Kuniya Sawamura and Yasuko Yokoshi. Phoot by Ian Douglas.
Kuniya Sawamura and Yasuko Yokoshi. Phoot by Ian Douglas.

Here‘s my review of Yasuko Yokoshi’s “Bell,” a deconstruction of the Kabuki drama The Maiden at the Dojoji Temple through the lens of Giselle. I’ve been a big fan of Yokoshi’s previous experiments with the pared-down Kabuki style known as Su-odori, but this one just didn’t work. The bits from Dojoji and Giselle never cohered, nor did they inform each other in any meaningful way. The “balletic” elements were woefully inadequate. The Japanese elements, beautifully executed, were given little context. Here’s a short excerpt from DanceTabs:

“Both Kayo Seyama, an older female dancer who performs a lengthy, delicate solo (called Kane no Misaki) toward the end of Bell, and Kuniya Sawamura, a young male dancer/actor who may just be one of the finest character dicers I have seen, are fascinating to watch. The utter control of every millimeter of their bodies and face, the refinement of their movements, the total clarity of the placement of each limb and adjustment of weight within the body, are astounding. To this, Sawamura adds an extraordinarily expressive face that suggests flickers of wit, sadness, irony, fear, pleasure, even naughtiness.”

 

 

 

 

http://dancetabs.com/2013/03/yasuko-yokoshi-bell-new-york/

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