Butoh and Suzuki Performance in Australia : Bent Legs on Strange Grounds, 1982-2023 /
In Butoh and Suzuki Performance in Australia: Bent Legs on Strange Grounds, 1982-2023 , Marshall considers how the originally Japanese forms of butoh dance and Suzuki's theatre reconfigure historical lineages to find ancient yet transcultural ancestors within Australia and beyond. Marshall argu...
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Format: eBook
Language: English
Published:
Leiden ; Boston :
Brill,
2025.
Series:
Australian Playwrights ;
20.
Literature and Cultural Studies E-Books Online, Collection 2025.
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Call Number: N7480
Table of Contents:
- Acknowlegements
- List of Figures
- 1 Bodies Possessed by History: an Introduction to Butoh and Suzuki
- 1 Introduction
- 2 Butoh, Suzuki and the Move to Australia
- 3 Primal Scenes of Butoh Encounter
- 4 What is Butoh?
- 5 Suzuki Technique and the Way of Stomping
- 6 Lineages of Descent Ancient and Modern in Butoh and Suzuki
- 7 Butoh and Suzuki Technique in Other National Contexts
- 8 Criticism and Reception of Japanese Performance in Australia
- 9 Emptiness and Possession
- 10 Primary Sources and Thick Description
- 11 Overview and Book Structure
- 2 Butoh and the Australian Context: Dancing the Landscape While Dancing Global Relations
- 1 Introduction
- 2 Consolidation in Japan and Movement to Australia
- 3 Tanaka's "Map of History through Dancing" in the Contested Lands of Australia
- 4 Corpus Nullius: Moving beyond the Emptiness of the Butoh Body
- 5 Expressive Japanese Performance as a Counter to the Postmodern "Performance of Absence"
- 6 Bodies in Opposition to the Australian Legend: Butoh, Suzuki and Grotowski
- 7 Troubled Relations between Australia and Asia Prior to the Japan Theatre Boom
- 8 The Japanese Theatrical Boom in Australia, 1982-1994
- 3 De Quincey Takes Body Weather Inland: Lake Mungo and Alice Springs
- 1 Introduction
- 2 De Quincey's Butoh Encounter and Position Within Australian Dance
- 3 Tanaka Min and Body Weather
- 4 De Quincey's Development from Postwar Britain to Australia
- 5 De Quincey's First Solos in Australia
- 6 Body Weather as an Uncanny Project: Tracing an "Interactive History of the Senses" on Australia's Colonised Lands
- 7 De Quincey's Lake Mungo Workshops, 1991-92, and beyond
- 8 Lake Mungo Performance Works and on to Alice Springs
- 9 Triple Alice, 1999-2001
- 10 Triple Alice Performances and Dictionary of Atmospheres (2005)
- 4 Body Weather Comes Back from the Desert: De Quincey's Urban Works, the Hysterical Body, and Other Body Weather Performers in Australia
- 1 Introduction
- 2 De Quincey's Urban and Industrial Site-Specific Works: Compression 100 (1996), City to City (2000), The Stirring (2007), Run (2009)
- 3 A Masterpiece of Hysterio-Choreography: Nerve 9 (2001-05)
- 4 Other Bodyweather Artists in Australia
- 5 Heywood and Humanimal Body Weather
- 6 European Tanztheater Meets Australian Body Weather: Martin Del Amo
- 7 Post-Colonial Butoh and Rejecting the Empty Body: Gretel Taylor
- 8 Evidence of Bodily Emergences
- 9 Fragmented and Dialectical Bodies
- 5 Diasporic Austral-Asian Fusions 1: Early Works by Umiumare and Yap
- 1 Introduction
- 2 Umiumare's and Yap's Butoh Encounters
- 3 Umiumare and Yap within the Context Butoh
- 4 Maro and Dairakudakan
- 5 Umiumare: From Regional Japan to Urban Australia
- 5 Tony Ding Chai Yap: From Melakan Trance to Australian Physical Theatre
- 6 Theatre of Sacrifice and Redemption: Yap in IRAA, 1988-94
- 7 Mixed Company and Tony Yap Company, 1993-Present
- 8 Umiumare and Yap in Love Suicides (1998), Miss Tanaka (2001), and Meat Party (2000)
- 9 Kagome (1996-98)
- 10 Sunrise at Midnight (2001): a Sequel to De Quincey's Mungo Workshops
- 11 Duets by Umiumare and Yap: How Could You Even Begin to Understand? (1996-2007), In-Compatibility (2003) and Zero Zero (2010-14)
- 12 Umiumare's Fleeting Moments (1998)
- 13 Yap's Decay of the Angel (1999)
- 14 Conclusion
- 6 Diasporic Austral-Asian Fusions 2: Yap's Trance Dance and Umiumare's Butoh Cabaret, Character Dances and First Nations Collaborations
- 1 Introduction
- 2 Butoh Cabaret and Hystericised Character Dances: Umiumare's DasSHOKU Series (1999-2015) and Entrance (2009-12)
- 3 Umiumare's First Nations Collaborations: Marrugeku's Burning Daylight (2006-09) and Big Hart's Ngapartji Ngapartji (2007-12)
- 4 Yap and Trance Dance; Umiumare and Jujutsu
- 5 Yap's Eulogy for the Living (2009-17), Rasa Sayang (2010), and Liminal City (2021-22)
- 6 A Trance Dance Masterpiece: Yap's Animal/God: the Great Square (2021)
- 7 Conclusion: Yap's Map Fest (2008-Present) and Umiumare's ButohOUT! (2017-Present)
- 7 Stomping Downunder: Suzuki and Frank Theatre
- 1 Introduction
- 2 Carroll's and Nobbs' Encounters with Suzuki
- 3 Suzuki Tadashi in Japan and Australia
- 4 The Australian Production of Chronicle of Macbeth (1992)
- 5 Foundation of Frank Theatre
- 6 Larrikin Orientalism: Frank Theatre's Early Works
- 7 Universalism, Localism and Racial Hierarchies
- 8 Nobbs Suzuki Praxis (NSP)
- 9 Butoh Incursions, the Hysterical Body, and Emptiness
- 10 Frank's Doll Seventeen (2002-03)
- 11 Conclusion: the Way Forward is Mixed
- 8 Butoh in the Southern Tropics: Zen Zen Zo and Associates
- 1 Introduction
- 2 Bradley's and Woods' Encounters with Japanese Performance
- 3 Zen Zen Zo's Foundation and the Development of Its Aesthetic, 1992-98
- 4 Zen Zen Zo's Early Work and Brisbane Physical Theatre
- 5 Zen Zen Zo, Frank and Reworking Japanese Aesthetics
- 6 Zen Zen Zo's Early Butoh Productions and Butoh Choruses
- 7 Fusing Butoh with Suzuki: Zen Zen Zo's Cult of Dionysus (1994-96)
- 8 Frances Barbe's Tōhoku Australis
- 9 Butoh Diffusions
- 9 Conclusion: Two Closing Scenes from Australian Adaptations of Butoh and Suzuki
- 1 NYID S the Dispossessed (2008) and Hunt's Copper Promises (2016)
- Bibliography
- Index.