Dance of a Tragic Figure III: Jinen Butoh, an Orphic Descent into the Ancient Role

INSTRUCTORS:
A laboratory-workshop led by
Atsushi Takenoushi and Vasilios Arabos

COSTS:
House of Neuses is a non-profit organization which only accepts charitable donations. While we organize one meal per day and book lodging arrangements for our guests, these are payed directly by us to all vendors.

Expenses
(lodging, food, teachers): €375.00. Lodging is shared occupancy. Food is one midday meal, shared. Transport is from the town to the Great Amphitheater and back.



DATES:
7 days: May 20th — 26th, 2013
Contact Hours: 8h/day
51 contact hours total, open to all for the entirety. The 2-3 day extension with the core group is optional and carries an extra fee. Mr Atsushi will not be present past the 26th.
For more information please register by clicking the link below. Please indicate any special requirements in your registration.

Donation (suggested): € 120.00 please bear in mind that we are a non-profit and larger donations are welcome. We can provide pertinent invoicing/receipts for tax purposes.

Please register early as spaces are limited.

This year's workshop is in continuity with the last two. We will be deepening the connection between last year's mask-work and movement, and will be introducing two new elements of vocal improvisation and work on chorus and group dance based on Greek folk dance elements and principles of complicité. Adrianos Katsouris and his Music and Dance Ensemble will be contributing their expertise and knowledge of Greek folk music this year.

Please indicate in your registration if you are interested in participating in a two to three day extension of the workshop for more advanced exploration of this work into the Greek materials which we will be pursuing with the core group. This workshop is open to people from all walks of life: dancers of all levels, actors, performers both professional and anyone interested in exploring Ancient Hellenic Theatre, myth, shamanic and sacred arts, archetypes through processes of embodiment and improvisation.

DESCRIPTION

Shamanic in both its motivation and approach, Atsushi Takenouchi’s Jinen Butoh is a dance-form developed as a fundamental act of healing and remembrance. Just as Imalis means Return to the Source, Jinen means Breath of the Universe and River of Life, and Jinen Butoh its contact through dance. Jinen Butoh shares with the Orphic tradition out of which theater evolved as a Bacchic art-form a concern with touching these primordial principles through our living body, and cleansing through a process of acknowledgement and expression the imprints left upon it by the forgotten and rejected creatures of the world in which it exists, the pariahs, the abandoned children and old people, refugees, prostitutes and failed revolutionaries, the sick and the insane, animals, plants and places on the road of extinction...
We could add to the list, the insane matricide Orestes, the hopeless Electra, her murderess mother, the weak and vain Menelaus for just one play, or span outwards into the tradition with the cursed Hippolytus, Oedipus the damned, the defeated Persians... All figures, roles, masks, which for some obscure reason, the Orphic tradition of the theater of Dionysos was driven to construct and animate before the eyes of its public as an act of collective reparation, cleansing and healing... It is this metaphysical dimension that our workshop with Atsushi will be exploring, its basis in technique, and its implications in performance. What we term, in Imalis, the “vertical dimension” of the theater of the ancients. The premise of our workshop will be that if acting the ancient role, was song, then this primordial “goat-song,” the voice of the body that is moved to song, is raised upon the goat-dance, and the setting of the mask as artifact upon the head of the performer, both its crowning and initiating act.

During this eight-day intensive, we will go through a process of immersion into the body, the breath and its inner movement and basic mask work and help us build the foundation of individual work-demonstrations of
Butoh as a movement-basis of the rhythm and tone of our chosen roles which will be drawn from Euripides’ Orestes. He will be assisted by Vasilios Arabos in the development of scene-study, vocal and mask work for an integral approach to ancient performance as the return to a groundless stage of memories, symbols and impulses residing in the body and the voice, in which the Orphic dimensions of performance will be revealed as the liberation, ritual expression and cleansing of the elements in space and the performer's body. In this way, our workshop with Atsushi strikes at the core of Imalis’ research and the theme of this workshop series “Shed the skin, trace the path, set the post.”

Orpheus, who revealed to our ancestors the mysteries of Dionysos, taught that our body was a mantle woven by
Kore, daughter of Demeter and Queen of the Underworld, and that within it lay the path for healing. It is this skin, as skenoma, that lies at the origin of the skene, or scene. In his Sacred Discourses, he sang the praises of Dionysos, Guide of the Souls of the Dead and the Lost, celebrating him as the God of the Vine of the Universe to which cling all beings, and the Great Healer to whom the ancients would turn to be restored to their First Health through music and theater. It is for this reason that his temple that was the amphitheatre was located next to the temple of Asklepios, the "eliminator of that which goes counter to our nature," the restorer of our Second Heath, that health which came second to our First Health and which belonged to the Vine God. Atsushi Takenouchi’s “dance of forgotten human’s history” is the means by which we will set the post by raising the body of the performer within a new healing space, as an “archeology of the living body.” The texts will be worked in their original ancient tongue.
During this eight-day intensive, we will go through a process of immersion into the body, the breath and its inner movement and basic mask work and help us build the foundation of individual work-demonstrations of Butoh as a movement-basis of the rhythm and tone of our chosen roles which will be drawn from Euripides’ Orestes. He will be assisted by Vasilios Arabos in the development of scene-study, vocal and mask work for an integral approach to ancient performance as the return to a groundless stage of memories, symbols and impulses residing in the body and the voice, in which the Orphic dimensions of performance will be revealed as the liberation, ritual expression and cleansing of the elements in space and the performer's body. In this way, our workshop with Atsushi strikes at the core of Imalis’ research and the theme of this workshop series “Shed the skin, trace the path, set the post.”

Orpheus, who revealed to our ancestors the mysteries of Dionysos, taught that our body was a mantle woven by
Kore, daughter of Demeter and Queen of the Underworld, and that within it lay the path for healing. It is this skin, as skenoma, that lies at the origin of the skene, or scene. In his Sacred Discourses, he sang the praises of Dionysos, Guide of the Souls of the Dead and the Lost, celebrating him as the God of the Vine of the Universe to which cling all beings, and the Great Healer to whom the ancients would turn to be restored to their First Health through music and theater. It is for this reason that his temple that was the amphitheatre was located next to the temple of Asklepios, the "eliminator of that which goes counter to our nature," the restorer of our Second Heath, that health which came second to our First Health and which belonged to the Vine God. Atsushi Takenouchi’s “dance of forgotten human’s history” is the means by which we will set the post by raising the body of the performer within a new healing space, as an “archeology of the living body.” The texts will be worked in their original ancient tongue and draw on monologues of Orestes and Elektra. No knowledge of AncientGreek is needed.