Abstract
The evolution of butoh slowed after Hijikata consolidated his multilayered dance structure, and in 1973, Hijikata left the stage. Hijikata choreographed more than thirty dances after Story of Smallpox. 1 cannot consider them all, but a look at one of them allows us to see that while many of Hijikata’s concerns continue unabated, the way he approached those concerns had changed drastically since Forbidden Colors and had even changed from Story of Smallpox 1
when it’s over, let my body be useful, let little bears nose through my guts for grubs
Patrick Donnelly
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
Epigraph: Patrick Donnelly, from “Prayer over Dust,” The Charge (Keene, NY: Ausable Press, 2003), 69–70.
Jean Viala and Nourit Masson-Sekine, Butoh: Shades of Darkness (Tokyo: Shufunotomo, 1988), 92.
Hijikata Tatsumi, “Wind Dharma,” Gendaishi techô 28, no. 6 (May 1985): 70. WB 72.
Copyright information
© 2012 Bruce Baird
About this chapter
Cite this chapter
Baird, B. (2012). Epilogue: The Emaciated Body in the World. In: Hijikata Tatsumi and Butoh. Palgrave Studies in Theatre and Performance History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137012623_8
Download citation
DOI: https://doi.org/10.1057/9781137012623_8
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-29858-7
Online ISBN: 978-1-137-01262-3
eBook Packages: Palgrave Theatre & Performance CollectionLiterature, Cultural and Media Studies (R0)