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• W1024160110 abstract "In the summer of 2008 at the DAH Theatre in Belgrade, Serbia, I was one of a dozen artists chosen to be part of a three-week, intensive workshop. Performers and directors from six different countries worked on a daily basis to train our bodies, our voices, and our imaginations. Among my fellow artists was a woman from Japan, Izumi Ashizawa. At the time, I was unaware of the breadth of her background, but it was evident to all that her talent and her training were prodigious. Since then, I have kept in touch and watched her career unfold. In this article, I will offer a brief account of what makes Ashizawa one of the more significant artists in World Theatre today and look closely at her 2012 work, Dreams in the Arms of the Binding Lady.Ashizawa's artistic endeavors began as an eight-year-old in Tokyo where she studied calligraphy and, later, chanoyu, the Way of Tea. Eventually, she came to study Noh with the master, Kanji Shimizu of the Kanze-Ryu Noh School. Noh theatre traditionally bans women from its regimen, but also teaches the importance of disseminating the form. Since moving to the US was a part of Ashizawa's plan, Shimizu accepted her as a pupil. The physical rigor and discipline she learned there are major components to her teaching and at the root of her performance philosophy.In 2002, as a recent graduate from the MFA program in Dramaturgy at the Yale School of Drama, Ashizawa and her fellow students, under her direction, devised an amalgam piece of theatre, Medusa, a retelling of the Greek myth through traditional Japanese performance techniques. She followed that with a second work based on Greek themes, The Blue Rocks, which would lay the groundwork for her internationally, as her company would eventually perform it in Romania, Iran, and Japan. [Photo 1] These two works began a remarkable decade of performances, through which she has established herself as a master teacher and practitioner of what has been dubbed the Neo-Noh Theatre.While at Yale, Ashizawa made a connection that would catapult her work to where it is today. When Tadashi Suzuki visited the school, Ashizawa was engaged as his translator. Having made an impression on the great teacher, Suzuki invited her to join him, first as his student and eventually, as his assistant. In combination with her Yale training, her knowledge of the forms of Noh, Kabuki, and Bunraku, and her work with Suzuki, she brings to any rehearsal room a cultural melange that defies all intercultural performance models.Though significantly different, these models all share one commonality. They depend on making a distinction between what Patrice Pavis calls the source and target culture (Pavis 5). Today, various performance artists and their companies seem to signal an inevitable transcendence of these models. As the convolution of cultural signs within a work increases, the lines of demarcation, the semiotic borders between cultures that may have once brought clarity are beginning to disappear. This erasure of cultural boundaries seems to be a logical extension of the postmodern, but the cultural, formal, and political tensions we use to define the postmodern have also become harder to see. No performer has demonstrated this new formation as clearly as Izumi Ashizawa.In 2007, after her work with Suzuki, she won the prestigious UNESCO-Aschberg Award, which took her to France, where she wrote the text for her next creation, Zahak, which was based on a Persian folk-tale. [Photo 2] Ashizawa would later devise its final form in Iran, with the help of local actors, working, of course, within stringent Muslim restrictions. Eventually, she returned to Iran and devised three separate pieces under these conditions.That same year, Ashizawa entered academia with a visiting position at the University of South Florida. There, she and her students devised what is arguably her best-known work, Gilgamesh. [Photo 3] It was also the birth of her performance company. …" @default.
• W1024160110 created "2016-06-24" @default.
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• W1024160110 date "2013-01-01" @default.
• W1024160110 modified "2023-09-23" @default.
• W1024160110 title "Izumi Ashizawa: A Master in Our Midst" @default.
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