Presentations

From the outset, Butoh was conceptualized as an anti-dance form. In this context, the term “dance” denotes not only traditional classical idioms but also European modern dance, which pursued three principal aims: articulating interior emotions and ideas through the body; interrogating fundamental questions of human existence and social life; and realizing a liberated, autonomous body. Butoh, by contrast, embodies what Akira Kasai identifies as its defining conditions—inwardness, contemporaneity, and engagement with discrimination (Kosuge 199). Methodologically, it sought to move beyond modern dance in three major respects. First, it posited the inner and outer self as intrinsically continuous, rejecting the deliberate partition between internal and external expressions that often generated heightened theatricality in modern dance. Second, it avoided overt political intervention or explicit ideological messaging. Third, it focused on the weakened or debilitated body—what Hijikata theorized as suijaku-tai—including bodies marked by illness, disability, or broader social marginalization. Building on this legacy, Kasai’s formulation of “Post-Butoh” seeks an even more expansive freedom from these parameters. He cultivates a renewed dialogue with Japanese tradition, exemplified by his invocation of Japanese literature. He also engages socio-political discourse, most notably in Dancing the Japanese Constitution (2013), and he reaffirms Kazuo Ohno’s conception of the liberated body as central to contemporary practice. Ultimately, Post-Butoh in Kasai’s work not only extends the Butoh lineage but also reimagines the very horizons through which the dancing body can be conceived. *Hayato Kosuge. BUTOH: In Dialogue with Eleven Dancers. Tokyo: Tokyo UP, 2025.

2025年、ふたたび大阪で万国博覧会が開催される。「Expo70」における岡本太郎《太陽の塔》にみられるとおり、万博はさまざまな芸術作品もしくはジャンルの誕生や興隆のきっかけだった。藝術学関連学会連合第19回公開シンポジウムは、芸術と万博との関係、あるいは、そもそも万国博覧会という存在をあらためて検討する。

VICコレクション*より、大野一雄の伝説的公演〈ラ・アルヘンチーナ頌〉の上映会を行いました。舞踏を代表する作品の一つである本公演の初演をとらえたVICの映像は、舞踏研究において、そして当時の前衛芸術を語る上で稀有な資料です。 第一部として、石本華江（慶應義塾大学アート・センター土方巽アーカイヴ）によりアート・センターおよびVICコレクションについて説明の後、〈ラ・アルヘンチーナ頌〉公演映像の全編上映を行いました。 第二部は小菅隼人から大野一雄の舞踏について概要の説明、また永田靖（大阪大学中之島芸術センター／大阪大学文学研究科演劇学研究室）と共にアングラ演劇や舞踏の流れについて討議を行いました。

Join us over the course for talks and a screening of Shiokubi (1975) – a performance created by butoh dancer Bishop Yamada, overseen by Tatsumi Hijikata. This performance marks the founding of Yamada’s own dance company Hoppo Butoh Ha in Tsuruoka (Yamagata prefecture). The performance was shot as part of a video project known as the VIC (Video Information Center)*, which includes 1,200 tapes of performances, exhibitions, and events from the 1970s and 1980s. Those involved in the project were not only interested in documenting the performance of Shiokubi (Head was kept in salt) itself, but the whole world around the performance: from arrival at the venue, to final rehearsal, to afterparty. We will be giving researchers a chance to watch these additional materials, as well as situating the film within the context of the VIC archive and the Tatsumi Hijikata Archive, both held at Keio University Art Center. *VIC (Video Information Center, 1972-present) is a movement that recorded various events to produce experimental television broadcasts, such as the 1978 ‘Paravision Ten’ CATV broadcast. *Butoh dance is said to have started in the late 1950s in Japan, with Hijikata Tatsumi as its founder. Hijikata’s butoh method specifically uses image-language as choreography, and engages with Japanese movement traditions as well as Western literary and artistic influences. Butoh places a special importance on the quality and energy of movement, seeking to encourage a localized sensitivity to movement, through connection with the imagination. It particularly interrogates ideas of an uncontrolled, distorted, or collapsed body, and is sometimes termed the ‘body in revolt.’

Measure for Measureの公爵の変装を君主の成長のための手段ととらえ，従来単なる劇作上の要請と考えられていた変装の意味を再検討した。

World Shakespeare Congress，第5セミナーに提出された論文と議論を報告し，比較演劇学の現在の状況と問題点を指摘した。

特に歌舞伎の女形について，シェイクスピアの男装の用い方との関連についてコメントし，議論した。

『十二夜』のヴァィオラとエリザベス朝に流行した『世界劇場』（Theatrum Mundi）との関連を指摘。あわせて他の男装のヒロイン達との比較検討をおこなった。

Organaization and charing of Curated PanelMigrating/Migrated Bodies in Japanese Context

Organisation and charing of "Curated Panel: The Theatre of Ghosts and the Other under the Threat of Mass Deaths"

Discussant for ROUNDTABLE DISCUSSION Asian Theatre Working Group: Theorizing Asian Bodies in Performance