Les larmes d’Eros, EN-New Version

1986

Info

Date
08/27,28 les larmes d'Eros,1-6 WS, 09/09 En
Activities
Choreography, Solo Performance, WS
City
Rovereto
Country
Italy
Venue
Cassa di Rispalmio Trento e Rovereto, Teatro Zandonai
Organizer
Festival ORIENTE OCCIDENTE
Hosted by
Festival ORIENTE OCCIDENTE
Performers
Ko Murobushi Company(Ko Murobushi/Toshiaki Kato,Urara Kusanagi,Pier Paolo Koss,etc)
Scenery, Costumes
Ko Murobushi

Description

Les larmes d’Eros originates from Georges Bataille’s book. Bataille signifies “battle.” His La somme athéologique—comprised from three books L’Expérience intérieureLe Coupable, and Sur Nietzsche—must have been essentially inspirational and astonishing books to Murobushi. He also loved a small book with amassed images, Les larmes d’Éros, the most. Although Bataille proposed “atheology,” he in fact resisted integration and had a will to disintegrate into fragments. Isn’t being comprehensive to refuse extreme rawness that can be seized at a battle venue? Murobushi and Bataille shared the same nature in their attitude where they robustly refuse careless abstraction. For instance, Bataille’s words resonates in his following speech:

I think I dislike how Ko Murobushi is getting to be determined. I dislike how it tends to be lost when it turns to be secured. So, for me, I can be in good condition when I am in somewhere like unaccounted places. I prefer the one who has an anti-dance element, with the body which does not belong to a genre of Butoh or contemporary dance and is formed in a place out of such genres. […] I feel romanticism for the early work of Hijikata. In the era before witnessing Revolt Of The Body, which could be called as a legendized ten years of Ankoku Butoh, his performances such as Forbidden Color and Rose Color Dance appear excessively romantic to me, probably because I did not watch them. In those performances, dance and Butoh may have not commenced yet. Those were already dances, before dance formatted itself as dance; Early Butoh may have had such methodology, and Hijikata had that methodology which I can assume in himself through his drinking style, radiated atmospheres from his appearance daily, and his smell when I met him for the first time at his studio (I had barely seen any photos of Hijikata before the moment when I witnessed his performance). His sharpened radicalness as a choreographer would become artistic all the more.

From his speaking

We are hungry, / in the rich / Searching new vertigos / In the hungry body / We find without limitation

Between orient and occident / belonging to neiber / To become things between you and me / From the frontier, I will describe a new fromtier / The forces that produce this vision are Eros

Giving birth, every moment in pain and pleasure / With new meetings and separation / We dance this distance between ourswlves / In sacrifice and excess consumation of our forces.

Ko Murobushi (from the program)

 

There were no asking for shaking hands and no critics to me. And the excitement of the night, success, and Bravo disappeared into the dark.

From his diary

translation
Ikuya Odamaki

Photo

Document

001 Program
002 Program

Scrap

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