Wednesday, April 15, 2015

MCP503 - FINAL PAPER


“The Process and Praxis of Constructing the Self as Medium”
a practical pedagogy for the practice of Performance Art



“ … it is impossible to say where these ideas actually originated, because they are timeless and belong to the natural principles of movement, time and space.” – Anne Bogart.

INTRODUCTION

Enquiry:

Based on the axiom that the body is the primary medium of performance art, my objective is to employ my own methods of training, preparation and execution to develop a structure that can be integrated into a pedagogical curriculum for the practice of Performance Art.

Definitions:

Performance Art:

Although Wikipedia is not necessarily regarded as a reliable source, its definition of Performance Art is one that greatly amuses me and successfully emphasizes the genre’s diversity to the point of diametrically opposing features. I have been using it as a light-hearted approach to engage students in discussion of the field:

Performance Art
Not to be confused with Performing arts.
In art, performance art is a performance presented to an audience, traditionally interdisciplinary. Performance may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience participation. The performance can be live or via media; the performer can be present or absent. It can be any situation that involves four basic elements: time, space, the performer's body, or presence in a medium, and a relationship between performer and audience. Performance art can happen anywhere, in any venue or setting and for any length of time. The actions of an individual or a group at a particular place and in a particular time constitute the work.

In the context of my work, I define performance art as being the meeting point of artistic genres, primarily of the visual arts and the theatre arts, in performative action.
It is a platform that provides the artist with an immediate and urgent voice – one that holds the power to pierce through and demand attention.
It embraces artists of all backgrounds – from painters, sculptors, video artists, sound artists and musicians, movement artists, dancers, actors and poets, to philosophers and political activists. It holds inexhaustible possibility for methods of audience engagement – from intimate one-on-one encounters to massive spectacle.

As performance, the key element is a human presence – utilizing the “Self” as artistic medium. “Therefore, unlike theatre, dance and music, much performance art was and is the work of individual artists using their own selves – bodies, psyches, notebooks, experiences – as material.” (Schechner 162)
I understand that the substance of exactly what that entails to each artist is highly individualized – to me it implies the body (with its own set of physical capabilities and limitations), the mind (in relation to its capacity for imagination, intellect and responsiveness), issues of identity (some arising from uncontrollable demographics, such as age, race, gender, sexual orientation, class structure, cultural influences etc. and others which are considered more “choice oriented” – professional, spiritual and social associations). There is also the emotional aspect of “self” (on the most part, shaped by experiences). Of course, the finer points of these definitions of what constitutes the “self” in art are always debatable. However, for my own artistic practice, a crucial aspect of “self” is the ability to surrender self in order to become “other” – self as a channel, vector, conduit, art-ery for artistic ideas to manifest.

Transformation, Metamorphosis, Transcendence:
These are concepts I have only recently consciously identified as at the core of my artistic work, after being challenged to do so by Transart faculty during the first Berlin Summer Residency. This being the case, I am still in the process of defining and articulating exactly how these concepts are integrated into my current enquiry and am considering a shift of focus to concentrate on these themes next year.
For this paper, I will be presenting these concepts as they apply to Butoh dance performance and the pedagogical lineage of Tatsumi Hijikata. I will illustrate this application via two texts: “Becoming Nothing to Become Something: Methods of Performer Training in Hijikata Tatsumi’s Buto Dance” – Tanya Calamoneri, PhD dissertation; and “Artist Interview – Akaji Maro” (Hijikata dancer and Butoh pioneer) – for The Japan Foundation website magazine Performing Arts Network Japan.

Pedagogy:

“Really creative pedagogy can access the abstract, non-rational world, in concrete, practical ways available to everyone.” – Brid Connolly.

“The main objective is to change people into actors, such that they don’t delegate action to someone else, including the educators.” – Augusto Boal.

Within the context of my enquiry to create a structure for a pedagogical practice in performance art, I consider my pedagogy to be a method developed, defined and refined through a process of reflexive teaching that serves to facilitate learning through exploration, experimentation and discovery – with the objective of discoveries evolving into the creation of new artistic work.
To illustrate this process of pedagogical practice informing the creation of original new work I will be using two texts: “Exercises For Rebel Artists: Radical Performance Pedagogy” – Guillermo Gomez-Pena & Roberto Sifuentes; and “The Viewpoints Book” – Anne Bogart & Tina Landau. Both of these books are presented specifically as a pedagogical guide addressed directly to teacher/facilitators and to students, giving step-by-step instructions on how to set up and progress through a series of exercises and describing objectives as well as giving examples of potential outcomes.

Why a Pedagogy?

In my professional experience as a body-based performance artist, the arena that has demanded the most definition and articulation of what would otherwise remain for me an abstract and intuitive art-form, is that of the workshop or classroom.
My own creative capacity has been broadened by being in the role of pedagogical facilitator, due to a series of events that occur within this synergetic setting; first, there is the necessity to find a vocabulary with which to communicate my artistic concepts with enough clarity for others to be able to explore the ideas for themselves – this in itself already has the effect of adding new layers of depth to the concepts, giving me more to work with in my own explorations. Then there are the unique responses of individual students/participants, which initially serve as a guide to judge whether or not my intentions have been understood and then as inspiration for further development as I see how I can continue to “sculpt” the process. This ultimately informs the creation of new artistic work as part of what I consider to be an incremental and organic process.

The journey leading me to this enquiry is rooted in a traditional British performing arts background of Royal Academy of Dance and Associated Board of Music examinations, plus American and European staples of contemporary dance techniques as well as drama and musical theatre training. Encounters with art history and art film studies, modern music composition plus dance and music improvisation have all informed my artistic processes. However, it was during the rite of passage, transitioning from student into a professional career when taking on the role of “teacher” served as a pivotal role in my creative process – for reasons described above.
Throughout my career as performance artist and teacher I have never dared to stop and question or second-guess my developing process, perhaps for fear it might all fall apart if I had to examine it too closely and the flow was broken. This enquiry will introduce critical examination into my process, to place my work in context with other body-based performance pedagogies and to re-define my own practice.

Origins, Influences & References:

Before proceeding further with a scoping of the field, I want to briefly address the specific ideas of origins, influences and references in the context of my work and its process of development. First of all, the idea of “original thought”.
As an artist and innovator, one’s imagination is constantly engaged in pursuit of the unprecedented – the unique, the novel, the original. Of course, nothing is ever created in a vacuum, but it is sometimes impossible to identify exactly what the influences are.  It is because this is such a primary issue to me that I opened this paper with the quote from Anne Bogart. Speaking of the universal concepts utilized in the Viewpoints and Composition methods of training, she continues: “Over the years, we have simply articulated a set of names for things that already exist, things that we do naturally and have always done, with greater or lesser degrees of consciousness and emphasis.” (7)

Sometimes a movement arises as if growing out of a rhizomatic underground (as presented by Deleuze and Guattari in “A Thousand Plateaus”) - no one can claim to be ultimate originator of the movement and it’s even difficult to say who influenced whom.
In fact, there may not be a direct human influence at all; sometimes the most direct influence on a work might be a shape or sensation from nature.
This is what Hijikata was referring to by saying: “… my body trains itself as a matter of course … when you come in touch with such things (these extreme nature images and experiences) something is naturally forced out of your body.”  (Calamoneri 54)
Children are constantly creating by imagination only, why should adults be so far removed from this?
“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.” – Albert Einstein.

These ideas of “unknown origin” and “creation-by-imagination” relate directly to my current enquiry, as much of my work has been formulated by very isolated and insular investigations of the “self-as-medium” - of body and mind in relationship to time, space, motion, gravity and subsequently in relationship to other - in creative response to environmental influences and entities, also (as previously described) through the reflexive process of the workshop environment. Therefore, it is very difficult to claim identifiable “influences” in regards to specific names and methods of practice.
Hence, the rationale for my research has been twofold:
1) Scoping the field by way of literature and video review in order to find comprehensive references by which to compare and contrast my work.
2) Practice-as-Research in the form of solo investigations and refinements of body-based exercises, plus a series of workshops for feedback and further development.

RESEARCH

Scoping the Field:

In order to contextualize my work within the fields of performance art, performance studies, body-based movement methods, performance and movement pedagogies and of pedagogy in general, I had a considerable amount of ground to cover.
My research on the subject of pedagogy was mostly via University and academic website articles and was focused on gaining a fundamental understanding of academic structure, its components and the vocabulary used to identify teaching methods.
On coming across an article “Curriculum Theory and Practice” by Mark K Smith, I realized that I must belong in the category of educator he is referring to when he says: “…when informal educators take on the language of curriculum they are crossing the boundary between their chosen specialism and the domain of formal education... But we should not fall into the trap of thinking that to be educators we have to adopt curriculum theory and practice.
I discovered that, according to the terminology given to describe teaching methods in the University of Central Florida’s Teaching And Learning Resources website, I employ methods of: Active Learning, Collaborative Learning, Demonstration, Discussion, Immersive Environments, Multimedia Instruction, Portfolio and Student Presentations in my pedagogy.

My initial scoping of the field for historic and social context of performance art and performance studies was via the broad, encompassing and comprehensive texts of RoseLee Goldberg’s “Performance Art: From Futurism to the Present” and “Performance: Live Art Since 1960”; and of Richard Schechner’s “Performance Studies: An Introduction” – followed by several other texts viewing the subject of performance through a range of lenses from artistic to anthropological, including the writings of Victor Turner, Antonin Artaud and Bertolt Brecht, as well as the archives from Black Mountain College (which are available locally in Asheville NC at the Black Mountain College Museum + Art Center). These texts provided substantial groundwork with which to pursue a better-informed search.

Following this I turned my attention towards the more specific and crucial search for other body-based performance pedagogies. The theatre based training methods of Augusto Boal, Phillip Zarrilli, Michael Chekhov and Tadaki Suzuki as well as dance based pedagogies for movement exploration, such as those of Anna Halprin (and subsequently Trisha Brown, Yvonne Rainer and others in the Judson Church movement), Nancy Stark-Smith and also the voice and movement pedagogy Meredith Monk employs in her workshops based on her unique performance methods.
However, the three body-based performance pedagogies I have chosen to review in relation to my own developing work are those of Guillermo Gomez-Pena and Roberto Sifuentes; of Anne Bogart and Tina Landau’s Viewpoints and Composition; and of Tatsumi Hijikata’s pedagogical lineage of Butoh dance.

Exercises For Rebel Artists:
The purpose of this book by Guillermo Gomez-Pena and Roberto Sifuentes (of La Pocha Nostra) is to guide the reader through their pedagogy step by step, with enough information and clarity for the reader to conduct the exercises for themselves in a workshop setting. I see connections in their work to Augusto Boal’s “Theatre of the Oppressed”, however even though their artistic, social and political choices are so radical and provocative, their pedagogy is one that does not necessarily dictate their political platform or aesthetic results, but allows the individual to develop their own artistic choices.
I found many similarities in their pedagogy to mine – including their approach to the body as “raw material” for making art and the use of objects and costume pieces in their “Tableaux Vivants”. I utilize these particular concepts and methods of execution in a Creative Response exercise I call “Human Sculptures”, where human form merges with colours, textures and shapes of costume and object – all aesthetically and symbolically equal as potential art medium. Their “Hands-on physical and perceptual” exercises are also methods I could very easily incorporate into my pedagogy. (39 – 74)

Viewpoints:
I began to read about Anne Bogart’s work with Viewpoints and Composition as a result of investigating Tadaki Suzuki’s movement method for actors (which I had found to be incompatible with my own, as I felt there was not enough space for exploration and discovery within the exercises).
Immediately I felt like I was hearing my own creative language!
I followed the thread back to post-modern dance choreographer Mary Overlie’s Six Viewpoints or SSTEMS of Space, Shape, Time, Emotion, Movement and Story.
Bogart’s development of this system in collaboration with director Tina Landau includes Nine Viewpoints of Time and Space:
Time – Tempo, Duration, Kinesthetic Response, Repetition.
Space – Shape, Gesture, Architecture, Spatial Relationship, Topography.
Within these categories there are also sub-categories – for example, within Architecture are the subjects of Texture, Colour, Light and Sound.
Bogart and Landau have also examined vocal sounds with this type of deconstructive method – using categories of Pitch, Dynamic, Acceleration/Deceleration, Silence and Timbre.
Like “Exercises For Rebel Artists”, “The Viewpoints Book” is an instructional guide for the reader to put into practice. I can integrate elements of this method into my pedagogy, as much of it is already there.  I have been isolating many of these key components for investigation in my own creative and pedagogical practice, regarding them as “ingredients” with which to create experimental recipes. Bogart and Landau most often use the “topography” of a grid structure for performers to move on while adding the specific time and space “ingredients” being suggested to explore. While I can see that a grid creates a stable floor pattern on which to build, I would not choose it as a “default setting” as I feel it creates a certain quality of regimentation. I don’t usually create a set topographical structure unless there is a specific concept that using one will help to evoke.

Tatsumi Hijikata / Butoh Dance:
Since its beginnings in Japan as an expressionist reaction to World War Two and its aftermath, this dance form has branched out into a variety of modern hybrids. However, a link remains to its original roots via the pedagogical approach originated by Tatsumi Hijikata for the rigorous training of his company members.
Although regarded under the terminology of “dance”, this extreme movement form with its defiant political roots, subversive history and radical aesthetics of body-image, certainly exists on the same platform as what I am defining as performance art.
As a body-based art form, what is most distinctive in Butoh methodology is the use of imagery. And although much of the imagery is nature-based, that certainly does not mean it is pretty! Butoh fully confronts and embraces the horrific and grotesque or perverse as well as the exquisitely beautiful or delicate – it is an art of violent extremes. It grapples with archetypes of human, animal, nature and spirit – forces seen and unseen.
Very early on, the body-based methods of Michizo Noguchi with his “Noguchi Taiso” (or Noguchi Gymnastics) were absorbed into Butoh training due to their image-based approach to the body. Akaji Maro says of Noguchi Taiso: “It showed me a completely new image of gymnastics as something flexible and formless rather than a set of strict movements and forms, and that the body was also something flexible and formless.”

Although I would not necessarily consider my own work and pedagogy as “Butoh-based”, it is certainly a practice I identify with in its approach to the self as medium for art. Here, I use the word “self” to describe the complete entity of body-mind-spirit that Butoh demands the commitment of. It is here that I find the underlying themes in my work of transformation, metamorphosis and transcendence are called into play, as they are inherent in the Butoh philosophy itself. It is here that my desire as an artist to feel the “voluptuous surrender” of the self into something greater than the self – yet would not exist without the self – is satisfied.

Imagery:

Before continuing on to describe my methods of Practice-as-Research for this enquiry, I would like to discuss further the use of imagery as it pertains to my body-based pedagogical practice and with my developing awareness of the themes of transformation, metamorphosis and transcendence in my work.
In her dissertation, Calamoneri speaks extensively of the phenomenon of transformation and transcendence through the use of imagery in Butoh dance. She says: “Expanding the concept of human being through the metamorphosis of the flesh is one of the basic skills in Buto. One works through the body to get beyond the body.” (25) Continuing on in reference to Hijikata’s training she says: “… there was an emphasis on body as vehicle for transformation, sacrificing the self in/for performance, and cultivating a state of emptiness so that one could be fully present to the pure experience of the image.” (26) She relates her own experience of overcoming the extreme physical challenges of injury, stating: “The exercises taught me how to employ imagery to surpass perceived physical limitations …” (184)
I too have many of these “mind-over-body” experiences. One example is the use of an image of an internal helium balloon to defy the challenging effects of gravity.

Within the context of my own pedagogy, this total surrender of the self to imagery that Hijikata holds as imperative is not one I impose so completely on students, but it is something that is given space and possibility for through suggested imagery and the explorative nature of the exercises.
I concur with Calamoneri’s statement: “… the images act as a gateway to an experience, which can then be interpreted and shaped by each individual dancer.” (17)
Akaji Maro also implies a slightly softer approach with his relationship to imagery in his version of the Hijikata pedagogy: “… I will use words as long as they get the body to move. But that doesn’t mean that the final movement is an embodiment of the words. The meaning lies somewhere else. The body drinks in the words and they completely dissolve there, leaving only the state of the body, with its movements …”

Practice-As-Research:

In the context of this project, putting my pedagogical exercises and theories into active practice in the workshop setting has served as research to investigate them and discover outcomes and results, to see where there are questions still remaining and begin to draw conclusions.
My objectives in using practice-as-research this year have been:
1.     To define, refine and develop my own distinctive body-based exercises (which I am calling Body Tuning)
2.     To conduct workshops for the purpose of:
a)    Receiving critical feedback on my Body Tuning exercises
b)    Developing Creative Response exercises
c)     Encouraging the development of New Work
3.     To use this information in context with performance art history for creating a well-rounded performance art pedagogy

I propose that in order to use the self to create art, one must address the self as medium. Therefore, in order to prepare this medium for optimum use in creation, the body and mind need to be “tuned” – alert, responsive and open to possibility.
I argue that these physical and creative exercises I am compiling and developing will help to provide a universal, unbiased substructure for the body and the imagination from which to explore, discover and create.

Body Tuning:
Using the analogy of “tuning” a musical instrument or an engine in order for it to function smoothly and efficiently, I have developed a series of physical preparation exercises. Congruent with my opening quote, it is my philosophy that one cannot really “invent” movement, only discover and utilize what is already inherent in the body. Each of these exercises isolates one specific fundamental concept of self in relationship to body, time, space, gravity, surface, form, body sound and motion. For the nine exercises I created and then researched in the context of the workshop setting, I have given the titles: Vibration, Joint Spirals, Floor Massage/Cat Stretch, Breath, Transfer of Weight, Quality of Motion, Definition, Shape and Body Soundz.

Creative Response:
These are exercises to use interactive play for the engagement of self with “other”. They explore responses to such entities as: environment, sound, image, text, object, colour, texture, smell, taste, concept, narrative, technology, character, identity and human interaction. (In fact, there’s no reason why they should not include animal interaction too!) Many of the exercises have been adapted from actor training techniques, such as those of Konstantin Stanislavski, or from traditions of Movement Theater – like mime, or even “Improv Theater” style party games. They also share many thematic concepts with the Viewpoints method of training. Some of the Creative Response exercises developed during workshop sessions this year have been: Call & Response, Finding the Essence, Creative Synesthesia, Abstracting Adverbs, Movement Telepathy, Human Sculptures and a series of Environmental Response explorations.

New Work:
Within the context of my pedagogical development this year, I have been approaching the idea of “new work” as: artistic work that has undergone a process of development, examination and decision-making to a point of presentation. The time frame of this process can be anything from instantaneous to indefinite and in some cases the process itself can be the performance.
As with the workshop structure described in “Exercises For Rebel Artists” (120 – 124) where workshop participants will explore a creative method in the studio and then take the results out into the public sphere in an unannounced “guerilla performance” or “public intervention”, I will often take the workshop out into the public realm. This context of exposure “forces” a “new work” to occur as a performative action.
Once something is presented as a deliberate performative action (whether in real or virtual space), in the context of this current project I am calling it “new work”.

Workshops:

Throughout the year I have been conducting a series of workshops in which my pedagogical methods have been put to the test, opened up to critical feedback and explored, developed and defined. It is my intention to make this pedagogical practice as accessible as possible to anyone who has an interest in “being art”. Therefore I have worked with: a community group with diverse occupations, ages and abilities; a contemporary dance company; a group of Butoh dancers; my Transart peers; and a merger of Real and Virtual participation duality with art students at a regional liberal arts college joining participants from anywhere in the world via a Tumblr group.

Discussion, feedback and journaling have played a vital role in these workshop sessions. The information received as workshop results and feedback has been utilized to refine the structure and execution of the exercises and to create an outline for a new Performance Art Syllabus. This syllabus is presented in conjunction with the workshop results as the basis of my final Studio Project.
I conclude that this pedagogy is ready to be integrated into a curriculum and has the versatile potential for adaption to suit a range of age, experience, ability and setting and will end with some quotes from three workshop participants: a New Media Professor, a retired federal employee and a young experimental musician.

“I found it engaging, intriguing, meditative, and immersive.  I thought the workshop and instruction was of great help for the participant to be successful in the performance and public intervention.”

“As a 64-year-old non-limber person, I wasn't sure if I would be able to do everything I was asked to do, but the way you conducted it put me at ease.”

“It allows you to experience on a more literal level that you are part of a bigger picture. All parts equally important and dependent on one another. Claire shows you how to observe that you naturally are already a work of art.”



BIBLIOGRAPHY

PRINT

Artaud, Antonin. The Theatre And Its Double. New York: Grove, 1958. Print.

Boal, Augusto. Theatre Of The Oppressed. New York: TCG, 1985. Print.

Bogart, Anne, and Tina Landau. The Viewpoints Book. New York: Theatre Communications Group, 2005. Print.

Brecht, Bertolt, and John Willett. Brecht on Theatre; the Development of an Aesthetic. New York: Hill and Wang, 1964. Print.

Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: U of Minnesota, 1987. Print.

Dixon, Michael Bigelow, and Joel A. Smith. Anne Bogart: Viewpoints. Lyme, NH: Smith and Kraus, 1995. Print.

Goldberg, RoseLee. Performance Art: From Futurism to the Present. Third ed. New York: Thames & Hudson, 2011. Print.

Goldberg, RoseLee. Performance: Live Art since 1960. New York: Harry N. Abrams, 1998. Print.

Goldberg, RoseLee, and Defne Avas. Performa. N.p.: n.p. 2007. Print.

Gómez-Peña, Guillermo, and Roberto Sifuentes. Exercises for Rebel Artists: Radical Performance Pedagogy. London: Routledge, 2011. Print.

Huxley, Michael, and Noel Witts. The Twentieth-century Performance Reader. London: Routledge, 2002. Print.

Kurth, Peter. Isadora, a Sensational Life. London: Little, Brown, 2002. Print.

Schechner, Richard. Performance Studies: An Introduction. Third ed. New York: Routledge, 2013. Print.

Stucky, Nathan, and Cynthia Wimmer. Teaching Performance Studies. Carbondale: Southern Illinois UP, 2002. Print.

Turner, Victor W. The Anthropology of Performance. New York: PAJ Publications, 1986. Print.


ARTICLE

Artist Interview – Akaji Maro. The Japan Foundation. Performing Arts Network Japan, June 2005. Web.

Calamoneri, Tanya. Becoming Nothing to Become Something: Methods of Performer Training in Hijikata Tatsumi’s Buto Dance. PhD dissertation. Temple University Electronic Theses and Dissertations, 2012. Web.

Connolly, Brid. Theorising Creative Critical Pedagogy: the art of polliticised agency. Rhizome Freirean 14. Instituto Paulo Freire de Espana. 2013. Web.

Fink, Dee L. A Self Directed Guide to Designing Courses for Significant Learning.

Fuller, Zack. Seeds of an anti-hierarchic ideal: summer training at Body Weather Farm. Theatre, Dance and Performance Training, Routledge UK, 2014. Web.

Hamp, Amanda E. Their Hands in the Dirt: How Kazuo Ohno and Stephanie Skura Cultivate Dance Practices from Nature. Choreographic Practices  4.1 (2013): 9-28. doi: 10.1386/chor.4.1.9_1. Web.

MaGee, Chris. Criminal Dance: The Early Films of Butoh Master Tatsumi Hijikata. Midnight Eye, 30 September 2010. Web.

Norsworthy, Beverley Elizabeth. Being and Becoming Reflexive in Teacher Education. PhD dissertation. The University of Waikato. 2008. Web.

Overlie, Mary. The Project - The beginning of the theory. Inventing the Wheel Backwards - The history of the theory. SSTEMS – The Six Viewpoints. Observer/Participant – The result of the theory. Six View Points. n. date. Web.

Singham, Mano. Death to the Syllabus. Liberal Education Magazine Vol. 93, No. 4. Association of American College & Universities. Fall 2007. Web.

Smith, Mark K. Curriculum theory and practice. the encyclopaedia of informal education. 1996, 2000. Web.

Smith, Mark K. What Is Praxis? the encyclopaedia of informal education. 1999, 2011. Web.

Yoshida, Mariko. Awareness of Body in Language Education through Drama. n. date. Web.  http://portal.unesco.org/culture/en/files/29983/11399308571yoshida.htm/yoshida.htm

Teaching Methods – Definitions. University of Central Florida n. date. Web.

Techniques for Creative Teaching. Center for Excellence in Learning and Teaching. 
Iowa State University. n. date. Web.

Writing a Syllabus. Cornell University. n. date. Web.


VIDEO

Breath Made Visible. (Anna Halprin) Dir. Ruedi Gerber. Video DVD.

BUTOH: Body on the edge of crisis. Dir. Michael Blackwood. 1990. Video DVD.


Ellis Island / Book of Days. Dir. Meredith Monk. 2007. Video DVD.

“Flow” The secret to happiness. (Mihaly Csikszentmihalyi) TED2004. Feb 2004. Video. Web.

Inner Voice. (Meredith Monk) Dir. Babeth Van Loo. 2009. Video DVD.

Nogouchi Gymnastics Web Lesson. Noguchi Taisou website n. date. Video. Web.

Rainer Variations. (Yvonne Rainer) Dir. Charles Atlas. 2002. Video. Web.
Self Discovery in a Silver Room. (The Frank Suzuki Actor Knowhow Package) Dir. John Nobbs and Jacqui Carroll. 2011. Video DVD.

Summer Storm - Tatsumi Hijikata. Dir. Misao Arai. 1973/2003. Video. Web.

Suzuki Training (theatre program at Long Island University).  2011. Video. Web.





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