Saburo teshigawara biography of martin

Luminous looks at the relationship that could exist between movements and light and between movements and sound. How does the body perceive, react and adapt based on the different information that the eyes communicate to us about space and its sound environment?

This questioning finds its expression in the scenic set-up of Luminous, which uses light and its reflections, resonance and reverberation, where each element acts on the other and creates a heterogeneous environment for the recipient, in this case the dancer.

Luminous, which comprises two parts, begins with a solo by Teshigawara who reproduces elements from his previous work, Light Behind Light.

Here, the dancer is immersed in a world of sound and light whose source is very low to begin with but perpetually multiplies and reflects. Teshigawara plays on shade and light and their varying intensity. Bodies appear then disappear, as if absorbed by the void, emptiness, nothingness. Stuart Jackson, a blind dancer who

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Dance for the new century

Saburo Teshigawara, regarded as a seminal figure in the creation of a new, mystical dance for the 21st century, is currently in Taipei as part of the Men Dancing series

• By Bradley Winterton / CONTRIBUTING REPORTER

e's one of the greatest. He has been claimed as the dancer -- and dance-maker -- of the 21st century." So says Lin Hwai-min (), director of Cloud Gate Dance Theater (), of the Japanese dancer and choreographer Saburo Teshigawara, whose show opens tonight at the Novel Hall.

The except from the schema shown to the press yesterday afternoon more than confirmed this evaluation. It was one of the most beautiful things inom have ever seen anywhere.

PHOTO: CHIANG YING-YING, TAIPEI TIMES

To tranquil, meditative piano music that sounded like late Schubert, but was in fact an arrangement bygd the Russian mystic and early advokat of Eastern esoteric philosophy Georgei Gurdjieff, Teshigawara, dressed in black, and his white c

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Baroque Opera-Ballet In the Swedish Style: Drottningholm and Vadstena Akademien an antithesis in approach to early art forms.

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It’s widely known that reviews are hardly ever truly objective. As much as the author may try to remain dispassionate, their own experience and erudition affect their evaluation of the piece, be it positively or negatively. Moreover, this effect is intensified if the theme or genre is close to one’s heart or area of expertise. This is precisely why I avoid writing reviews of productions of older ballets and operas (from the 18th century), which I have been researching for several years. A thorough knowledge of the historical material and never-ending discussions with colleagues can result in someone developing their own interpretations and ideas of how such productions may have appeared. And those productions which are carried out very rarely correspond to these interpretations.  On the other hand, any presentation of