The chosen dance of the Japanese Saburo Teshigawara | Culture | EUROtoday

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Saburo Teshigawara (Tokyo, 70 years previous) is a self-guarding angel. Small and robust as a Shinto reed, this artist, right this moment already a consecrated, mature determine with an exemplary profession, has inserted himself into the consultant custom of Western up to date dance with out fanfare and approaching the work from his fashion, a formulation that mixes of cerebral distillation with a sure ceremonial framework aesthetic. That form of distant ceremony that he provokes is a approach of inserting ourselves in a cardinal level of the work, wrapping ourselves within the golden and digital material of bodily poetry, assimilating it and making its enjoyment a lyrical expertise. Transformation, scheduled this weekend on the Teatros del Canal in Madrid, in a manufacturing by the Basel Ballet, it’s a nice work of synthesis and recapitulations; Teshigawara plans an abyssal journey with no different goal than to offer a chance to those that wish to say who they had been, what they did, what they fought towards.

Once on this identical newspaper he was described like this: “Small and ageless; “He has that oblong, shaved cranial morphology of all the greats of Japanese dance, from Kazuo Oono to Ushio Amagatsu.” This has been accentuated and whenever you see him stroll you can’t be positive if he touches the bottom: it’s like his artwork, levitating. Wayne McGregor advised the very younger dancers of the College of the Venetian Biennial in 2022: “Listen to him, please. Pay attention to everything he suggests.” The approach of being a smart man in a quiet voice, looking for an epiphany against this is as soon as once more the pattern, and we discover a whole lot of Elizabethan theatrical custom, solely in reverse: the primary, ghostly “white act”, and the second, if you’ll. reasonable, the place a redemption is sought with naturalistic, excessive and morally inclined characters.

Translating a sure creative character into a mode of danced expression is an initially chimerical and really troublesome enterprise. Teshigawara is aware of this and achieves it with that convincing methodology, elegant in itself, of whispering and reasoning whereas advancing to acquire the fabric for the present, the fixation of its studying, which we’ll see already regulated.

Mounting his choreographies on the Paris Opera, the Venice Biennale or the Basel Ballet, Teshigawara is pleasantly accepted, his obtained magnificence penetrates, and is genuine; That superb universality is achieved with and on two fundamental components: honesty and consciousness of sources. Today, when so many idiots are saying that ballet just isn’t vital and that it’s out of date, allow us to bear in mind for the forgetful and ignorant that Saburo Teshigawara started his coaching—and continued it for years—with tutorial ballet, and that when he fashioned the KARAS cell in 1985 with Kei Miyata, reworked a line of experimentation on that canonical coaching. In Basel, by the way in which, and in order that we’re not fooled, morning ballet class is necessary.

For Teshigawara, the worldwide richness of the scenic work passes via its scenographic packaging (extracted, in his case, from expertise within the Plastic or Visual Arts) the place the chosen poetic canon additionally workouts its dominance. transformation has two acts and two worlds: one conceptual (Like a Human) in plethoric abstractions of the ensemble, and a second, metamorphosis, anchored in on a regular basis life and within the dispersion of people (or individualities). First we see the souls uncovered, then the mortal our bodies.

An image of 'Metamorphose', the second part of the show 'Verwandlung', by Saburo Teshigawara, at the Teatros del Canal in Madrid, this Saturday.
An picture of 'Metamorphose', the second a part of the present 'Verwandlung', by Saburo Teshigawara, on the Teatros del Canal in Madrid, this Saturday.JULIAN MOMMERT

The first half: Like a Human, for 12 dancers, makes use of equidistances and a geometry based mostly on verticality, though the work opens with some physique phrases that sound like fleeting butoh dance quotes extracted from the Buyo base: the ancestral belies any mystification. There is sculptural cleanliness and delicate geometry.

The second half, Metamorphosis, for 17 artists, takes us on board with this Charon till we attain an extended, post-baroque ending, bounded like a weird one the place for the final time Teshigawara takes us by the hand, taking us to an inevitable and darkish limbo, a spot, maybe, the place we will ask Prospero : Are we misplaced once more or are we already lifeless? The sharp, beautiful and really correct musical choice helps to untie this concerting knot. Teshigawara leaves our hearts like a raisin, however we should thank him. Back to The Tempest (which right this moment is believed greater than ever to be Shakespeare's final creation), Ángel-Luis Pujante warns us that “it is a drama of lost illusions”; transformation (which may be roughly translated as “transmutation” or “transubstantiation”) in his personal approach, too.

The group of artists from Basel, whose appearing intelligence and choreographic experience are instantly understood by simply seeing them (the mental stage of the dancers, typically unfairly, is named into query), manages to completely convey the choreographer's intentions. In the work we see 4 succesful Spanish artists: Javier Ara Sauco, Marina Sánchez Garrigós, Tana Rosas Suñé and Andrea Tortosa Vidal, and the repeater, the true architect of the upkeep of such a posh state of affairs, is a Madrid native: Fernando Carrión.

Verwandlung. Basel Ballet. Artistic director: Adolphe Binder

Choreography, set design, lights (with Sergio Pessanha), costumes: Saburo Teshigawara; choreographic collaboration: Rihoko Sato; authentic music: Tim Wright and S. Teshigawara; songs: O. Messiaen, M. Ravel, WA Mozart, S. Rajmaninov, A. Corelli, T. Albinoni, C. Franck and Pavel Chesnokov. Choral director: Michael Clak; assistants: Ján Špoták, Maria Chiara Mezzadri, Javier Ara Sauco.
Red Room. Canal Theatres, Madrid. June twenty second.

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