Life & Death: Butoh World-Leading Troupe Triumphs in Tbilisi

Review

On October 29, the legendary Butoh dance group titled ‘Sankai Juku’ under the leadership of Ushio Amagatsu, performed in Georgia for the first time.

‘The Kumquat Seed’ premiered at the Shota Rustaveli Drama Theater, as part of the Mikheil Tumanishvili International Arts Festival ‘GIFT’ and featured a dialogue between humans and gravity. Based on the years he spent in the West and a thorough study of the western dance history, Amagatsu has managed to create a perfect matching of sharp stylizing, characterized to the western culture, as well as modern lighting and sound, with unique Japanese roots. The movements leave space for a diverse range of interpretation from the audience, which is Amagatsu’s aim, he being one of the first artists in the world to focus on inspiration more than on concrete plots.

“We go to many countries. We are very happy to be here at last,” said Semimaru, Interim Artistic Director, representing the troupe in Georgia. “A lot of people think about life and death, but Amagatsu applies extremely interesting creative methods to express the concept. He created his own individual world. I’ve been with Amagatsu for 43 years and it has enriched and totally remade my life”.

“Body language can be very articulate, because words always come later than the body. Ushio Amagatsu does not like to be interpreted in just one way. The audience can interpret his works in many ways,” Semimaru added. “Butoh helps you to become an animal, even an insect. The images are very rich”.

Pierre Barnier, Producer, has been in the post for the last 24 years. He recalled: “In 1981, ‘Sankai Juku’ was in Paris, performing open air. When I saw the four people falling, I said: ‘these guys are great! One day I’d love to work with them!’ Ten years later, I was the General Manager of the Carolyn Carlson Company. My office was in Theatre De la Ville, in Paris. ‘Sankai Juku’ had a manager in the next office and he resigned. Amagatsu knew that I was in the next office. He told me: ‘Do you want to take care of ‘Sankai Juku’?’ I went crazy. I started with them in 1993. I’m just retiring now”.

‘Sankai Juku’ was formed in 1975. Their first tour abroad occurred in 1980. For Amagatsu, it was the very first visit overseas. The performance ‘The Kumquat Seed’ is based on Japanese influences and, according to Amagatsu, it is even an autobiographic piece of art. Amagatsu does not like to watch other performances in order not to fall under influence. As a great reader, he prefers to be influenced by philosophers.

“I think that it will be one of the most amazing performances of the ‘GIFT’ festival 2017,” said Keti Dolidze, Artistic Director of ‘GIFT,’ prior to the performance. “If we had had more support from the Ministry of Culture, we would have invited this theater for two nights instead of just one. Thanks to the Embassy of Japan and ACA, it was possible to have this unique theater ‘Sankai Juku’ in Tbilisi. ‘GIFT’ festival is generally oriented to bringing the most exquisite and exceptional works of art. We never accept any occasional performances,” she said.

‘The Kumquat Seed’ that was born following the Second World War, is naturally a kind of protest against conflicts and wars as well as conflicting nationalism, dictatorship and separatism. The red circle, which is constantly present at the background of the stage, is simultaneously the national flag of Japan, as well as an association with the mature disposition of a young reservist to go and defend his homeland immediately after he is summoned. Repeating movements, which are from time to time intentionally slowed down against a background of electronic themes and special sound effects, emerge from silence into noise, from hidden to real, from obscurity to light. The third final novella is called ‘Peacock’. Amagatsu sees peacock as a fake thing because of its perfect beauty. Dai Maisuoka’s character holds it, who is full of love, hate and irritation. He caresses the bird, but all of a sudden, is ample with hatred and jealousy: he wants to be like a peacock and therefore, wants to kill it. The imaginary silence of summer night is broken by the sound of this large bird. It is the only creature that livens the motionless, mute scene of dancers in-a-trance. This atmosphere of silence, meditation and placidity was a kind of the lesson, and the Georgian audience passed it successfully, staying still for 1.5 hours with hardly a movement from their seats.

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Maka Lomadze