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25.06.2014 PRIMA BOZZA Annotazioni Mutamenti dei linguaggi nella scena contemporanea in Giappone a cura di Bonaventura Ruperti Mutamenti dei linguaggi della scena contemporanea in Giappone a cura di Bonaventura Ruperti © 2014 Libreria Editrice Cafoscarina ISBN: 978-88-7543-364-2 The editor and the Department of Asian and North African Studies of Ca’ Foscari University wish to express their appreciation for assistance given by the Japan Foundation towards the cost of publishing this book. Libreria Editrice Cafoscarina srl Dorsoduro 3259, 30123 Venezia www.cafoscarina.it Tutti i diritti riservati Prima edizione settembre 2014 CONTENTS Introduzione di Bonaventura Ruperti Il teatro in Giappone dalla modernità alla contemporaneità Cifre e linguaggi della scena contemporanea xx - Molteplicità di tendenze xx - La tradizione xx - Trapassi tra tradizione e modernità xx - La modernità xx - La contemporaneità xx - Altre sperimentazioni, nel confronto con le tradizioni xx - Incessanti mutazioni: il corpo e le interazioni tra le arti xx - Rivoluzione, mobilità e impulsi creativi xx - Umorismo e disincanto, silenzio e tragico nel quotidiano xx - Leggerezza del sogno, miti del passato e di un futuro imminente xx - Quiete, frantumazioni e innesti tecnologici xx - Intersezioni, frammenti e fuggevole precarietà xx 1 Katja Centonze Mutamenti del linguaggio estetico e segnico della danza: ankoku butō Prima del butō: L’importanza di Hijikata e la via verso il corpo che si ribella nelle arti sceniche xx - Kinjiki: il primo passo verso la rivoluzione semiotica della danza xx - Lo sguardo storico di Ichikawa Miyabi xx - Il corpo nudo: ratai xx - Le definizioni ankoku butō, ankoku buyō e di “danza” in Giappone xx - L’oggetto “nikutaizzato” come rivoluzione copernicana del butō: corpo e oggetto dalla manipolazione alla trasformazione xx 2 Cinzia Coden Kara Jūrō: la fisicità dell’attore cantastorie Kara e la compagnia Dainana byōtō xx - La nascita di una nuova estetica. L’attore e il testo drammaturgico, la teoria del corpo e la regia xx - Kara Jūrō e Ninagawa Yukio xx 3 Cristian Cicogna Suzuki Tadashi: il linguaggio del corpo La nascita di un teatro alternativo: il movimento post-shingeki xx - La grammatica dei piedi xx - La svolta di Toga: nasce lo SCOT xx - La visione metateatrale: il mondo è un manicomio xx 4 Bonaventura Ruperti Terayama Shūji: dalla poesia all’immagine, dal cinema ai palcoscenici del mondo Il poeta xxx - Il teatro: la rivalsa dei baracconi delle meraviglie xxx - “Il gobbo della provincia di Aomori” xxx - “Marie in pelliccia” xxx - Uscite internazionali e l’avventura cinematografica xxx - Le provocazioni teatrali “Shintokumaru” xxx - Finitudine e infinitudine xxx 5 Cinzia Coden Betsuyaku Minoru: il teatro e l’assurdo quotidiano La scrittura drammaturgica e lo spazio scenico xxx 6 Alice Colosini Ninagawa Yukio: teatro interculturale e canone shakespeariano. Teatro interculturale tra universalità shakespeariana e particolarità giapponese Dal movimento underground alla messa in scena dei classici, al movimento under ground a Shakespeare xxx - L’intercul tura li smo di Ninagawa Yukio xxx - Un nuovo linguaggio: cornici sceniche e metafore visive xxx 7 Cinzia Coden Yamazaki Tetsu: il teatro come indagine sulla società, oltre la sfera giudiziaria Drammaturgia e regia xxx 8 Cristian Cicogna Realismo di fine millennio: Hirata Oriza e il teatro tranquillo La possibilità di un realismo contemporaneo xxx - Il ‘teatro tranquillo’ e l’assenza di messaggio xxx- Il ruolo dei work shops e il linguaggio neutro xxx - Il tempo della pièce xxx 9 Cinzia Coden La presenza femminile sulla scena teatrale giapponese Aoi tori xxx - Nitosha xxx - Jitensha kinqurīto xxx - Kisaragi Koharu xxx - Il teatro degli anni ottanta e la leadership femminile xxx - Shōnen mono: Peter Pan sulla scena giapponese xxx - Yu kikai zenjidō xxx - Watanabe Eriko xxx 10 Katja Centonze La danza contemporanea giapponese: il corpo tra tecnologia e natura La nascita della danza contemporanea giapponese: Teshigawara Saburō e Pina Bausch xxx - Corpi tra Giappone e Francia xxx - Il problema delle definizioni xxx - Kontenporarī dansu o butō? xxx - Il mercato della danza contemporanea xxx - Dumb type e la scena giapponese xxx - Kawaguchi Takao e Yamakawa Fuyuki: D. D. D. xxx Profilo degli autori xxx AVVERTENZE Secondo l’uso giapponese, il cognome precede il nome. Il sistema di trascrizione seguito è lo Hepburn. La lunga sulle vocali indica l’allunga- mento delle stes se, non il rad doppio. Tutti i termini giapponesi sono resi al maschile in ita liano. Alcune parole (sempre invariabili) ormai entrate nell’uso sono usate in tondo. Ad esempio: nō, shōgun, sake. Per quanto riguarda la pronuncia, come principio ge ne rale si tenga presente che le vocali sono pronunciate come in italiano e le consonanti come in inglese. Si ri cor dino i se guen ti casi: ch è un’affricata come l’italiano «c» in cena (quindi «Chikamatsu» è letto come fosse scritto Cikamatsu) g è sempre velare come l’italiano «g» in gara h è sempre aspirata j è un’affricata (quindi «Genji» va letto come fosse scritto Ghengi) s è sorda come nell’italiano sasso sh è una fricativa come l’italiano «sc» in scena u in su e tsu è quasi muta e assordita w va pronunciata come una «u» molto rapida y è consonantico e si pronuncia come l’italiano «i» di ieri CRONOLOGIA ESSENZIALE PERIODI Nara 奈良 710-794 Heian 平安 794-1185 Kamakura 鎌倉 1185-1333 Muromachi 室町 1333-1568 Azuchi-Momoyama 安土桃山 1568-1600 Tokugawa (o Edo) 徳川（江戸） 1600-1867 Meiji 明治 1868-1912 Taishō 大正 1912-1926 Shōwa 昭和 1926-1989 Heisei 平成 1989- IL TEATRO IN GIAPPONE DALLA MODERNITÀ ALLA CONTEMPORANEITÀ Bonaventura Ruperti Cifre e linguaggi della scena contemporanea Il Giappone – come testimoniato sin dai primi incontri fatali con l’Occidente, con missionari gesuiti e mercanti portoghesi e spagnoli nel XVI secolo, du- rante la lunga pace Tokugawa e la chiusura all’esterno filtrata solo a Dejima tramite mercanti cinesi e olandesi, e con la riapertura al mondo in epoca mo- derna sotto la pressione delle navi nere americane, e ancora dopo la disfatta nella seconda guerra mondiale e la rinascita dal dopoguerra a oggi – pur nelle fasi altalenanti di aperture e chiusure che caratterizzano la sua storia (anche nel rapporto con la Cina) ha visto una costante “crescita” e arricchimento che trovano le loro radici e linfa vitale in un elevatissimo livello di alfabetismo,1 di scolarizzazione,2 di investimento privato e pubblico in educazione, ricerca e cultura,3 di interesse e attenzione concreti verso le arti, e quindi di ricchezza e molteplicità delle produzioni culturali. La capacità del paese di affiancare e superare in molti campi, anche in quello economico e tecnologico che oggi si credono ‘dominanti’, l’Occidente un tempo ‘dominatore’ nel mondo, risiede 1 Nel 1600 il Giappone doveva avere un grado di alfabetismo molto elevato, impensabile per qualsiasi paese europeo del tempo, come testimoniato anche dai viaggiatori europei. 2 Nel 2011 i quotidiani con maggiore tiratura al mondo sono risultati: 1. Yomiuri shinbun (dieci milioni di copie), 2. Asahi shinbun (sette milioni e mezzo), 4. Mainichi shinbun (tre milioni e mezzo), 6. Nihon keizai shinbun (tre milioni), 9. Chūnichi shinbun (due milioni e ottocentomila), con un calo di tirature tuttavia (in seguito alla diffusione della lettura delle edizioni online) rispetto al 2008 quando occupavano tutti i primi cinque posti in graduatoria di vendite. 3 In Giappone l’investimento statale in ricerca (a università, centri di ricerca, imprese ecc.) nel 2010 ammontava a circa il 3,57 per cento del PIL. Non altrettanto massiccio è l’investimento nel campo dell’istruzione (1,7 % del PIL nelle scuole primarie e secondarie inferiori, medie e superiori), laddove la componente privata e l’impegno finanziario delle famiglie per l’istruzione (spese dei cittadini in ricerca formazione e cultura) è tuttavia di gran lunga più consistente che in Italia. Altissima è la percentuale di accessi ai gradi più elevati dell’istruzione (laureati, più del 55% nel 2011), soprattutto nelle metropoli, Tōkyō per prima (più del 71% nel 2011). Il paese si colloca al quinto posto nel mondo per numero di laureati (lauree quadriennali) dopo Cina, USA, Russia, Brasile. 10 Bonaventura Ruperti proprio nella grande considerazione e rispetto per studio, pratica e apprezza- mento delle arti, come delle scienze, dai livelli macroscopici a quelli minimi e pur pregnanti della quotidianità. Anche l’universo della scena, ossia delle arti performative, delle pratiche creative che si svolgono nel rapporto di reciproca sollecitazione che avviene nell’incontro ‘dal vivo’ tra esecutori/attori e pubblico, non fa certo eccezio- ne. Oggi Tōkyō – la vecchia Edo, urbanizzatasi con l’insediamento dello sho- gunato Tokugawa, e divenuta capitale in epoca moderna, all’inizio del periodo Meiji (1868)4 – occupa un’area metropolitana che raggiunge una popolazione di oltre 13 milioni di abitanti, con Yokohama, a loro volta congiunte da una rete di trasporti capillare che le unisce a città limitrofe estendendosi fino alle prefetture di Chiba, Saitama, Kanagawa a formare un unico agglomerato-me- galopoli di oltre 23 milioni d’abitanti; Ōsaka con 8 milioni, e la vicina Kōbe di 1 milione e mezzo, e non distante l’antica capitale, Kyōto con oltre 2 milioni, a formare la seconda grande area popolosa; Nagoya con 1 milione e mezzo, come Fukuoka a SudOvest nel Kyūshū o Sapporo (quasi 2 milioni) all’estre- mo Nord, in Hokkaidō. In questi “bacini di utenza”, o meglio per le necessità culturali e spirituali, creative e significanti, di menti senzienti e pensanti,
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