{"id":314,"date":"2004-10-20T00:00:00","date_gmt":"2004-10-20T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/10\/20\/vestigios-do-buto\/"},"modified":"2010-06-01T23:00:27","modified_gmt":"2010-06-02T02:00:27","slug":"vestigios-do-buto","status":"publish","type":"post","link":"https:\/\/idanca.net\/vestigios-do-buto\/","title":{"rendered":"Vest\u00edgios do but\u00f4 | Vestiges of butoh"},"content":{"rendered":"

Parte deste artigo foi publicado no cat\u00e1logo do evento “Vest\u00edgios do But\u00f4”, editado pelo SESC.<\/span><\/p>\n

Ap\u00f3s o evento que tomou o Sesc Anchieta, em S\u00e3o Paulo, por dez dias de atividades intensas entre apresenta\u00e7\u00f5es, workshops e conversas, resta a sensa\u00e7\u00e3o clara de que \u00e9 poss\u00edvel construir a mem\u00f3ria de um artista de modos muito diferentes. N\u00e3o apenas nas p\u00e1ginas dos livros ou em document\u00e1rios gravados. H\u00e1 uma mem\u00f3ria que se auto-organiza nos corpos. Perene, ela sobrevive de vest\u00edgios e se mant\u00e9m viva na trama processual da hist\u00f3ria. Assim, a homenagem a Takao Kusuno, enredou-se na hist\u00f3ria do but\u00f4 japon\u00eas, que foi emaranhada nos sonhos brasileiros e escorreu pelo surrealismo franc\u00eas, amparando-se nos estudos do corpo, no Jap\u00e3o e no Brasil. Este parece ser o fio da mem\u00f3ria. Entre registros e esquecimentos.<\/span><\/p>\n

Em busca do passado<\/span><\/p>\n

O But\u00f4 nasceu na d\u00e9cada de 50, em T\u00f3quio, e desde ent\u00e3o suscita um paradoxo. H\u00e1 quem diga que n\u00e3o existe mais. E h\u00e1 quem aposte na sua continuidade como processo, para sempre, em transforma\u00e7\u00e3o. Desde 2000, muito material foi disponibilizado para estud\u00e1-lo no Arquivo Gen\u00e9tico da Universidade Keio, no entanto, as pesquisas continuam obstru\u00eddas por problemas de ordem pr\u00e1tica. H\u00e1, por exemplo, grava\u00e7\u00f5es de obras originais do criador do but\u00f4 Tatsumi Hijikata que n\u00e3o s\u00e3o exibidas por quest\u00f5es de direito autoral. Parte destas imagens est\u00e1 deteriorada. Alguns filmes foram modificados com trilhas sonoras sobrepostas \u00e0s originais. E muitos artistas e cr\u00edticos que acompanharam de perto o movimento j\u00e1 morreram. A obra completa de Hijikata foi publicada em dois volumes, apenas em japon\u00eas, com tiragem limitada e j\u00e1 esgotada e a sua tradu\u00e7\u00e3o se transformou em um grande problema para a divulga\u00e7\u00e3o fora do Jap\u00e3o, uma vez que exigir\u00e1 do tradutor uma compreens\u00e3o profunda das met\u00e1foras e onomatop\u00e9ias inventadas por Hijikata.<\/span><\/p>\n

Aqui no Brasil, entramos timidamente em contato com but\u00f4 no final dos anos 70 com a vinda do artista Takao Kusuno. Nesta \u00e9poca, sab\u00edamos muito pouco sobre a produ\u00e7\u00e3o f\u00e9rtil da vanguarda japonesa como o movimento Gutai de performance, o teatro revolucion\u00e1rio de Shuji Terayama e Juro Kara, filmes de Nagisa Oshima e Shohei Imamura, poemas de Sh\u00fbz\u00f4Takiguchi e Yutaka Haniya, entre muitas outras experi\u00eancias.<\/span><\/p>\n

Sem classificar o que fazia, Takao come\u00e7ou a trabalhar com artistas brasileiros de \u00e1reas diversas (dan\u00e7a, teatro, artes pl\u00e1sticas…) mostrando aos poucos a proposta mais preciosa do but\u00f4: a investiga\u00e7\u00e3o de como um corpo artista muda de estado, passando de corpo morto a corpo vivo, da aparente imobilidade \u00e0 a\u00e7\u00e3o, do sil\u00eancio \u00e0 palavra encarnada. A recep\u00e7\u00e3o foi imediata uma vez que o pa\u00eds estava f\u00e9rtil de experimenta\u00e7\u00f5es com mestres como Klauss Vianna, C\u00e9lia Gouveia, Sonia Motta e toda uma legi\u00e3o de artistas-criadores como J.C.Violla, Umberto da Silva, Mariana Muniz, Vera Sala, Helena Bastos e Denilto Gomes, entre tantos outros. Em 1986, Takao ajudou a organizar a vinda do lend\u00e1rio Kazuo Ohno ao Brasil firmando os v\u00ednculos e propiciando uma armadilha do acaso. No mesmo ano em que a hist\u00f3ria do but\u00f4 come\u00e7ava oficialmente entre n\u00f3s, o Jap\u00e3o enterrava toda uma \u00e9poca de radicalismos, abortando o nascimento de um novo m\u00e9todo de forma\u00e7\u00e3o de novos artistas com a morte de seu mentor, Tatsumi Hijikata. Entre a palavra, a imagem e a carne, o pensamento but\u00f4 buscava a sua sistematiza\u00e7\u00e3o. \u00c9 neste tempo-espa\u00e7o descont\u00ednuo, de sombras e acontecimentos ins\u00f3litos, que parece ter despontado o evento Vest\u00edgios do But\u00f4. Em primeiro lugar, como uma homenagem p\u00f3stuma a Takao, apresentando as duas \u00faltimas obras do artista. Em segundo, como um exerc\u00edcio te\u00f3rico-pr\u00e1tico de investiga\u00e7\u00e3o trazendo, entre outros, grandes nomes do but\u00f4 como Yoshito Ohno e Akira Kasai (primeira gera\u00e7\u00e3o), com um duo in\u00e9dito; e Yukio Waguri (segunda gera\u00e7\u00e3o), famoso pelo CD-ROM que organizou com uma vers\u00e3o pessoal das li\u00e7\u00f5es de Hijikata. Al\u00e9m dos convidados japoneses, o evento trouxe os brasileiros Ismael Ivo que trabalhou com Takao no come\u00e7o de sua carreira e Marta Soares, core\u00f3grafa que estudou com Kazuo Ohno, passando a usar os novos ensinamentos como um elemento entr\u00f3pico em sua obra de dan\u00e7a contempor\u00e2nea.<\/span><\/p>\n

Al\u00e9m disso, para ampliar a discuss\u00e3o e destacar algumas conex\u00f5es importantes, houve um painel te\u00f3rico sobre Antonin Artaud, especificamente sobre o corpo sem \u00f3rg\u00e3os; a experi\u00eancia art\u00edstica da imagem da fragmenta\u00e7\u00e3o corporal proposta por George Bataille e Hans Bellmer; os estudos das distin\u00e7\u00f5es entre a anatomia ocidental e a oriental, a partir dos m\u00fasculos e dos estados de precariedade; e uma reflex\u00e3o mais ampla do movimento but\u00f4 fora do Jap\u00e3o, buscando alguns dos seus vest\u00edgios no mundo contempor\u00e2neo.<\/span><\/p>\n

Foi uma oportunidade preciosa para discutir o que parece poss\u00edvel identificar, ainda hoje, de um pensamento que exp\u00f4s ao mundo a fragilidade humana apontando, ao mesmo tempo, caminhos poss\u00edveis para a sobreviv\u00eancia. Segundo Takao, ele mesmo nunca conseguiu fazer uma companhia de but\u00f4 no Brasil. Quando parecia poss\u00edvel com o grupo Tamandu\u00e1, sem o aux\u00edlio de um patrocinador, tornou-se complicado reunir todos os dan\u00e7arinos e mant\u00ea-los coesos sem trabalhos extras que impediam a concentra\u00e7\u00e3o fundamental ao processo. Mesmo assim, observando “As Galinhas”, “O Olho do Tamandu\u00e1” e “Quimera”, percebe-se um salto em sua obra e um amadurecimento que teria apontado para um novo caminho.<\/span><\/p>\n

O but\u00f4 no mundo contempor\u00e2neo<\/span><\/p>\n

Ao estudar fragmentos da complexa pesquisa que permeia a hist\u00f3ria do but\u00f4, \u00e9 poss\u00edvel perceber que n\u00e3o se pode restringi-lo a uma manifesta\u00e7\u00e3o local (causada pelo p\u00f3s-guerra no Jap\u00e3o), a um estilo ou anti-estilo de dan\u00e7a (para contrapor as tradi\u00e7\u00f5es ocidentais e orientais) e muito menos a uma esp\u00e9cie de instrumento terap\u00eautico de auto-ajuda ou auto-conhecimento. N\u00e3o se trata de olhar o pr\u00f3prio umbigo. Do modo como foi concebido, parece mais apropriado entender but\u00f4 como um campo de conhecimento e uma metodologia de pesquisa do corpo que tem como princ\u00edpio assombrar as certezas e dogmatismos que permeiam a nossa exist\u00eancia. Trata-se de deixar o corpo ser invadido pelo ambiente de fora, pelo outro. Beber das palavras e imagens do mundo e dos outros corpos.<\/span><\/p>\n

O primeiro ankoku but\u00f4 (dan\u00e7a das trevas), elaborado entre os anos 50 e 60, trafegou na conex\u00e3o maldita dos escritores Yukio Mishima, Antonin Artaud e Jean Genet. A partir da\u00ed, seguiu investigando o dan\u00e7arino dada\u00edsta Nobutoshi Tsuda, o jazz ritual de Katherine Dunham, a virtuosidade maligna de Vaslav Nijinsky e uma iconografia riqu\u00edssima de imagens que inclu\u00eda obras de Leonardo da Vinci, Hans Bellmer, Marcel Duchamp, Wolz, Picasso, Goya e muitos outros.<\/span><\/p>\n

Um olhar de zumbi decupava a composi\u00e7\u00e3o de corpos e imagens a partir das suas articula\u00e7\u00f5es, negando a constru\u00e7\u00e3o de um modelo pronto, fertilizando uma esp\u00e9cie de cegueira oracular. A id\u00e9ia no treinamento do but\u00f4 era, a princ\u00edpio, trabalhar com a condi\u00e7\u00e3o do corpo e n\u00e3o com movimentos espec\u00edficos. A imposi\u00e7\u00e3o da dor tinha muito a ver com isso. Um artif\u00edcio, por exemplo, foi a famosa maquiagem branca usada pela primeira vez em 1961, com a colabora\u00e7\u00e3o do artista pl\u00e1stico Masunobu Yoshimura para a obra “Cerim\u00f4nia Secreta de um Hermafrodita em Tr\u00eas Cap\u00edtulos”. Yoshimura, que havia fundado a organiza\u00e7\u00e3o neo dada um ano antes, teve a id\u00e9ia de raspar a cabe\u00e7a de Hijikata e enrol\u00e1-lo como uma m\u00famia com gaze e pl\u00e1stico. A subst\u00e2ncia pl\u00e1stica logo solifidicou no corpo e a temperatura caiu muito. Aos poucos, o pl\u00e1stico come\u00e7ou a cair como quel\u00f3ides na pele e o frio provocou espasmos musculares. \u00c9 prov\u00e1vel que desta experi\u00eancia tenham surgido alguns dos movimentos usados pelo but\u00f4 que, aos poucos, foram se transformando em padr\u00f5es, como tudo que dura no tempo.<\/span><\/p>\n

Entre as d\u00e9cadas de 70 e 80, quando Hijikata parou de dan\u00e7ar, teve in\u00edcio a sistematiza\u00e7\u00e3o do que seria o novo but\u00f4-kabuki, apontando pela primeira vez para um poss\u00edvel m\u00e9todo de ensino e de forma\u00e7\u00e3o de jovens artistas. H\u00e1 muito mais a investigar acerca desse per\u00edodo, uma vez que o Projeto Tohoku Kabuki \u00e9 uma obra prima inacess\u00edvel que dever\u00e1 vagar aos peda\u00e7os pela eternidade. Observando a apresenta\u00e7\u00e3o de Yukio Waguri, torna-se evidente que um dos mais importantes vest\u00edgios do but\u00f4 foi a aptid\u00e3o para a metamorfose, a transforma\u00e7\u00e3o dos estados do corpo.<\/span><\/p>\n

Neste universo onde a hist\u00f3ria \u00e9 sempre prec\u00e1ria e insuficiente, observar os vest\u00edgios deste movimento inacabado \u00e9 testemunh\u00e1-lo com o branco dos olhos, como dizia Heiner M\u00fcller. Ficar \u00e0 deriva do sonho, parece o destino insensato daqueles que beberam da sua dor.<\/span><\/p>\n

An excerpt of this article was published in the Vestiges of Butoh events catalog edited by SESC.<\/span><\/p>\n

After the event that took over the Sesc Anchieta Theatre in S\u00e3o Paulo for ten days of intense activities including presentations, workshops and conversations, a clear sensation remains that it is possible to construct the memory of an artist in very different ways. It is not only in the pages of books or in recorded documentaries that this memory lives. It is also a memory that self-organizes itself in bodies. Enduring, it survives and maintains itself alive in the processual web of history. It was in this way that a tribute to Takao Kusuno became interwoven with the Japanese Butoh (a traditional dance), which then wove itself into Brazilian dreams and slid along the borders of French surrealism to then become based on the studies of the body in both Japan and Brazil. This appears to be the thread of memory between recordings and omissions.<\/span><\/p>\n

In Search of the Past<\/span><\/p>\n

Butoh originated during the 1950\u00b4s in Tokyo, and since then it has remained a paradox. There are those that say that it does not exist anymore, and then there are those that believe strongly in its continuity as a process, one that is always in transformation. Since the year 2000, extensive material was made available for the study of dance at the Genetic Archive of Keio University. Nevertheless, the research continues to be obstructed by problems of practical order. There are, for example, recordings of original performances by the creator of Butoh, Tatsumi Hijikata that are not exhibited due to questions of authorial rights. A portion of these images has deteriorated. Some films were modified with sound tracks that were superimposed over the originals. In addition, many of the artists and critics that followed the movement up-close have already died. The complete work of Hijikata was published in two volumes and only in Japanese, not to mention the fact that it has a limited circulation and is already out-of-print. Such obstacles have become a serious problem for the dance\u2019s diffusion outside of Japan, since they demand of the translator a profound understanding of the metaphors and onomatopias invented by Hijikata.<\/span><\/p>\n

Here in Brazil, we entered into contact cautiously with Butoh during the end of the 1970s with the arrival of the artist, Takao Kusuno. During this period, we knew very little about the fertile production of the Japanese vanguard, which included Gutai performance movement, the revolutionary theatre of Shuji Terayama and Juro Kara, the films of Nagisa Oshima and Shohei Imamura, and the poems of Sh\u00fbz\u00f4 Takiguchi and Yutaka Haniya, among many other experiences.<\/span><\/p>\n

Without classifying what he did, Takao began to work with Brazilian artists from diverse areas, (dance, theatre, plastic arts, etc.) revealing little by little the most precious proposition of Butoh: the investigation of how an artistic body changes its state, moving from a lifeless body to a live body, from apparent immobility to action, from silence to incarnated word. The reception was immediate given that the country was fertile with the experimentation of masters like Klauss Vianna, C\u00e9lia Gouveia, Sonia Motta as well as an entire legion of artist-creators such as J.C.Violla, Umberto da Silva, Mariana Muniz, Vera Sala, Helena Bastos and Denilto Gomes, among many others. In 1986, Takao helped to organize the arrival of the legendary Kazuo Ohno to Brazil, firming bonds and propitiating a trap completely by accident. During the same year that the history of Butoh officially began among us, Japan buried an entire era of radicalisms, stifling the birth of a new training method for young artists with the death of their mentor, Tatsumi Hijikata. Between the word, the image and the flesh, Butoh thinking searched for a form of systematization.<\/span><\/p>\n

It is during this discontinuous time-space of shadows and unusual events that the Vestiges of Butoh appears to have emerged. At first, it appeared as a posthumous tribute to Takao, presenting the artist\u2019s last works. Then, it appeared as a theoretical-practical exercise of investigation, bringing among other things, the great names of Butoh such as Yoshito Ohno and Akira Kasai (first generation) as an unprecedented duo; and Yukio Waguri (second generation), famous for the CD-ROM that he organized with a personal version of Hijikata\u00b4s lessons. In addition to the Japanese guests, the event brought two Brazilians; Ismael Ivo, who worked with Takao at the beginning of his career, and Marta Soares, a choreographer that studied with Kazuo Ohno and began to use the new teachings as an entropic element in her own contemporary dance performances.<\/span><\/p>\n

Furthermore, to expand the dialogue and highlight some important connections, there was a theoretical panel discussion about several topics, including the artist Antonin Artaud (more specifically about the body without organs); the artistic experience of the image of corporal fragmentation proposed by George Bataille and Hans Bellmer; studies of distinction between Western and Eastern anatomy in relation to muscles and states of precariousness; and a more ample reflection of the Butoh movement outside of Japan, seeking some of its vestiges in the contemporary world.<\/span><\/p>\n

It was a special opportunity to discuss the remnants, seen even today, of a line of thinking that exposes human fragility to the world while at the same time pointing out possible paths for survival. Takao declared that even he was unable to form a Butoh dance company in Brazil. Even when it appeared that such a feat would be possible with the Tamandu\u00e1 group, the fact that the entity was trying to survive without the aid of a sponsor made it too complicated. It was impossible to gather all of the dancers and maintain them united when there existed the need to take on extra, outside jobs that inhibited the concentration that was fundamental to the process. Even so, in observing the works “Galinhas”, “O Olho do Tamandu\u00e1” and “Quimera”, one can perceive a leap in its artistic projects and a maturation that would have pointed out a new path.<\/span><\/p>\n

Butoh in the Contemporary World<\/span><\/p>\n

When studying fragments of the complex research that permeates the history of Butoh, it is possible to see that it cannot be restricted to a local manifestation (caused by postwar in Japan) or to a dance style or anti-style (to contra pose Western and Eastern traditions) and much less a species of therapeutic self-interest or self-knowledge instrument. We are not talking about trying to see one\u2019s own belly button. Considering how it was conceived, it appears more appropriate to understand Butoh as a field of knowledge and a body research methodology that haunts the convictions and dogmatisms that permeate our existence. It deals with allowing the body to be invaded by the outside environment, by the other. It is essentially means taking in the words and images of the world and of other bodies.<\/span><\/p>\n

The fist ankoku Butoh (dance of darkness), elaborated during the 1950\u00b4s and 1960\u00b4s, interconnected the cursed connection of the writers Yukio Mishima, Antonin Artaud and Jean Genet. From there, it continued by investigating the Dadaist dancer Nobutoshi Tsuda, the jazz ritual of Katherine Dunham, the malignant virtuosity of Vaslav Nijinsky and an extremely rich iconography of images that included the works of Leonardo da Vinci, Hans Bellmer, Marcel Duchamp, Wolz, Picasso, Goya and many others.<\/span><\/p>\n

An aspect of Zumbi divided the composition of bodies and images through its articulations, denying the construction of a prepared model and fertilizing a species of oracular blindness. The idea of Butoh training was, in the beginning, to work with the condition of the body instead of the specific movements. The imposition of pain had much to do with this. An artifice, for example, was the famous white makeup used for the first time in 1961 with the collaboration of the plastic artist Masunobu Yoshimura for the performance entitled “Secret Ceremony of a Hermaphrodite in Three Chapters.” Yoshimura, who had founded the Neo-Dada organization years earlier, decided to shave Hijikata\u00b4s head and roll his entire body in plaster gauze like a mummy. The plaster substance hardened quickly on the body and its temperature dropped significantly. Little by little, the plaster began to fall like colloid scars on the skin and the cold provoked muscular spasms. It is probable that this experience gave life to some of the movements used in Butoh that were gradually transformed into standards, as occurs with everything that lasts over time.<\/span><\/p>\n

It was during the 1970\u00b4s and 1980\u00b4s, when Hijikata stopped dancing, that the systematization of what would be the new Butoh-kabuki began, creating for the first time possible methods of teaching and training for young artists. There is much more the investigate about this period, just as the Tohoku Kabuki project is an inaccessible masterpiece that will be forced to roam in pieces until the end of eternity.<\/span><\/p>\n

Observing the presentation of Yukio Waguri, it becomes evident that one of the most important vestiges of Butoh was the aptitude for metamorphosis, the transformation of the states of the body.<\/span><\/p>\n

As Heiner M\u00fcller once said, in a universe where history is always precarious and wanting, to observe the vestiges of this unfinished movement is to witness it with our own eyes. It appears that awaiting the dream is the foolish destiny of those that drink from the pain.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Peda\u00e7os de corpos e fragmentos de mem\u00f3ria numa passeio pela hist\u00f3ria do but\u00f4, na companhia de Cristine Greiner.<\/span>Body parts and fragments of memory in a stroll through the history of but\u00f4, in the company of Cristine Greiner.<\/span><\/p>\n","protected":false},"author":26,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,28],"tags":[1414,1417,1416,796,1418,977,1415],"yoast_head":"\nVest\u00edgios do but\u00f4 | Vestiges of butoh -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/vestigios-do-buto\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" 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