{"id":7513,"date":"2018-10-26T10:05:17","date_gmt":"2018-10-26T08:05:17","guid":{"rendered":"http:\/\/www.metropolis.dk\/?p=7513\/"},"modified":"2018-10-29T11:04:20","modified_gmt":"2018-10-29T10:04:20","slug":"japan-paa-scenen","status":"publish","type":"post","link":"https:\/\/www.metropolis.dk\/en\/japan-paa-scenen\/","title":{"rendered":"JAPAN P\u00c5 SCENEN 1983\/84 & 1990"},"content":{"rendered":"

[vc_row][vc_column width=”1\/2″]<\/p>\n

Japan p\u00e5 Scenen 1983\/84<\/span><\/h5>\n

Det l\u00e5 i luften, denne fornemmelse af at der skete noget helt unikt p\u00e5 den japanske scene. Ariadone og Kazuo Ohno i Fools 3 (se forside foto) havde med butoh-dansen \u00e5bnet for noget, der m\u00e5tte unders\u00f8ges n\u00e6rmere, ikke kun de moderne teater og danseformer, men ogs\u00e5 de klassiske genrer, som de unge japanske kunstnere enten byggede videre p\u00e5, eller tog afstand fra, men under alle omst\u00e6ndigheder forholdt sig til. Nationalmuseets Japan Udstilling i Brede var en oplagt mulighed for ogs\u00e5 at inddrage landets scenekunst.<\/p>\n

 <\/p>\n

Japan p\u00e5 Scenen var s\u00e5ledes et ambiti\u00f8st fors\u00f8g p\u00e5 for f\u00f8rste gang i Skandinavien at formidle Japans scenekunst. Nogle af g\u00e6stespillene blev pr\u00e6senteret som en del af Fools 3 <\/a>\u2013 andre som enkeltst\u00e5ende g\u00e6stespil. Ogs\u00e5 \u00f8konomisk var det en meget stor satsning fra KITs side. Ikke alle g\u00e6stespil blev afsluttet som planlagt i 1983, men fortsatte ind i \u201884, n\u00e5r de n\u00f8dvendige \u00f8konomiske midler blev fundet.<\/p>\n

 <\/p>\n

Programmet sp\u00e6ndte fra det klassiske Noh-teater til avantgardens butohdans, og der imellem l\u00e5 musik, moderne teater og dans, gammel fort\u00e6llekunst og japansk-amerikansk postmodernisme. Forarbejdet var grundigt (herunder udgivelse af et fyldigt program, der blev revet v\u00e6k (det var dengang!)) og blev honoreret af s\u00e5vel publikum, hvis interesse var langt st\u00f8rre end forventet, og pressen og DR TV, som gav projektet en forrygende medied\u00e6kning.<\/p>\n

Kanazawa No Gaku Society 80-mand store Noh-trup, heraf 40 skuespillere, dansere og musikere og kor p\u00e5 scenen, indf\u00f8rte danskerne i det 500 \u00e5r gamle, rituelle Noh-teater og dets mere l\u00f8sslupne satiriske Kyo-Gen-stykker.<\/p>\n

 <\/p>\n

G\u00e6stespillet fandt sted i Mercur Teatret. I samme teater fulgte nogle dage efter Tatsumi Hijikata, butoh-dansens grundl\u00e6gger, med en sk\u00e5nselsl\u00f8s forestilling, danset af Ashikawa Yoko, og med et lydniveau, der fik teatrets lydanl\u00e6g til at bryde sammen. Det gjorde den ene halvdel af publikum ogs\u00e5, mens den anden var tryllebundet. Den japanske avantgarde var repr\u00e6senteret med dels
\nYoshiko Chuma og dels Kei Takei \u2013 begge bosiddende i New York.<\/p>\n

Shusaku Dormus Era var en ny landvinding for det surrealistiske japanskeurop\u00e6iske danseteater med tydelige aner bagud til de klassiske teaterformer.<\/p>\n

\"\"<\/a>

SHUSAKU DORMU DANCE THEATRE<\/em><\/p><\/div>\n

 <\/p>\n

Og Kodo-trommerne buldrede for f\u00f8rste gang ind p\u00e5 en dansk scene \u2013 med ekstra forestilling til f\u00f8lge, udsolgt p\u00e5 to timer. Musikken forplantede sig til kroppen p\u00e5 en m\u00e5de, der sikrede gruppen dens mytiske status.<\/p>\n

Endelig lagde Grundtvig hus til et us\u00e6dvanligt m\u00f8de med Yoshi Oida, allerede dengang Peter Brooks virtuose skuespiller, hvor han med udgangspunkt i Zenmestrene stiller sp\u00f8rgsm\u00e5l til publikum om teaterarbejdets filosofiske aspekter. Poesi, dialektik \u2013 og undring over livet i eet.<\/p>\n

 <\/p>\n

Japan p\u00e5 Scenen 1990<\/span><\/h5>\n

Tre s\u00e6rpr\u00e6gede japanske g\u00e6stespil i 1990 viste nye sider af den japanske scenekunst: avantgarde-teatret Ban\u2019Yu-Inryoku, japansk i sin surreelle tilgang
\ntil stoffet, men med sit h\u00f8je tempo og sin sceniske fantasi meget uligt tidligere g\u00e6stespil, trak fulde huse i Kanonhallen.<\/p>\n

 <\/p>\n

Youkiza \u2013 Japans \u00e6ldste og fornemste marionetteater, der er g\u00e5et i arv i samme familie siden 1664 \u2013 viste en uforglemmelig Macbeth, men det er sv\u00e6rt at tr\u00e6kke publikum til marionetteater \u2013 selv til det mest geniale. Men de, der var der, forstod hvert eneste japanske ord! Endelig vovede Yuki-Yuki-Te pelsen med et samarbejde mellem en Noh-skuespiller og en butoh-danser.<\/p>\n

 <\/p>\n

Finansiering og samarbejdspartnere<\/span><\/h5>\n

Projektet Japan p\u00e5 Scenen 1983 blev tilrettelagt i samarbejde med Nationalmuseets Etnografiske Afd. og Japan Udstilling i Brede, Den Japanske Ambassade, Extra European og Arts Committee.<\/p>\n

Japan Foundation ydede st\u00f8tte til Hijikata-truppen. Samme Foundation st\u00f8ttede Japan p\u00e5 Scenen \u201890 som led i et st\u00f8rre projekt \u201cJapan in Scandinavia\u201d. De lokale samarbejdspartnere var: Hvidovre Teater (1983), Albertslundhuset, Kanonhallen og Dance Lab.<\/p>\n

____________________________________<\/p>\n

\u201cOg det giver een den store og forunderlige oplevelse af krop \u2013 n\u00e5r man kommer ud fra teatret, ser man pludselig p\u00e5 en ny m\u00e5de. Man ser b\u00e5de andres bev\u00e6gelser og ens egne som en ny og fantastisk udtryksfuld form for v\u00e6kst og forvandling.\u201d<\/i>
\nPoul Borum, Ekstra Bladet (Om Shukaku Dormu)<\/p>\n

 <\/p>\n

\u201cDet mest forbl\u00f8ffende er egentlig, at iscenes\u00e6tteren Makoto Sato aldrig bruger marionetterne som et m\u00e5l i sig selv. Den m\u00e5de, dukkerne i deres snore kan forklare v\u00e6sentlige sider af Shakespeares kulsorte sk\u00e6bnetyngede drama, n\u00e6rmer sig det geniale…\u201d<\/i>
\nBirthe Johansen, Politiken (Om Yokiza)<\/p>\n

 <\/p>\n

\u201cEn dybt original forestilling, skr\u00e6mmende makaber i sine sk\u00e5nselsl\u00f8st fysiske forfalds-symptomatiske udtryk … hvor Yoko har en helt pinagtigt intens udtryksstyrke.\u201d<\/i>
\nHenning J\u00f8rgensen, Information (Om Tatsumi Hijikata)<\/p>\n

 <\/p>\n

\u201cEn oplevelse b\u00e5ret af mytens og ritualets kraft … jo, vi blev omsluttet af Kodo som af en blomst, hvis botanik vi ikke kender, men alligevel bed\u00f8ves af.\u201d<\/i>
\nEbbe M\u00f8rk, Politiken (Om Kodo)
\n
\n<\/i><\/p>\n

\u201cDisse fysisk helt lammende dygtige japanere form\u00e5r at skabe det grusomhedens sk\u00f8nne teater, som en franskmand engang dr\u00f8mte om…\u201d<\/i>
\nBent Mohn, Politiken (Om Ban\u2019Yu-Indryouku)<\/p>\n

[\/vc_column][vc_column width=”1\/2″]<\/span><\/p>\n

Japan p\u00e5 scenen 83\/84<\/span>
\nsom led i Fools 4 (1983)<\/span>
\n<\/span><\/strong><\/h5>\n

SHUSAKU DORMU DANCE THEATRE<\/span>
\n<\/b>Era
\nKOR. Shusaku Takeuchi
\nASS. Terence Roe
\nMUSIKERE Gerard Stokking, Leo Lankhuijzen m.fl.
\nFolketeatret, 7. 8 . 9. & 10. juli\"\"<\/a><\/p>\n

 <\/p>\n

CHUMA, YOSHIKO<\/span><\/strong>
\nPicca don
\nSoloperformance
\nSaltlageret, 15. & 16. juli
\n5 Car Pile Up
\nMEDV. 25 workshop-deltagere
\nSaltlageret & N\u00f8rreport station, 17. juli<\/p>\n

 <\/p>\n

KANAZAWA NO GAKU SOCIETY<\/span>
\n<\/b>6 Noh & Kyo-Gen dramaer<\/span>
\nMEDV. 40 skuespillere,<\/span>
\ndansere, musikere og kor<\/span>
\nMercur Teatret, 29. & 30. maj 1983<\/span><\/p>\n

 <\/p>\n

NAGATOSHI, SAGAMENTO<\/span><\/strong>
\nTosagenji
\nSoloforestilling
\nISC. Sagamento Nagatoshi
\nNationalmuseets teater, 17. 18. 19. & 20. august 1983 & Japan Udstillingen i Brede<\/p>\n

 <\/p>\n

KEI TAKEI\u2019S MOVING EARTH<\/span>
\n<\/b>Light
\nKOR. Kei Takei
\nHvidovre Medborgerhus, 27. 28. 29. & 30. maj 1983<\/p>\n

 <\/p>\n

KODO<\/span><\/strong>
\nDemon Drummers
\nSlagt\u00f8js- og dansegruppe
\nBellevue Teatret, 25. 26. & 27. april 1984
\nHvidovre Medborgerhus
\nEkstra forestilling 28. april (Optaget af DR)<\/p>\n

 <\/p>\n

OIDA, YOSHI<\/span><\/strong>
\nInterrogations
\nSoloforestilling
\nMUSIKER Kim Menzer
\nGrundtvigs Hus, Studiestr\u00e6de, 14. & 17. august 1983<\/p>\n

 <\/p>\n

HIJIKATA TATSUMI BUTOH KOMPAGNI<\/span>
\n<\/b>Nippon no chibusa
\nKOR. Hijikata Tatsumi
\nMEDV. Ashikawa Yoko, Kokayashi Saga
\nMercur Teatret, 16. & 17. juni<\/span>
\n\"\"<\/a><\/b><\/p>\n

 <\/p>\n

WORKSHOPS<\/span>
\n<\/b>Shusaku Takeuchi: Danseteater, Workshop forestilling i Lorry 16. juli<\/span>
\nYoshiko Chuma: New Wave dans, Yoshi Oida: Mime, stemmekontrol, Kei Takei: <\/span>
\nPerformance-teknikker<\/span><\/p>\n

 <\/p>\n

Japan p\u00e5 scenen<\/span>
\n 28. sept. 18. oktober<\/span>
\n<\/span><\/h5>\n

BAN\u2019YU-INRYOUKU<\/strong><\/span>
\nDirections to servants
\nAF Jonathan Swift
\nMEDV. 25 performere
\nKanonhallen, 16. 17. & 18. oktober<\/p>\n

 <\/p>\n

YUKI-YUKI-TE<\/span><\/strong>
\nNoh og Butoh
\nISC. Takehito Shimazu
\nMUSIK Takehito Shimazu
\nDen Bl\u00e5 Hal\/ B&W, 3. & 4. oktober<\/p>\n

 <\/p>\n

YOUKIZA<\/span><\/strong>
\nMacbeth
\nMarionetteater
\nISC. Magosabura (den 11. leder siden 1664)
\nAlbertslundhuset, 28. & 29. september<\/p>\n

[\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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