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Spring Day, Stone Age And The Search For An Essential Japan By Koike Hiroshi

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Chapter Summary

'Japan is soft and safe - it seems to be wrapped up in a warm surface. On the other hand one cannot shake off the feeling that today's Japan is saturated by deep fear and darkness', Japanese director Koike Hiroshi observed in his programme notes to Spring Day (1997). Koike interrogated this hidden anxiety in this production by his dance-theatre company Pappa TARAHUMARA. This chapter describes and analyses the group's aesthetics with reference to two particular productions, Spring Day (1998) and Stone Age (1991). In Spring Day, Koike utilizes a very strict structure that has the play moving through three distinct sections. The first is a dreamlike dance section dominated by hues of blue, including plain blue jumpers for the five dancers. The second section revolves primarily around the motif of a 'day at the beach'. Final section moves gently away from dance and into text-based vignettes.

Keywords: Japan; Koike Hiroshi; Pappa Tarahumara; Spring Day; Stone Age; text-based vignettes



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