Titlebook: Hijikata Tatsumi and Butoh; Dancing in a Pool of Bruce Baird Book 2012 Bruce Baird 2012 dancing.identity.performance.society

有判断力

书目名称Hijikata Tatsumi and Butoh影响因子(影响力)




书目名称Hijikata Tatsumi and Butoh影响因子(影响力)学科排名




书目名称Hijikata Tatsumi and Butoh网络公开度




书目名称Hijikata Tatsumi and Butoh网络公开度学科排名




书目名称Hijikata Tatsumi and Butoh被引频次




书目名称Hijikata Tatsumi and Butoh被引频次学科排名




书目名称Hijikata Tatsumi and Butoh年度引用




书目名称Hijikata Tatsumi and Butoh年度引用学科排名




书目名称Hijikata Tatsumi and Butoh读者反馈




书目名称Hijikata Tatsumi and Butoh读者反馈学科排名

canvass

失眠症

The Possibility Body: Embodying the Other, Negotiating the World,ijikata switched to performing in Shinjuku Art Village, and then to Asbestos Hall in 1974, after the renovation of his dance studio. Generally, the performances ran for two weeks at a time, every other month. During these six years of performances, Hijikata brought his layering experiments to fruition.

ABIDE

Book 2012ing and serene. Since then, though interest has grown exponentially, and people all over the world are drawn to butoh‘s ability to enact paradox and contradiction, audiences are less knowledgeable about the contributions and innovations of the founder of butoh. Hijikata Tatsumi and Butoh traces the

Watemelon

micturition

My Mother Tied Me on Her Back: ,,x times in succession. In order, they were .), . (.), ., and .. This series of performances marked an early presentation of Hijikata’s attempt to build an entirely new dance vocabulary that could produce new kinds of movements and effects, and encode multiple narratives.

Hallowed

Metaphorical Miscegenation in Memoirs: Hijikata Tatsumi in the Information Age,Yet, I argue that his writings constitute a parallel artistic activity that can color how we look at Hijikata’s other artistic choices. In fact, to read his writings as a simple commentary on his dance would result in overlooking some of Hijikata’s most savvy contributions to the literary world of Japan during the sixties and seventies.

deadlock

Book 2012rollicking history of the creation and initial maturation of butoh, and locates Hijikata‘s performances within the intellectual, cultural, and economic ferment of Japan from the sixties to the eighties.

BRIDE

Hijikata Tatsumi and Butoh978-1-137-01262-3Series ISSN 2947-5767 Series E-ISSN 2947-5775

救护车

Epilogue: The Emaciated Body in the World,d more than thirty dances after .. 1 cannot consider them all, but a look at one of them allows us to see that while many of Hijikata’s concerns continue unabated, the way he approached those concerns had changed drastically since . and had even changed from .