos, entre danças. Este estudo tratará as danças e os corpos que dançam como objetos flutuantes percebendo-os a partir de seu movimento ondulatório, em constante vibração, propagação, perturbação, mistura e dissipação. Elegendo como foco da investigação os estados de contaminação, optamos por um diálogo-correspondência, com dois artistas japoneses, que em seus percursos de vida, deixam marcas de seus passos no Brasil, Takao Kusuno (1945-2001) e Tadashi Endo (1947). Escavando o corpo do artista da dança, atraídos pelo Ankoku Butoh como alvo de indagações, experimentações e criações. Entendendo a Dança do Butoh na linha de fuga deleuzeana (DELEUZE, 1996), de sua filosofia tomamos a visão rizomática e desvios. Os temas que abordaremos partem da reflexão relativa aos processos de mestiçagem da cultura nos valendo das ideias do filósofo Michel Serres (SERRES,1993). Mestiçagem que acreditamos ocorrer no corpo do artista que entra em contato com uma dança que não conhece, passando a confrontar-se com processos de desestabilização, de atualização e incorporação da informação estrangeira. Segundo a visão da Teoria Geral de Sistemas e de acordo com Jorge de Albuquerque Vieira, todos os sistemas do universo evoluem num estado de contínua flutuação. Estas flutuações se dão por meio de crises e perturbações em etapas sucessivas tal qual na noção de auto organização sistêmica de Ilya Prigogine (PRIGOGINE & STENGERS, 1984, ) que trata da ordem a partir das flutuações, desvios que implicam em sequências de instabilidades. Nos aproveitamos do intercruzamento da dança com as ciências cognitivas com o conceito de mediação do corpo mídia (Greiner & Katz, 2001) dos fluxos de informação, observamos os processos de ‘’embodiment/corporalização’’ (Queiroz, 2004, 2009) e investigamos a capacidade de um sistema (butoh), produzir efeitos e criar condições, para que estes efeitos se estabilizem e inventem novas configurações. Neste estudo propusemos uma pesquisa de campo intitulada Experiências Flutuantes do Butoh (Brasil-Peru). As experiências se entrecruzam com a elaboração da dissertação tornando-se uma ‘’zona de flutuação’’ onde investigamos como as informações se propagam, modificam, passam por adaptações, se estabelecem de imediato em novas soluções ou ocorrem em etapas crísicas, como sugere o conceito do Evolon (MENDE, apud VIEIRA, 2007) e corpo crise (Greiner, 2010). Nesta escrita-dança–crise experimentamos os processos de mestiçagem no corpo do artista que dança afetado pelo butoh, constituindo explorações em campos interdisciplinares. / PROGRAMA DE PÓS GRADUAÇÃO EM DANÇA- ESCOLA DE DANÇA

This interdisciplinary practice-based thesis interrogates the term ‘operatic’ with particular reference to movement. It thereby aims to extract operatic movement from the practice of opera singers and investigate ways to transfer ‘operaticness’ into the bodies of non-singing performers. The research uses Butoh as a model for a non-foundational movement practice (termed herein ‘Body Opera’) and embodiment techniques derived from Butoh, to achieve this transfer of kinaesthetic information. The research was undertaken in part through interviews with opera singers and close observation of opera singers in rehearsal and performance. This process also included the making of sketches of singers in movement, which are included in the thesis and which are regarded as kinaesthetic responses to what was observed. Combining the sketches with embodiment techniques that unlock the movement they contain, the gap between the spectatorial position and the performance maker position is bridged and movement-based practice is created and presented as a component of the thesis, in dialogue with the written component. Furthermore, the spectatorial and researcher positionality are recognised as that of an ‘opera queen’ and this position participates in facilitating the transfer of operaticness from singers to non-singing performers. Operatic movement is identified as that which occurs as a result of the physical restrictions of singing operatically and through the negotiation of those restrictions with the need to convey plot and character, giving rise to non-naturalistic or artificial way of moving. This emphasis on artificiality is theorised as an operatic sensibility akin to queerness. The thesis examines opera through the lens of postmodernism and in particular through a queer theoretical framework. The research analogously applies Butler’s poststructuralist theories concerning performative gender construction to opera and in doing so suggests a reading of opera as potentially queer, gender fluid, subversive and non-normative. This position challenges notions of opera as elitist and pro-establishment. The thesis posits that the operatic is an emergent property that occurs at the intersection of creative practices in opera and which is embodied by singers in performance. The thesis also posits that kinaesthetic empathy provides an explanation for how the operatic is communicated between singers and further suggests that the opera queen is similarly subject to a form of kinaesthetic empathy when listening to opera. The thesis makes a contribution to knowledge through revealing ways in which spectatorial and performance maker positions may be bridged, as well as through suggesting practical ways in which non-singing performers might approach the task of moving operatically. The research therefore contributes to movement practice, but also to opera studies by interrogating the subject of opera from a kinaesthetic perspective that centralises the body and experience of singers in order to understand the art form.

ABSTRACT This study investigates performer training in ankoku buto dance, focusing specifically on the methods of Japanese avant-garde artist Hijikata Tatsumi, who is considered the co-founder and intellectual force behind this form. The goal of this study is to articulate the buto dancers preparation and practice under his direction. Clarifying Hijikata's embodied philosophy offers valuable scholarship to the ongoing buto studies dialogue, and further, will be useful in applying buto methods to other modes of performer training. Ultimately, my plan is to use the findings of this study in combination with research in other body-based performance training techniques to articulate the pathway by which a performer becomes empty, or nothing, and what that state makes possible in performance. In an effort to investigate the historically-situated and culturally-specific perspective of the body that informed the development of ankoku buto dance, I am employing frameworks provided by Japanese scholars who figure prominently in the zeitgeist of 1950s and 1960s Japan. Among them are Nishida Kitaro, founder of the Kyoto School, noted for introducing and developing phenomenology in Japan, and Yuasa Yasuo, noted particularly for his study of ki energy. Both thinkers address the body from an experiential perspective, and explore the development of consciousness through bodily sensation. My research draws from personal interviews I conducted with Hijikatas dancers, as well as essays, performance videos and films, and Hijikata's choreographic notebooks. I also track my own embodied understanding of buto, through practicing with these various teachers and using buto methods to teach and create performance work. / Dance

Asian-American dance study is an integration of dance studies and Asian-American studies. The existence of social and political stereotypes on Asian-American dancers often categorizes them into an oriental labeling. The labeling of Asian-American dancers based on their ethnicity and their culture’s history in the United States and not considering the artists’ intent and the nature of their works cause this orientalism bias. Due to lack of researches in the past, older generations of Asian-American dancers in the United States fell victim to this oriental labeling. Anything that the public did not seem to understand often led them to believe what they were seeing was foreign. It is not about the issue of racism that this study intends to bring, but rather this study will focus on the Asian-American dancers’ place of belonging in the American society. Eiko & Koma, two renown Asian-American dancers, have an extensive performance career throughout their lives traveling from Japan to Europe in the early 1970s and eventually settling down in the United States in 1976. Eiko & Koma witnessed through the social, economic, and political changes in the United States from the mid-1970s to present. This research will focus on the perceptions on Asian-American dancers by the American society both in the past and the present and address the issues that revolve around them primarily through the works of Eiko & Koma and their career history. / Dance

Made available in DSpace on 2016-12-08T16:52:02Z (GMT). No. of bitstreams: 1 123401.pdf: 39874112 bytes, checksum: 68f4c2d81b5a8d653cafe41e27912d69 (MD5) Previous issue date: 2015-03-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / When I took interest in Butoh and wanted to know more about the subject, I soon realized that answers like what is Butoh or how does one dance Butoh? were not given to me. Still, I´ve been cultivating for a few years the research and practice of Butoh. Between approximations and questionings, I realized that my interest resided in this disturbance of wanting to know and the kind of relationship made possible by the choice of not saying, not showing, not revealing, etc. Something that doesn´t configure any egoism but, on the opposite, makes the artist responsible for his own desire of creation. Through the interest towards this figure of the other that accompanies and shares a search process, I report some experiences from the creative process of DNA de DAN, dance/instalation performance created with the artist Maikon K, in 2013, through the award Prêmio Funarte Petrobrás de Dança Klauss Vianna/2012, in which I was a body coach and director of movement. In this course I have experienced what can be this position of the other who listens, punctuates, suggests, argues and proposes questions. The theoretical reflections and the themes approached by this work are thoughts that the practice produced like, for instance, the ideas of self cultivation by Michel Foucault and the spiritual exercises by Pierre Hadot. All those questions contribute to the thought of an ethics of the artistic doings. / Quando me interessei pelo Butoh e desejei saber mais sobre o assunto, logo percebi que as respostas como o que é Butoh? ou como se dança Butoh? não me eram dadas. Ainda assim, por alguns anos cultivo a pesquisa e a prática do Butoh. Entre aproximações e questionamentos percebi que meu interesse residia nessa perturbação de querer saber e no tipo de relação possibilitada pela escolha do não-dizer, não mostrar, não revelar, etc. Algo que não configura qualquer egoísmo, mas que torna o artista responsável pelo seu desejo de criação. Através do interesse por essa figura do outro que acompanha e compartilha um processo de busca, relato experiências no processo criativo de DNA de DAN, performance de dança/instalação criada com o artista Maikon K, em 2013, através do Prêmio Funarte Petrobrás de Dança Klauss Vianna/2012, na qual fui preparadora corporal e orientadora de movimento. Nesse percurso vivenciei o que pode ser essa posição de outro que ouve, pontua, sugere, discute e lança questões. As reflexões teóricas e as temáticas abordadas neste trabalho são apontamentos que a prática produziu, como, por exemplo, as ideias de cultivo de si de Michel Foucault e os exercícios espirituais de Pierre Hadot. Questões essas que contribuem para pensar uma ética do fazer artístico