※摘譯自 “Hijikata Tatsumi and Ohno Kazuo" 頁112-4
大野慶人：不起動作的毅力(こんきの いる みしゅっぱつ)
OHNO YOSHITO: THE PATIENCE OF NOT
STARTING (KONKI NO IRU MISHUPPATSU)
In a workshop that Tamah Nakamura took from Ohno Yoshito in Yokohama, Japan in March of 2005, he used the following butoh-fu typical of his father’s approach to teaching. Students may want to write this down as a meditative visualization, and four line haiku, in preparation for the following dance experiences on “The Patience of Not Starting.”
The flower grows
The blossoms die
A bird takes wing nearby
And the wilting flower petals scatter
Yoshito, one of the major dancers of butoh, performed with his father in Japan and on his international tours for many years; he continues to take care of his father and serve his work as a teacher with Kazuo reach-ing his one-hundredth birthday in 2006. Most recently, when Kazuo dances in his wheelchair, Yoshito is nearby to transport him, to accompany and support his father in any way that is needed, and he takes care of him at home with the help of others. In Japan, parents, teachers, and the ancestors, hold a place of respect and honor, as Yoshito’s life reflects. He has mirrored and complemented his father’s dance (in stark contrast sometimes) since his teen years when he began to dance with Hijikata and Kazuo in Kinjiki, the 1959 performance that marked the beginning of butoh.
Yoshito sometimes opens his workshops by showing an interconnected series of three watercolor prints in the book Sotatsu by Yamane Yuzo: 1) a water lily blossoms in a pond; 2) a bird takes flight; 3) water lily petals fall. He explains that butoh is like the poetic process in this painting:
This water lily is a body and this bird is a kind of society.
This is a tense relationship interacting in the air. Sotatsu
painted that tense relationship between the pond and the bird
500 years ago. I think this is a scene of butoh.