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Paper short abstract:

Introducing ongoing reconstruction project of integrated dance performance between Western ballet and Japanese Classical Dance, this paper argues how the integration was achieved and how the elements of Japanese traditional dance and western dance were utilized.

Paper long abstract:

Ballet was first introduced to Japan in 1911. Vittorio Rossi was invited from Italy by the Imperial Theater-affiliated acting school to teach students ballet, but he was not successful in producing ballet dancers. The body of ballet was clearly different to one of Japanese traditional dance. However, those who quit the school against the severe ballet method became the first generation of modern dance in Japan. In 1927, Eliana Pavlova opened her own ballet studio in Kamakura-city, Japan and then ballet gradually spreads in the country. But still However, it was not until the post-war period that ballet came to be popularized.

Taneo Ishida(1929-2012) has started his career as ballet dancer and choreographer in 1950's when Japanese traditional dancers also attempted to learn western dance style including ballet. He intendedly extracted Japanese traditional culture into his work physically, musically and spatially. He also tried to create original ballet rooted its climate and culture from 1960's. He endeavored to establish Japanese ballet. During this period, several ballet choreographers had similar idea and adopted Japanese traditional culture instead of imitating Western ballet pieces. However, the integrative attempts of new dance productions in 1960-70's were not received highly. They were never performed again and forgotten.

In this paper I mainly introduce revival project of "Onatsu Seijūrō" which was premiered in 1975 by joint project of ballet and Japanese traditional dance. Ishida played the central role in this project. The symphony was composed for this dance drama, which was reconstructed by composer himself in November 2019. The drama was originally written by Japanese famous theater scholar Tsubouchi Shōyō (1859-1935) inspired by popular theatrical icon called Onatsu who is said to exist in 17th century, appeared in plural theatrical dramas in Edo period. Analyzing the attempts in 1975 thorough choreography note and scripts and recent reproduction, this paper argue how the traditional theater icon worked in westernized dance society in Japan.