Tizys report
【2006/10/18】
Waiting for the ‘Aria’ by Tiziana Longo
※イタリアからの研究生のリポートです（管理人）
On 12th and 14th September 2006 three italian, two opera singer and an anthropologist from Florence, came to meet Ohno Kazuo and visit his Studio in Kamihoshikawa. When they saw ‘La Argentina’ in a TV program they couldn’t forget. After saw many stage properties when they asked Ohno Yoshito how he directs the workshop he started the cla,after for them: “ I have experienced Ohno Kazuo’s dance and Tatsumi Hijikata’s one..”. “ What is standing?”. “The eyes are looking at nothing but can see through, then dance should start from there, like in a mirror, we look inside ourself”. Eyes should cross distances and Continents and come close, penetrate. He explained about practise in the class: walking with the rose, squeezing the towel, the paper, the thread and the needle.. “ Try to put the thread into the needle carefully as you are coming inside yourself . Starting a dance is not starting a movement, the dancer come into the space”. When Yoshito Sensei started dancing his stages appearence had the impact of a standing sculpture, reminding De Chirico’s surrealist lay figure, Rodin’s ‘The thinker’, he totally deleted his figure; his body changed density like the matter changes its state, solid, liquid and finally evaporation. Ohno Yoshito has the mistery of Monnalisa’s smile with a just mili movement he can metamorphose himself and the space. Kazuo Sensei’s dance is the explosion, but Yoshito Sensei’s one is the implosion, the atomic bomb before exploded, the atom before of disintegration.
One of the opera singer made a question about voice soul and body. Yoshito Sensei answered:“In dance we have to connect with the space and the audience. In song the voice should born from the inside like a flower blooming through the audience, ‘Forte’ &‘Pianissimo’. The audience is waiting for the ‘Aria’. Kazuo Ohno use to dance ‘Aria’ at the end of the performance. The way the step, the hand, the voice comes out should reach Iraq, Israel, Brazil. It’s the way I’m trying to create my dance, feel the touch with the world. Everybody is waiting for the ‘Aria’. A beautiful building stands because of a solid base. In performance we have before to build a good base to make the building appear more beautiful. The position of the body we choose follows the criteria of arranging an ikebana. Which is the best place the flower appears most beautiful? From wherever we look at the rose, from whatever corner we look at the rose it’s beautiful. Make our axis like the stalk of the rose, make the hands like petals, the head like the core of the rose, the feet like the roots of the rose tree. It’s a way of perceiving the aestetics of art, the beauty sense. The way we create art is the way we create and melt the fiction and the reality” . He explained that through the head the dancer send and receive messages, and that for this reason the chin should be a little bit tilted down. He danced on Maria Callas’s Aria, he run and finally crouched in the position of Leonardo Da Vinci’s fetus. He peeped through the space clearing, moving the air and we could feel the breeze and crying for the depth and the beauty. His dance was the most beautiful way (base) to introduce them to Kazuo Sensei.
When they met him they kept the silence for some minute. After they said thanks to Kazuo Ohno to have create a world of delicacy and poetry. One of them sang for him. His face was enlighted and at almost 100 years old we could feel him still dancing.
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