The author explores the practices of Polish butō dancers. Underlining the transcultural potential of the genre, she discusses in particular their individual body-mind practices and so-called butō techniques in order to produce a generalised account of butō training. Her argument is underpinned by complex field research which she carried out as an expert observer and a workshop participant. Drawing on a transdisciplinary approach, which combines insights and findings from the fields of cultural and performance studies, cultural anthropology and cognitive sciences, the book depicts the sequence of three phases which make up the processual structure of butō training: intro, following and embodiment.
Author(s): Magdalena Anna Zamorska
Series: Interdisciplinary Studies in Performance Book
Edition: 1
Publisher: Peter Lang GmbH, Internationaler Verlag der Wissenschaften
Year: 2018
Language: English
Pages: 242
Cover
Acknowledgements
Contents
Introduction
1. Butō
Premodern Elements of Butō
Tatsumi Hijikata: The Structure
Kazuo Ōno: Improvisation
Contexts: Dance, Performance Art and Physical Theatre
Transcultural Butō
2. Butō Techniques
Kayo Mikami: Butō as a Way of Producing Neural Networks
Rhizome Lee: Butō as a Path to the Subbody
Toshiharu Kasai: Butō as a Method of Psychosomatic Exploration
Sondra Horton Fraleigh: Butō as an Alchemical Process
Polish Researchers of Butō Techniques
3. Butō in Poland
Paweł Dudziński: The Intuitive Ritual
Conclusion
Justyna Jan-Krukowska: Sensory Sensitisation
Conclusion
Sylwia Hanff: Transcending the Body Code
Conclusion
Krzysztof Jerzak: Peak Experience
Conclusion
The Amareya Theatre: The Body in Crisis
Conclusion
Tomasz Bazan: Body Form Movements
Conclusion
Aleksandra Capiga-Łochowicz: The Archaeology of the Body
Conclusion
TO-EN: The Body Shaped by Matter
Conclusion
Irena Lipińska: Choreographing Improvisation
Conclusion
Katarzyna Żejmo, Iwona Wojnicka, Miho Iwata and Rui Takayuki Ishihara
4. The Body
5. The Training Process
The Intro Phase
Endurance Training
Mindfulness Training
Total Presence
Following
Body memory
Somatosensory Changes
The Object
Embodiment
Butō-fu and Omoi
Ideokinesis
6. Transformation in the Dancer and the Audience
Performative Training
Co-Experiencing
Neurobiological Empathy
Conclusion
Appendix 1: Terms
Appendix 2: Biographical Notes
List of Photographs
Bibliography
Index
