[Vijñānabhairava, Verse 47 / Dhāraṇā 24]
सर्वं देहगतं द्रव्यं वियद्व्याप्तं मृगेक्षणे
विभावयेत्ततस्तस्य भावना सा स्थिरा भवेत्
sarvaṁ dehagataṁ dravyaṁ viyadvyāptaṁ mṛgekṣaṇe
vibhāvayettatastasya bhāvanā sā sthirā bhavet (Lakshmanjoo)
O gazelle-eyed one, (if the aspirant is incapable of śūnyabhāva immediately), let him contemplate over the constituents of his body like bone, flesh, etc. as pervaded with mere vacuity. (After this practice), his bhāvanā (contemplation) of vacuity will become steady, (and at last he will experience the light of consciousness). (Jaideva Singh)
FEEL YOUR SUBSTANCE, BONES, FLESH, BLOOD, SATURATED WITH THE COSMIC ESSENCE. (Paul Reps · Osho)
Yoshito Ohno is now in Munich to give workshops and perform “Flower and Bird–A Letter to My Future Self.” He comes to Bologna and Barcelona afterwards.
●●● in Munich ●●●
March 3-7 Workshop by Yoshito Ohno at Tanztendenz Munchen 18:00- 21:00
March 6 Video Lecture “Butoh Origins” at Ludwig-Maximilians-Universitat 13:00-15:30
March 8-9 Yoshito Ohno’s performance “Flower and Bird–A Letter to My Future Self” at i-camp / Neues Theater Munchen 20:30-
Organized by Meta Theater Munich
●●● in Bologna ●●●
“Butoh: from Kazuo to Yoshito Ohno”
March 11-12 Workshop by Yoshito Ohno at DOM La cupola del pilastro 16:00-19:00
March 14 Exhibition “Kazuo Ohno Archive: work in progress” at DOM 19:00-
March 14-15 Yoshito Ohno’s performance “Flower and Bird–A Letter to My Future Self” at DOM 21:00-
Organized by LAMINARIE
●●● in Barcelona ●●●
March 18-19 Workshop by Yoshito Ohno at Sala Pina Bausch, Mercat de les Flors 10:00-13:00
March 21-22 Yoshito Ohno’s performance “Flower and Bird–A Letter to My Future Self” at Sala Ovidi Montllor, Mercat de les Flors 20:30-
Organized by Mercat de les Flors
出生於1938年的東京。1959年於土方巽的「禁色」中演出少年的角色。之後，參與策劃亞陶館及暗黑舞踏派的公演。1969年，在初次舉辦個人獨舞公演後停止舞台活動。1985年以和大野一雄共演的「死海」重登舞台。86年以後演出大野一雄的全部作品。1998年，以郡司正勝先生的遺稿為基礎，上演自己的獨舞作品「道林‧格雷最後的畫像」。近期作品為「確實的早晨」(2010)、「時之風」(2012)等等。著作有「大野一雄 靈魂食糧」(Film Art出版社)，此書英譯後為衛斯理大學出版部(Wesleyan University Press)所發行「Kazuo Ohno’s World」的一部份。
Yoshito Ohno Flower and Bird – A Letter to my future Self
On this occasion I will dance ‘Divine-sho’, the opening scene from Kazuo Ohno’s Admiring La Argentina. I will dance a piece Hijikata Tatsumi choreographed for me in 1985, a year before his death. This time round, I will dance me – as I am.
Friday, October 4th. 19:30 Saturday, October 5th. 16:00 Sunday, October 6th. 16:00
Directed, choreographed and performed by Yoshito Ohno
Venue: BankART Studio NYK 3F Gallery
Admission: ¥2,500 (in advance); ¥3,000 (on the day)
Yoshito Ohno Born in Tokyo in 1938. Ohno appeared in Hijikata’s Forbidden Colors in 1959 in the role of a young man. He attended the activities of Artaud-kan and Ankoku Buto-ha. After some suspension, he co-performed with his father, Kazuo Ohno in the Dead Sea in 1985. Since 1986, Yoshito had directed all the pieces of Kazuo Ohno. In 1998 he performed “The last portrait of Dorian Gray” based on Gunji Masakatsu’s posthumous work. The recent works include: “A Promising Morning(2010)” and “Time Wind(2012).” He also published “Food for the Soul” (Film Art-sha), which was issued as part of “kazoo ohno’s world” in English by Wesleyan University Press.
It was a privilege being in the audience at Japan Society to see Yoshito Ohno perform his solo “Kuu (Emptiness).” This was a very special part of the biennial New York Butoh Festival that takes place in several venues here throughout October and November. This year’s festival honors the great, seminal butoh master Kazuo Ohno’s 101st birthday. Yoshito Ohno, his son, choreographed this homage to his father who is ill with Alzheimer’s disease. Kazuo Ohno became world famous while in his 70s, and performed well into his 90s. Yoshito, now himself, almost 70, performed and often toured with his father.
The Japan Society, a beautiful gallery/theater, was a wonderful setting for this event. Upon entering the theater, the revealed stage was masked in white. Yoshito stood with his back to the audience just left of center, with head bowed, dressed in a cream-colored suit and slacks. He stood motionless in that pose until all audience members were seated. In fact, he remained motionless throughout the entire Bach fugue that opened the piece. Although Yoshito was in stasis, he seemed to have choreographed the music whose volume was a pathway that fused its way between high sound and low. This was a powerful and invigorating beginning accomplished with no body movement at all. Then to the sound of wind blowing, Yoshito slowly began to dance.
The body of the piece was an exploration of memory. A sentence from the program notes: “I decided on ‘Kuu’ to express my belief that I have been given life by many people, or rather, by everyone around me.” Different sections of the piece rendered different feelings or sensations such as playfulness, wonderment, struggle and reflection. They were delineated by his exiting and reentering, sometimes with a slight costume change or with a new sound or musical accompaniment. The steps and movements themselves were clear and simple. They were executed with a deliberate concentration and tenacity, colored occasionally and surprisingly with an airy jump or ecstatic skitter.
There was a sense of great deference in this piece, which included specific references to works he had performed in the past with his father. Although Yoshito was the sole dancer in “Kuu,” the piece was not a vehicle for Yoshito Ohno, the soloist. Rather, it was clearly about Yoshito in relation to others, and particularly those now absent. He did a remarkably delicate pas de deux with a tissue with great care in tending to this ethereal presence. He folded it into a tiny hat to protect his shaved head. He smiled at it, showed it off lovingly, and even when it disappeared under the wide bottom of his pant leg, he was able to recover it without damage.
Yoshito’s inventiveness enabled him to continue the tradition of sharing the stage with his father. Through the use of slide projection, Yoshito showed the audience stark, realistic photos of the very old and wizened Kazuo sleeping peacefully. Some included Yoshito watching or tenderly caressing his father. And in the final section, he manipulated a small hand held puppet whose white hair and long face bore a resemblance to his father. The puppet was a very delicate little figure with extremely expressive, tiny hands, which the audience was able to see because the duet was simultaneously being projected on a screen above. We were witness to the great gentleness and affection that Yoshito transmitted in his communication with the puppet, thus leaving us with a vivid sensation of vulnerability. The piece came to an end with Yoshito’s tiny utterance of “thank you”–a surprising moment that broke the spell of magical performance. Greeted with bouquets of flowers, his bows were authentic, playful and gracious.
A butoh birthday party for Kazuo Ohno hosted by Japan Society followed the performance. All ticket holders from previous performances in the Ohno series were invited. There were refreshments, balloons, games, music and performers improvising throughout the gallery.