Trudi es la única que sabe que su marido Rudi está gravemente enfermo de cáncer. Siguiendo el consejo de su médico, deciden hacer un último viaje juntos. Trudi convence a su marido y van a visitar a sus hijos y nietos en Berlín. Sin embargo, éstos están demasiados inmersos en sus propias vidas para ocuparse de ellos. Tras ir al teatro a ver un espectáculo de danza Butoh, Trudi y Rudi deciden marcharse y pasar unos días en un hotel en la costa del mar Báltico.
Hirosuke, encerrado en un manicomio, no recuerda más que algunos retazos de su niñez, y tampoco recuerda las circunstancias por las que él, estudiante de medicina, se ha visto recluido en dicho centro. Después de que otro interno intente estrangularle, consigue escapar y, gracias a una chica que trabaja en un circo, deducir que su pueblo natal está en algún lugar de la costa del Mar del Japón. Sin embargo, la chica es asesinada y Hirosuke tomado por el asesino, por lo que debe huir nuevamente.
A selection of seemingly unconnected scenes featuring Nick Cave, Blixa Bargeld, Nina Hagen and Lene Lovich. Losely based on Voltaire's satire "Candide".
Mr O’s Book of the Dead is the last of a trilogy of experimental films about Kazuo Ohno, co-founder of the contemporary Japanese style of dance known as butoh, made with director Chiaki Nagano during a period in which he had retired from public performance, and just before he began touring the world as a solo dancer with his celebrated work Admiring La Argentina. In the film, Ohno leads a troupe of strangely dressed, made-up and gesticulating dancers through a succession of landscapes alternately lush, desolate and surreal.
Ankoku Butoh is a style of avant-garde dance that established itself in the counter culture experimental arts scene of post WWII Japan. The dance form is thought to have been founded by Tatsumi Hijikata, who both created and performed in butoh pieces from the late 1950’s - through the early 1970’s. In butoh, the style of movement is extremely stylized and deliberate, vacillating between slow and sharp, expressing feelings of dread, sexualization, violence, calmness, birth and “creatureness” among other things. This performance of Summer Storm was originally recorded in 1973 at Westside Auditorium, Kyoto University, Japan, and was Hijikata’s last public performance before his death in 1986 with Butoh of Dark Spirit School. Video version produced in 2003.
Short film in which butoh dancing is used to reflect on the nuclear bombings of Hiroshima and Nagasaki.
Peter Sempel's masterful poetic film tribute to butoh performer Kazuo Ohno.
The dark sensibilities and cultural resonances of Butoh, the radical Japanese dance movement, are explored in this multilayered work. Profoundly rooted in both traditional and contemporary Japanese culture, Butoh arose in a spirit of revolt in the early 1960s. Characterized by frank sexuality and bodily distortions, Butoh transforms traditional dance movements into new forms, stripping away the taboos of contemporary Japanese culture to reveal a secret world of darkness and irrationality.
"Butoh: Body on the Edge of Crisis" is a visually striking film portrait shot on location in Japan with the participation of the major Butoh choreographers and their companies. Although Butoh is often viewed as Japan's equivalent of modern dance, in actuality it has little to do with the rational principles of modernism. Butoh is a theater of improvisation which places the personal experiences of the dancer on center-stage. By reestablishing the ancient Japanese connection of dance, music, and masks, and by recalling the Buddhist death dances of rural Japan, Butoh incorporates much traditional theater. At the same time, it is a movement of resistance against the abandonment of traditional culture to a highly organized consumer-oriented society.
Fill the goblet of lapis Iazuli With the life, joy, sorrow, death of this whole universe. This goblet must scoop up all. Who drifts in the isle of hollow. Mothers, babies, Sick women, filthy women, Those who praz, those who surfei, and those who accompany them. The moon goes around and attracts everything. Let us give a toast, Till the earth in the goblet turn inside out.
Jet black, an accumulation of layer after layer of darkness Attracting the light, a fragrant color Something appearing from the interior depths
A Butoh Performance by Butoh Company Kiraza.
A Collaboration Ima Tenko and Chie Ono.
This work has been long-awaited as a masterpiece which is not performed in public since it was staged 31 years ago in 1989. This valuable video will be recorded in full and will be released for the first time. The story of a seed that fell to one point on the stage, and a tree that grew bravely and dignifiedly there. Amid the sounds of Tomoe Shizune’s exquisitely beautiful Guitar piece, the dancers’ bodies overflow with life and love of nature.
The work contains Butoh works and methods by Tomoe Shizune in omnibus format. It will be re-edited and published based on what was provided as the text for the Butoh course at the Grotowski Institute, Poland by Tomoe Shizune & Hakutobo, 2018. The Grotowski Institute is engaged in a wide range of research related to physical expression, as well as physical training based on the research of the prominent Polish director Jeray Grotowski (1933-1999) who founded the experimental theater "Teatr Laboratorium" in 1959. The coaction between Tomoe's music and Butoh is highlight.
Comprising historic archive footage and texts this DVD box enlightens us greatly about Yoshito Ohno's here and now. Butoh has a distinct starting point, namely, in 1959, with Kinjiki , a duet featuring Tatsumi Hijikata and Yoshito Ohno. His father, the legendary Kazuo Ohno created another epoch-making opus in 1977 Admiring La Argentina, with Yoshito Ohno as production manager. These links are no mere coincidence. To date, we've tended to overlook Yoshito Ohno, barely granting him the recognition he merits. Just as dance requires a lengthy gestation period in which to evolve, his dance has finally come into our field of vision, in all its freshness and stark-nakedness, linking Butoh's origins to its zenith, to a point where he now stands at a crossroads.
In the 60's and into the 70's, Kazuo Ohno himself produced three 16mm films. His many performances at the "Teatro Fonte" in Yokohama have been preserved with high quality Beta cameras. In addition, the television station NHK has made recordings of many of his theater performances since the premiere of "The Dead Sea" in 1985. Together, the Kazuo Ohno Dance Studio and NHK own over one hundred hours of footage. This is complemented by a 1994 film by Daniel Schmid and new 16mm footage of Kazuo Ohno filmed especially for this project in October of 2000. From these resources, this 111 minute Video/DVD was assembled.
"Beauty and Strength" includes dance performances, film excerpts and interviews, examples of Ohno's drawings and writings, as well as biographical information, creating a comprehensive look into the world of Kazuo Ohno's dance.
WHAT IS BUTOH? A French butoh dancer visits Japan for the first time, to pursue this ultimate question. Lead by the shadows of Tatsumi Hijikata, the founder of butoh, the journey leads him from metropolitan Tokyo to the snowy fields of Tashiro village in northeastern Akita.
A man details his crimes and pleasures within an armchair to an adulterer who sees the people in his life as nothing more than objects.
Anma (The Masseurs) is a representative and historical work by the creator of Butoh dance, Tatsumi Hijikata in his early period in the 1960s. The film is realized not only as a dance document but also as a Cine-Dance, a term made by Iimura, that is meant to be a choreography of film. The filmmaker "performed" with a camera on the stage in front of the audience. With the main performers: Tatsumi Hijikata and Kazuo Ohno, the film has the highlights such as Butohs of a soldier by Hijikata & a mad woman by Ohno. There is a story of the mad woman, first outcast and ignored, at the end joins to the community through her dance. Inserted descriptions of Anma (The Masseurs) are made for the film by the filmmaker, but were not in the original Butoh. The film, the only document taken of the performance, must be seen for the understanding of Hijikata Butoh and the foundation of Butoh.