分類: 活動訊息

大野慶人  「花與鳥─給未來自己的一封信」

這回我將表演大野一雄《阿根廷娜頌》上半場的首幕作品《ディヴィーヌ抄》(Divine-sho)。演出土方巽於1985年，他逝世的前一年，指導我的作品。這一次，

我所舞的是我—-此時此刻的我。

10 月4日（五）19 : 30 開演 10 月5日（六）16 : 00 開演 10 月6日（日）16 : 00 開演

導演、編排、演出：大野慶人

會場：BankART Studio NYK 3F展場

票價：預購2500日圓  現場3000日圓

大野慶人

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.

more on:  http://www.kazuoohnodancestudio.com/

 大野慶人 –‘ 空 ’

作者  Juliet Neidish

2007年10月27日 — 紐約日本協會，紐約市

我很榮幸能在日本協會的觀眾席見到大野慶人演出他的獨舞“空”。這是從10月一直到11月在這一帶幾個場地所舉行的紐約雙年舞踏節裡非常特別的一部份。今年的舞踏節是向偉大的，影響深遠的舞踏大師大野一雄的101歲生日致敬。

大野慶人，他的兒子，為了他已得阿兹海默症的父親編排了這段獻上敬意的舞蹈。大野一雄是在70幾歲時成名於世，並且直到90幾歲依舊沒有困難地上台表演。慶人，現在也將近70，除了自己的演出也時常與他的父親一起巡迴。

日本協會，很美的一座展場/劇院，是個十分適合進行這活動的空間。一進入劇院，看得到的舞台部分全都覆蓋成白色。慶人背向觀眾站在距舞台中央僅左邊一些的位置，低著頭，穿著米色西裝和休閒褲。他一動也不動地以那姿勢站立著，直到所有的觀眾都已入席。事實上，在整首開場的巴哈賦格音樂中他一直都是不動的。雖然慶人自己是在靜止，然而他似乎已安排好讓音樂的音量在強弱間變化並揉合出某種軌跡。這是相當有力且令人振奮的開場，同時完全沒有任何身體動作。之後風的聲音響起了，慶人慢慢地開始舞蹈。

這齣舞蹈的身體是種記憶的探索。節目單上有句話：“我決定以‘空’來表達我的信念，那就是我的生命是許許多多人所給予的，或者應該說，來自於我周遭的每一個人。”舞作的不同段落分別產生出不同的情緒或感受，例如嬉戲，驚奇，掙扎，與沉思。這些是藉由他的出場和再進場而勾勒出整體輪廓，有時也會在服裝造型上出現些改變，或者是新的聲音或配樂。舞步動作本身是簡單清晰的。它們是在一種十分慎重的專注和堅韌下所完成，不過偶爾也會出乎意料地因為一個離地的跳躍或欣喜若狂的飛奔而添增色彩。

這齣舞蹈有種很強的致敬意味，包括特別提到一些過去他曾與他的父親共同演出的作品。雖然在‘空’裡慶人是唯一的舞者，然而這作品並不僅僅是為了獨舞者，大野慶人，而作的。相反地，它很明顯的是關於與他人連繫著的慶人，尤其是與那些此刻並不在場之人。他非常用心地投入在一張面紙上，因此與這輕飄飄如空氣般的存在作出了一段不同凡響的雙人舞。他將它摺成一頂小小的帽子，讓他那剃得光光的頭得到它的保護。他對它微笑，充滿情感地展示它，甚至當它已掉到他寬寬的褲腳底下時，他還可以完好如初地將它重拾起來。

慶人的創意使他能延續與他父親共享舞台的這種原本形式。透過幻燈投影的運用，慶人讓觀眾見到很寫實且赤裸裸的照片，那是十分年邁，身體已乾癟的大野一雄，平靜地熟睡著。其中包括慶人在看著或溫柔地輕撫著他的父親。而在結尾段落，他熟練地操弄著手上的小人偶，它的白髮和長臉孔讓人覺得像是看見他的父親。這人偶是非常精巧的小小人形，有雙非常具有表現力的小手，而且因為這段共舞是同步投影在上方的螢幕，所以觀眾都能清楚看到它們。我們見證了慶人在他與人偶互通心意的過程中所傳達出的極度輕柔和深刻情感，心中因而留下的是一種鮮明的脆弱感。這段的結束是慶人短短的一聲“謝謝”–那是個令人意外的片刻，破除了這場魔法般的演出所下的咒語。抱著一束束花朵向觀眾致意，他的鞠躬謝幕是真誠的，活潑的，且優雅的。

演出之後是日本協會所主持獻給大野一雄的舞踏生日宴會。只要持有先前大野系列表演票券的人都歡迎參加。現場有茶點，氣球，遊戲，音樂，以及表演者在整個展場裡的即興演出。

  Yoshito Ohno – ‘Kuu (Emptiness)’

  by Juliet Neidish

October 27, 2007 — Japan Society, New York, NY

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.

  quoted from:  http://www.ballet-dance.com/200712/articles/Ohno20071027.html

位在橫濱市海岸通.
除了大野慶人先生的演出, 也是Kazuo Ohno Festival的主場地.

禮拜天就回台灣了,終於到了該對大野一雄舞踏說些什麼的時候. 告別式後到昨晚, 雖然只去了7次的工作坊,

但感受似乎比上一趟 2個多月每天排練場報到更豐富. 是豐富還是複雜…是清澈還是混濁, 我一時說不上來…

大野一雄舞踏確實是無可比擬的. 它已超出舞踏,表演的範疇,來到一種靜心祈禱的狀態.

現代藝術從20世紀至今,你能夠在其中得到許多觀念與衝擊,但很難發現“感動”—從創作

動機,作品形式,到所給出的意涵,很少是能關聯到對生命,對美,對宇宙萬有的純然感動和奉獻. 大野一雄先生就是能達到這點,才會受到家人學生和世界各地的支持者全心的熱愛與照顧.

然而大野一雄舞踏最困難的地方也在於此…再艱難,辛苦的技巧都有辦法練習,再精確的

表現方式都有辦法掌控,但“心”是可以被練習,掌控的嗎?它能夠被主張和詮釋得了嗎?

常常人是往神的方向前進,但出現在眼前的卻是魔鬼. 或許,神與魔鬼,光與黑暗,本就不是截然對立的,因此你無法迴避任何一方—即便是土方巽,在他臨終前一刻對大野一雄和大野慶人先生所提起的,也是即將面對神的心情.

什麼是神,什麼是黑暗,什麼是愛,什麼是死亡,什麼是這個“心”—什麼是這個“自己”!! 在大野一雄舞踏裡

你無法避開這些問題,然後躲進那些能夠掌握的,想讓觀眾看到的角色表現中.在大野一雄舞踏裡你就是得面對

你自己,就只剩下你和你自己—不論那意味著美或醜,善或惡,愛或恨,是無法抑制的狂喜,還是難以承受的悲傷.

 

                

雖然這麼說,如果你到大野一雄家的排練場來參加工作坊,其實是會覺得舒適輕鬆的.大野慶人先生是很體貼,考慮周詳的老師,他自己是土方巽和大野一雄的綜合體,工作坊中也會將兩者的原則方法讓大家明白與練習,但對學生都不會嚴格要求,還不時想些話語或舉動讓氣氛活絡起來.我想這是出自他的某種天性.

還是回到自己身上…我該如何整頓,如何照料,如何堅定這個自己,在大野一雄舞踏和靜心的路上漸趨成熟,持續前進? 9月在桑雅的新北投空間將進行大野一雄的資料展覽和體驗分享.10月起則會在南海藝廊,新北投,三義等地舉辦大野一雄系列活動,除了是紀念大野一雄先生,也是延續大野一雄工作,在台灣的朋友十分出力協助籌辦…我其實不該負責這麼多計畫,我並不是適當的大野一雄,客觀藝術,或靜心方法的帶領人,我應該在其他更契合的位置.若說做這些事情有什麼正當性,也許是必須有人開始,必須有人從靜心意識,靜心藝術的角度提出,與眾多舞踏,藝術,及相關工作者不同的思路,不同的創作目標和理解.或許因為這樣,某些氛圍能有所改變,某些空間能有所改變,更期望的是我自己能有所改變,我能更深更充滿地進入大野一雄和大野慶人先生的舞踏,我能找到某個地方這個自己安頓下來—讓這個自己脫落,讓這個自己融解.

我可以這樣期望嗎? 不論這條路是否有終點,我對於所有曾經出現在身旁的人事物都很感謝….

這個時候好像更想說的是抱歉….或者就只是一種時而飄過的想念….

Yes sensee, now I understand,

I missed, and I found,

I born, and I die,
die into a brand new space,
so vast, so unknown,
so far beyond,
and so close to you.

                                              ~Satyana,  2010年7月，大野一雄先生逝世後