Choreography, set design, lighting design, costume design : Saburo Teshigawara
Music Compilation : Saburo Teshigawara, Kei Miyata
Artistic Assistant : Kei Miyata
Dancers : Saburo Teshigawara, Kei Miyata, Rihoko Sato, Mie kawamura, Azusa Yoshida, Jeef
Duration: 70 minutes
Production: KARAS / New National Theatre Tokyo
Premiere : 29, Sep 2007 at New National Theatre Tokyo
“SHO” means Yin disappears
“SOKU” means Yan appears
Dissapear and appear, appear and disssapear
Quality constantly emerging from the body
Quality constantly being born
A body existing at its limit
The continuity of life and death
by Saburo Teshigawara
The Asahi 23 Oct 2007, by Ryoko Sasaki
But what was eye-opening was the dance of Rihoko Sato. It was so fast for the eye to catch, but superbly delicate and precise, and all was in perfect harmony. It evoked an innocent wonder to see that one could move as such.
The solo of Teshigawara that followed was as if his joints of the body and the articulation of movement had disappeared, like a seaweed swaying in a calm stream. It was a pure level of state where even conscious had disappeared, through the extreme refinement of the sensibility with alert consciousness.
The stage which was choreographed and designed with light/sound and costume all by Teshigawara, made full use of each dancer’s character, and was of high perfection, equally penetrated by his aesthetics to the most minute of details.
The Performing Arts Journal 19 Oct 2007, by Megumi Ikeno
Bodies appearing and disappearing in space, which seems to be the glowing light of life itself, connecting the past and the future. Teshigawara’s movement seems to have no bound at all, so fluent yet stoic. The trace of his body is magnificent, and makes a contrast with Rihoko Sato, who makes the only appearance of human flesh in the world of total black, with restraint movement arising from a rigid doll-like existence. This contrast makes a unique universe, where innocent souls resonate each other.
Kei Miyata’s stable existence makes the centre of this small universe, also reminding us of mother-nature. The small Mie Kawamura, tall Jeef, and pure Azusa Yoshida – all these unique characters appear and dissapear on stage. Being born from a comforting darkness, disssapearing, and again reborn, a reincarnation.
In the end, Teshigawara and Sato strike two iron pipes together and collapse. The sharp metallic sound, similar to a scream, tears the space and cuts the stream of continuous time. This piece was penetrated by Teshigawara’s aesthetics from beginning, until the last strke for the end of the world.
The Koumei 19 Oct 2007, by Yuichi Konno
Poetic and subtle senses expressed in dance
If you watch “Shosoku” as if accepting a poem, it comes into your senses like water.
About the beginning of things, about life, and about “shosoku”…Teshigawara makes visible in the form of dance, the subtle senses which can only be grasped by refining ones senses and observing the body well.
… Artists tend to become conservative through gaining age. But Teshigawara’s recent works are even more challenging and experimenting than his earlier works. This attitude proves how he still is one of the most avant-garde artists of the world.