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Зарождалось это в эпохе,
Под прелестные капли дождя
Наслаждалось этим природа
Позвала за собою вождя.
Показала ему всю дорогу,
Рассказала как нужно идти
И вступила на новую тропу,
Заразив этим других.
Их в движении закружат звуки,
И польються рекою пески,
И сплетуться в течении руки,
Как горящие огоньки.
И возвысяться на пъедестале
Под почетную музыку струн
Эти гордые птицы дали,
Под названием "MaxStream". Автор. Яночка Бутхарейт.
![Kazuo Ono. Дата рождения: 27.10.1906
Дата смерти: 1.6.2010
Биография:
Один из двух основателей стиля буто.
Родился на Хоккайдо. Начал заниматься танцем в 1933 г. Сотрудничал с Тацуми Хиджиката с первых дней появления буто. Сердцем его работы остается импровизация, стремление показать непосредственную жизнь вселенной в каждый момент. В отличие от большинства танцоров в этом стиле, его работа полна эмоций, заключенных в ярких внутренних образах. Оно прекратил выступления и не выступал достаточно долго, пока в 1977 году его не вдохновила одна картина и он вернулся в танец в возрасте 71 года. Admiring La Argentina - самая известная из его работ. Ему был 101 год и он был прикован к инвалидной коляске. Но он все еще танцевал - танец был в его руках. Кацуо Оно, был одним из самых ярких и экстраординарных танцоров Японии начиная с 50х годов прошлого века. Именно он принес стилю Буто столь высокую популярность во всем мире/
Kazuo Ohno (大野一雄 Ohno Kazuo?) (October 27, 1906 – June 1, 2010) was a Japanese dancer who became a guru and inspirational figure in the dance form known as Butoh.[2] It was written of him that his very presence was an artistic fact.
He is the author of several books on Butoh, including The Palace Soars through the Sky, Dessin, Words of Workshop, and Food for the Soul. The latter two were published in English as Kazuo Ohno's World: From Without & Within (2004).
Ohno once said of his work: The best thing someone can say to me is that while watching my performance they began to cry. It is not important to understand what I am doing; perhaps it is better if they don't understand, but just respond to the dance.[2]
He is featured on the cover of Antony and the Johnsons' 2009 CD The Crying Light, which is dedicated to him.
Early life
The son of a fisherman and a mother who was an expert in European cuisine, Ohno was born in Hakodate City, Hokkaido Prefecture, Japan, on October 27 in 1906. He demonstrated an aptitude for athletics in junior high school and graduated from an athletic college in 1929, teaching physical education at a Christian high school. In 1933, Ohno began studying with Japanese modern dance pioneers Baku Ishii and Takaya Eguchi, which qualified him to teach dance at the Soshin Girls' School in Yokohama (from where he retired in 1980.)
In 1938, Ohno was drafted into the Japanese Army as a lieutenant, and later rose to captain. He fought in China and New Guinea, where he was captured and interned by the Australians as a POW.[2] The war and its horrors provided him with inspiration for some of his later works, such as Jellyfish Dance, thought to be a meditation on the burials at sea he had observed on board the ship transporting soldiers back to Japan.
Career
After the war, he began work on his dance again, and presented his first solo works in 1949 in Tokyo.[2] In the 1950s, he met Tatsumi Hijikata, who inspired him to begin cultivating Butoh, a new form of dance evolving in the turmoil of Japan's drab postwar landscape. Hijikata, who rejected the Western dance forms popular at the time, developed with Ohno and a collective group the vocabulary of movements and ideas that later, in 1961, he named the Ankoku Butoh-ha movement.
During the 1960s, Ohno sought his own style, while collaborating with Tatusmi Hijikata. In 1977, he premiered his solo La Argentina Sho [Admiring La Argentina], directed by Hijikata and dedicated to the famed Spanish dancer Antonia Mercé (known as La Argentina, whom he had seen perform in 1926.) He received Japan's prestigious Dance Critics' Circle Award for the performance and subsequently toured the piece, impacting the international dance world from the 14th International Festival at Nancy, France, in 1980, to his American debut in 1981 at La MaMa Experimental Theatre Club in New York City. Other citie](https://sun9-64.userapi.com/impf/c9700/g21092891/b_07b050d2.jpg?quality=96&as=32x32,48x48,72x72&sign=09518a2841085e1d848b059ee4fd578a&u=BAbyMxAGSktuNkqFPid3S1TItu_-SpBPn9LeWf82gvU&cs=480x480 "Kazuo Ono. Дата рождения: 27.10.1906
Дата смерти: 1.6.2010
Биография:
Один из двух основателей стиля буто.
Родился на Хоккайдо. Начал заниматься танцем в 1933 г. Сотрудничал с Тацуми Хиджиката с первых дней появления буто. Сердцем его работы остается импровизация, стремление показать непосредственную жизнь вселенной в каждый момент. В отличие от большинства танцоров в этом стиле, его работа полна эмоций, заключенных в ярких внутренних образах. Оно прекратил выступления и не выступал достаточно долго, пока в 1977 году его не вдохновила одна картина и он вернулся в танец в возрасте 71 года. Admiring La Argentina - самая известная из его работ. Ему был 101 год и он был прикован к инвалидной коляске. Но он все еще танцевал - танец был в его руках. Кацуо Оно, был одним из самых ярких и экстраординарных танцоров Японии начиная с 50х годов прошлого века. Именно он принес стилю Буто столь высокую популярность во всем мире/
Kazuo Ohno (大野一雄 Ohno Kazuo?) (October 27, 1906 – June 1, 2010) was a Japanese dancer who became a guru and inspirational figure in the dance form known as Butoh.[2] It was written of him that his very presence was an artistic fact.
He is the author of several books on Butoh, including The Palace Soars through the Sky, Dessin, Words of Workshop, and Food for the Soul. The latter two were published in English as Kazuo Ohno's World: From Without & Within (2004).
Ohno once said of his work: The best thing someone can say to me is that while watching my performance they began to cry. It is not important to understand what I am doing; perhaps it is better if they don't understand, but just respond to the dance.[2]
He is featured on the cover of Antony and the Johnsons' 2009 CD The Crying Light, which is dedicated to him.
Early life
The son of a fisherman and a mother who was an expert in European cuisine, Ohno was born in Hakodate City, Hokkaido Prefecture, Japan, on October 27 in 1906. He demonstrated an aptitude for athletics in junior high school and graduated from an athletic college in 1929, teaching physical education at a Christian high school. In 1933, Ohno began studying with Japanese modern dance pioneers Baku Ishii and Takaya Eguchi, which qualified him to teach dance at the Soshin Girls' School in Yokohama (from where he retired in 1980.)
In 1938, Ohno was drafted into the Japanese Army as a lieutenant, and later rose to captain. He fought in China and New Guinea, where he was captured and interned by the Australians as a POW.[2] The war and its horrors provided him with inspiration for some of his later works, such as Jellyfish Dance, thought to be a meditation on the burials at sea he had observed on board the ship transporting soldiers back to Japan.
Career
After the war, he began work on his dance again, and presented his first solo works in 1949 in Tokyo.[2] In the 1950s, he met Tatsumi Hijikata, who inspired him to begin cultivating Butoh, a new form of dance evolving in the turmoil of Japan's drab postwar landscape. Hijikata, who rejected the Western dance forms popular at the time, developed with Ohno and a collective group the vocabulary of movements and ideas that later, in 1961, he named the Ankoku Butoh-ha movement.
During the 1960s, Ohno sought his own style, while collaborating with Tatusmi Hijikata. In 1977, he premiered his solo La Argentina Sho [Admiring La Argentina], directed by Hijikata and dedicated to the famed Spanish dancer Antonia Mercé (known as La Argentina, whom he had seen perform in 1926.) He received Japan's prestigious Dance Critics' Circle Award for the performance and subsequently toured the piece, impacting the international dance world from the 14th International Festival at Nancy, France, in 1980, to his American debut in 1981 at La MaMa Experimental Theatre Club in New York City. Other citie")
