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- W4387586362 abstract "The first time I experienced Kasai Akira perform still resonates. It was June 17, 1995, at Fort Mason’s Cowell Theater as part of the newly inaugurated San Francisco Butoh Festival, one of the earliest events of its kind in the United States.1 Kasai had recently returned to the stage, and this was his U.S. debut. The piece, My Own Apocalypse (1994), caused quite a stir that night.2 Through encounters between bodies and language, the work actualized the kind of energies described in chronicles of historical avant-garde art events I had only read about. Until that night, I had always questioned those descriptions and the impact they reported. Like Antonin Artaud and other earlier avant-garde artists who appealed to their audiences with a call to social action, Kasai’s physical and verbal expressions moved through the event to convey a sense of urgency. Words uttered in English, German, and Japanese; facial gestures; interactions with audience members; and an extended manifesto-like program note all indicated that the message of My Own Apocalypse extended well beyond this particular performance moment. The event seemed to be asking audiences to reconsider what dance performance could be and do in the larger world. In Kasai’s words, “Dance is not something possible. If it is possible, it is not dance at all” (1996: 22).3 Even today, I can still feel in my body the vibrations of the somatic encounter with language I experienced at this event. Their impact was not through what was said but rather how the vocalizations activated the performer’s body and resonated in my own, creating an environment that was electric and alive." @default.
- W4387586362 created "2023-10-13" @default.
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- W4387586362 date "2023-01-01" @default.
- W4387586362 modified "2023-10-14" @default.
- W4387586362 title "Vibration: Kasai Akira and Voice Power" @default.
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- W4387586362 doi "https://doi.org/10.1007/978-3-031-30296-1_4" @default.
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