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Ph.D. AC1.H3 5086 R.Pdf UNIV£:RSITVOF r~AwAI'/ LIBRARY THE POWER OF IMAGE HIJIKATA TATSUMI'S SCRAPBOOKS AND THE ART OF BUTO A DISSERTATION SUBMmED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWArI IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE MAY 2008 By Kurt Wurmli Dissertation Committee: James R. Brandon, Chair Joe/Cohn W. Dennis Carroll Julie A. Iezzi Kirstin Pauka We certify that we have read this dissertation and that, In our opinion, It Is satisfactory In scope and quality as a Dissertation for the degree of Doctor of Philosophy In Theatre. DISSERTATION COMMITTEE -- -- -~ll!---~ (Chairperson) ---------------------------------------~ ------~~~~-~------------- _~ ____ Ll~ __ ~t_: II © Copyright 200B by Kurt Wurmll All Rights Reserved iii ACKNOWLEGMENTS This study would not have borne fruit without generous help and support from numerous Individuals and organizations. At the University of Hawari I thank my committee, especially James R. Brandon who guided and mentored me like a father over the many years, and Julie A. Iezzi who was bold enough to plant the seed for this ambitious endeavor. I am grateful for financial support from the Center for Japanese Studies, the John Young Fellowship for the Arts and the Globalization Research Center. In Japan I would like to thank the Hijikata Tatsumi Archives at Kelo University, Tokyo for granting me access to their invaluable resources during my six years of research and for hosting me as an exchange researcher in the final year. I am especially Indebted to Maeda Fujio, Sumi Yoichi, Morishita Takashl, Gara Motofujl and Murai Takeml for their precious support and academic guidance. I extend my sincere gratitude to the Ohno Family and Ohno Yoshlto for continuously welcoming me so warmly to their studio and home. Finally I wish to thank all the friends and Individuals who in so many different ways supported me, gave me courage and strength. I send my special mahalo to Fumlko and Marlli. Iv ABSTRACT Hijikata Tatsumi (1928-1986) is the acclaimed founder of the performance art genre commonly known as butO. After an initial experimental period spanning the late 1950s to the mid 1960s he concentrated his artistic efforts on directing, choreographing and teaching buto using his own creative system, called butO-fu or "buto scrapbooks. " Like many visual artists Hijikata collected and arranged existing (found) images and composed sixteen scrapbooks. The scrapbooks served Hijikata as a medium to create, explore and reflect on his butO. While making up his scrapbooks Hijlkata applied established fine art techniques such as collage, montage and pastiche to isolate, emphasize or synthesize visual and artistic qualities of the images. These techniques were also reflected In the structure of his performances, where Hljikata borrowed, adapted and adopted Images from seemingly opposite worlds and genres to construct a genuinely new stage world. This study is a visual analytical investigation of Hijikata's scrapbooks and exposes Hljikata's direct affinity with and assimilation of the visual arts. v TABLE OF CONTENTS Acknowledgement.............................................................................................. Iv Abstract................................................................................................................. v Ust of Tables ....................................................................................................... ix Ust of Figures .......................................................................................................x Chapter 1. Introduction..................................................................................... 1 Purpose and Aims ..................................................................................... 1 Justification and Previous Research ..................................................... 2 Methodology ............................................................................................ 14 Umitations of this Study ...................................................................... 22 Problems in Researching Hljlkata Tatsumi.. ..................................... 23 Notes on Illustrations............................................................................ 25 Chapter 2. Background ....................................................................................27 The Emergence of a Japanese New Theatre .................................... 29 Development of the Japanese Modern Dance ................................. 35 The Rise of Japanese Modern Art and the Avant-Garde Movement....................................................... .46 Chapter 3. Hijikata Tatsumi: The Man and the Artist............................... ss Hijikata Tatsumi's "Tohokyon............................................................... 55 Hljlkata the Artlst. .................................................................................. 63 Chapter 4. The Buto-fu.................................................................................... 88 vi The Physical Nature of the ButO-fu as Notebooks ......................... 90 Hljlkata's Creation of the Buto-fu .................................................... l02 The Source Materlal. ........................................................................... 122 Dance Notations versus Artist's Notebooks.................................. 132 Chapter 5. Analysis of the ButO-fu ............................................................. l44 The Sixteen Volumes .......................................................................... 144 Scrapbook Volume 1: Nadare ame ................................................. 153 Scrapbook Volume 2: Hana ............................................................... 196 Scrapbook Volume 3: Butal hinto, saakasu ................................. 199 Scrapbook Volume 4: Zalshltsuhen nl Fotorie .............................. 204 Scrapbook Volume 5: Kojikl· hanakomatieru .............................. 211 Scrapbook Volume 6: Jinbutsuhen ................................................. 223 Scrapbook Volume 7: Tori-shigi....................................................... 228 Scrapbook Volume 8: Dobutsuhen .................................................. 234 Scrapbook Volume 9: Dabinchi........................................................ 240 Scrapbook Volume 10: Picasso no jlnbutsu .................................. 246 Scrapbook Volume 11: Kabeishi.. .................................................... 255 Scrapbook Volume 12: Shlnkei........................................................ 261 Scrapbook Volume 13: Ry(isei.......................................................... 265 Scrapbook Volume 14: Hlkarl.. ......................................................... 268 Scrapbook Volume 15: Sukurappu bukku ao ............................... 274 Scrapbook Volume 16: Sukurappu bukku kiiro ............................ 276 vII Chapter 6. Conclusion ................................................................................... 280 Appendix: Sources for Scrapbooks............................................................. 287 Bibliography ..................................................................................................... 288 viii UST OF TABLES Table Page 1. Nadare ame Info Spread Sheet No 1 Source: Keio University Center for the Arts and Arts Administration, Tokyo, "Hijikata Tatsumi Archive Data Base" (2003) ................................................................................................... 154 2. Nadare ame Work Sheet No 1 (Example) .................................... 157 ix UST OF FIGURES Figure 1. Scrapbook Volume 1: Nadare ame Morishita, Hijikata Tatsumi no buM, 2003, 122........................... 91 2. Scrapbook Volume 2: Hana Morishita, Hijikata Tatsumi no buM, 2003, 123............................ 91 3. Scrapbook Volume 4: Zaishitsuhen ni Fotorle Kurihara, "Hljlkata Tatsuml: The Words of Buto", (2000), 60 ............................................................................................... 94 4. Scrapbook Volume 1: Nadare ame Kelo University and Hljlkata Tatsuml Memorial Archive, Shlkl no tame no nijDnanaban, 1998, 5........................................... 95 5. Study for 'Portrait of Van Gogh'III, 1957. Francis Bacon BT 331, August 1970 ............................................................................ 97 6. Study for a 'Portrait of Van Gogh'I, 1956. Francis Bacon www .scva.org.uk.................................................................................. 99 7. Study for 'Portrait of Van Gogh'III, 1957. Francis Bacon www.hlrshhorn.si.edu ......................................................................... 100 8. Mandara yashiki Poster, 1968 Shimizu Akira Shimizu Aklra Exhibition, Catalogue, 2000, 55 .......................... 115 9. Soguroku yuki, 1970 Shimizu Akira Shimizu Akira Exhibition, Catalogue, 2000, 45 ............................ 115 10. Advertisement Mlzue 792, January 1971................................................................... 128 x 11. Gibasan Photo: Onozuka Makoto Mlzue 860, November 1976.................................................................. 129 12. Crucifixion, c.1505 Matthias Grunewald www.nationalgallery . org. uk............................................................. 130 13. Crucifixion, c. 1520 Albrecht Altdorfer Source unknown .................................................................................. 130 14. Labanotatlon (Example) Merriam-Webster
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