北野恵子振付の見直し (2011)

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モダンダンスのファンに、現代的な振り付けは、他の美術と同じくらい深く話すことができるという考えは新しいものではありません。しかし、運動·アズ·テキストの力に慣れていないものに、次のレビューでは、我々の現実の性質について深く有意義な思考を誘発するために振付恵子北野の能力を話す。たまに、未回答の質問は、自分の真実を話す…

To fans of modern dance, the idea that choreography can speak as profoundly as any other fine art is not new. But to those unfamiliar with the power of movement-as-text, the following review speaks to the ability of choreographer Keiko Kitano to provoke deep and meaningful thought about the nature of our Reality. Sometimes, unanswered questions speak their own truth.

“Dai Don Den 3” – Green Tea Collective Review
The Dance Current Magazine: March 2011

“…Keiko Kitano’s Apoptosis was also ambitious conceptually but quite striking in its bleak discussion of the Japanese suicide tradition. It starts with a chair, Kitano standing on it and gazing up into the light as if facing something huge. To discordant violin music by Rick Thomson, Kitano moves to and from the void, attracted and repelled. A very large man in a dark suit (Daniel Schnee) enters, lifts Kitano up and places her centre stage then sits himself down in the chair to watch. As she circles backwards, he blows into a soprano saxophone, whispers to her through cupped hands and rhythmically slaps his thighs. Is he a puppet-master to her puppet? Devil to her human being on the edge? Black and white projections (by Don Sinclair) play against the huge back wall – in a stepping effect, echoing Kitano’s moving body. Schnee then stands behind Kitano in a more traditional configuration as she kneels frowning. He plays on a Japanese flute. As fireworks explode on the screen behind them, Kitano rises in time with the booms and Schnee wields the flute as if it were a sword poised to fall. The term “apoptosis” refers to programmed cell death and its process of “suicide”. This work grimly ponders what is a natural biological activity and applies it to the individual and social configurations of Japanese culture.”

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