2000 Ft (Trafó bérlet érvényes)
Saburo Teshigawara began his unique creative career in 1981 in his native Tokyo after studying plastic arts and classic ballet. In 1985, he formed KARAS with Kei Miyata and started group choreography and their own activities. Since then, he and KARAS have been invited every year to perform major European cities, United States and Canada. In addition to solo performances and his work with KARAS, Teshigawara has also been receiving international attention as a choreographer/director. In 1994/95 he choreographed for the Ballet Frankfurt at the invitation of William Forsythe, \Le Sacre du Printemps\ for the Bayern National Ballet in 1999, and by Jiri Kylian for the Netherland Dance Theater I in 2000. There had been no such recognition in the Japanese dance history ever for a choreographer to be invited to work at this kind of international scale. He was the first one to establish such a position in Japan, needless to say that it is a rare case even in Europe for one to be acclaimed both as a choreographer and a dancer. Teshigawara has likewise received increasing international attention in the visual arts field, with art exhibitions, films/videos as well as desiging scenography, lighting and costume for all his performances. Teshigawara's keenly honed sculptural sensibilities and powerful sense of composition, command of space and his decisive dance movements all fuse to create a unique world that is his alone. Keen interests in music and space have led him to create site-specific works, and collaboration with various types of musicians. Apart from on-going workshops held at the KARAS Studio in Tokyo, a joint educational project called \S.T.E.P.\ (Saburo Teshigawara Education Project) has been initiated since 1995 with partners in the UK. Through these workshops he continues to encourage and inspire many young dancers.
KARAS was formed in 1985 with Saburo Teshigawara and Kei Miyata as it's principal members. The group's aim was to search for a 'new form of beauty'. 'Dance' is a form of art that is difficult to describe, as it consists not only of dance but also of elements of art, music, conscience methodology and historical view. KARAS began considering all such factors through rocks like that of Virgin Prunes. There were major discrepancies between what Teshigawara was aiming for and what was going on with dance in the 1970's and the first half of the 1980's -- there was a lack of freedom. Dance has been divided into such categories as classical ballet, modern dance, butoh, post-modern dance, such and such school, and so on. Such names create barriers designed to express the uniqueness of a creation type of dance. This categorization is very much like the conventions found in classical arts. Because Teshigawara was aiming at freedom, he saw the dubious barriers erected around those who were creating and discovering dance as a lack of freedom. In a sense, one could say that \the freedom of dance is the freedom of the dancer. This does not apply to dance alone. Being an artist in this country means facing the conservative sociopsychological restrictions hidden under an outwardly serene surface. \Anything goes -- after all, dance is dance, isn't it. Thus, KARAS believes that art must not stagnate conservatively. New discoveries must be made. Rather than art or art methodology springing from conventional ideas established through history, we hope to act with our own methods with respect to still hidden possibilities. What we discover maybe doubts or questions. We want to express these through action. There are no ideals in dance. Dance is not simple. But dance can be simple. And it can once again be complex. What is important is clarity. Clear questions have force. The 'clearly dissolving space' emerging from inside the idea of searching for a 'new form of beauty' -- the melting of this light, these bodies, these lines, this time and this meaning -- becomes visible, or invisible.
Teshigawara's first performance of “BONES IN PAGES” was held at the Theater Am Turm in 1991. This was a solo performance within the installation “Dance of Air” which clearly demonstrated his “thoughts” as an artist. Saburo Teshigawara’s work lies neither in the category of classical nor modern dance. There are elements in his performances which both exceed the theory of gravity and at the same time emphasise proximity to earth. The vast spaces used have neither walls, nor limits of height nor depth. To Teshigawara, dance is not just a sculpture in space, but also in time. Dance is a form with which to measure our fleeting moments. An artist with great vision is like an innocent child, catching creation even in its destruction and indicating the infinity of the ephemeral.
Danced by: Saburo Teshigawara With the participation of: Kei Miyata és Rihoko Sato KorChoreography and installation by: Saburo Teshigawara Light and Costume design by: Saburo Teshigawara Audio material: Kei Miyata, Saburo Teshigawara
The company KARAS is supported by the BNP Paribas Foundation. Tour 2004 is supported by The Agency for Cultural Affairs of Japan.
