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Relevant bibliographies by topics / Tadashi Suzuki

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Academic literature on the topic 'Tadashi Suzuki'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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Journal articles on the topic "Tadashi Suzuki"

1

Iezzi, Julie A. "The Theatre of Suzuki Tadashi." Theatre Survey 47, no. 1 (April 13, 2006): 150–51. http://dx.doi.org/10.1017/s0040557406390096.

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Suzuki Tadashi is arguably Japan's best known and most influential contemporary director, and this long-awaited comprehensive study presents a complete picture of his work to date. An eleven-page detailed production chronology at the beginning of the book lists everything from Suzuki's first production at the Waseda Free Stage (Jiyū Butai) Drama Society in 1959, through his opera Vision of Lear for the Third International Theatre Olympics in Moscow in 2001. This who-what-when-where chronological reference allows one to map quickly the arc of Suzuki's career, from his work as a director in Japan and his rise to international recognition in the 1970s, through his roles as International Festival coordinator and actor trainer, to his artistic directorships at the Acting Company Mito (ACM) and later Shizuoka Performing Arts Center (SPAC) in the 1990s.

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Kosuge, Hayato. "The Theatre of Suzuki Tadashi (review)." Modern Drama 48, no. 3 (2005): 623–25. http://dx.doi.org/10.1353/mdr.2006.0008.

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Fukushima, Yoshiko. "The Theatre of Suzuki Tadashi (review)." Theatre Journal 57, no. 3 (2005): 535–36. http://dx.doi.org/10.1353/tj.2005.0104.

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Iles, Timothy. "The Theatre of Suzuki Tadashi (review)." Journal of Japanese Studies 32, no. 1 (2006): 173–77. http://dx.doi.org/10.1353/jjs.2006.0012.

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Goto, Yukihiro. "The Theatre of Suzuki Tadashi (review)." Asian Theatre Journal 22, no. 2 (2005): 356–61. http://dx.doi.org/10.1353/atj.2005.0028.

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Goto, Yukihiro. "The Theatrical Fusion of Suzuki Tadashi." Asian Theatre Journal 6, no. 2 (1989): 103. http://dx.doi.org/10.2307/1124454.

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Montanini, Lorenzo. "Tadashi Suzuki’s The Trojan Women as Cross-Cultural Theatre." New Theatre Quarterly 36, no. 4 (November 2020): 332–43. http://dx.doi.org/10.1017/s0266464x20000676.

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This article analyzes Suzuki Tadashi’s version of Euripides’ The Trojan Women, staged multiple times during the past forty years. While this cross-cultural production carries specific socio-cultural signs and juxtaposes different traditional Japanese styles (Noh, Kabuki, and Shingeki), it aims to create a third object that does not belong specifically to any of these traditions but is composed of the sum of their specificities. It argues that The Trojan Women was created by Suzuki and his company as a response to the state of culture and society in Japan during the 1970s, breaking with old and new fashions in an effort to revitalize Japanese contemporary theatre. Offering a socio-cultural analysis and drawing on the writings of Michael Bakhtin and Pierre Bourdieu, it sheds light on Suzuki’s humanistic quest for a universalism pursued through the re-discovery and transformation of traditional styles together with an appropriation of Western texts. Lorenzo Montanini is a theatre director whose work investigates the boundaries of theatre and live performance in a multicultural context. He has taught for more than fifteen years in universities in Italy, including RomaTre, Università di Macerata, and Università l’Orientale di Napoli.

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Edelson, Loren. "The Theatre of Suzuki Tadashi (review)." Comparative Drama 39, no. 1 (2005): 106–9. http://dx.doi.org/10.1353/cdr.2005.0011.

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Nanako, Kurihara. "Hijikata Tatsumi Chronology." TDR/The Drama Review 44, no. 1 (March 2000): 29–33. http://dx.doi.org/10.1162/10542040051058825.

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For the first time in English, we present many of Hijikata's aesthetic and poetic texts. These texts are put into context by Kurihara Nanako's introductory essay. The section includes an interview with Hijikata and a conversation between Hijikata and Japanese experimental theatre innovator Suzuki Tadashi.

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Tatsumi, Hijikata. "Inner Material/Material." TDR/The Drama Review 44, no. 1 (March 2000): 34–42. http://dx.doi.org/10.1162/10542040051058834.

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For the first time in English, we present many of Hijikata's aesthetic and poetic texts. These texts are put into context by Kurihara Nanako's introductory essay. The section includes an interview with Hijikata and a conversation between Hijikata and Japanese experimental theatre innovator Suzuki Tadashi.

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Dissertations / Theses on the topic "Tadashi Suzuki"

1

Woods, Simon. "Suzuki and beyond : adapting the Suzuki actor training method /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19801.pdf.

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Guertin, Caroline Aki Matsushita. "Suzuki Tadashi's Intercultural Adaptations." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32872.

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Contemporary theatre is increasingly visual, an aesthetic shift that has been analyzed in, among others, Hans-Thies Lehmann’s influential Postdramatic Theatre. This shift is apparent in Japanese director Tadashi Suzuki’s intercultural adaptations, which adapt plays of the Western repertoire for contemporary Japanese and international audiences in a style that is richly and evocatively visual. Notions drawn from postdramatic theatre, metatheatre and postcolonial theories are applied as framing devices to uncover the deep cultural and theatrical significance of Suzuki’s adaptive work. My approach to analyzing the three case studies: Suzuki’s King Lear, The Trojan Women, and Cyrano de Bergerac takes a more globalized view of theatrical adaptations that acknowledges the visual turn of contemporary theatre and contributes to the fields of intercultural performance studies and adaptation studies by expanding the notion of interculturalism beyond the limits imposed by current Western analytical perspectives.

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Rust, Colin Michael. "Bodily Awareness: The Theatre Writings of Michael Chekhov and Tadashi Suzuki." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1185907675.

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Santos, Juliana Reis Monteiro dos. "Quando técnica transborda em poesia: Tadashi Suzuki e suas disciplinas de atuação." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-02092009-192013/.

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Em que medida é possível pensar a elaboração de um discurso cênico desvinculada dos procedimentos e meios técnicos aplicados a ela? Ou, por outro lado, até que ponto a escolha de procedimentos e técnicas específicas determinam um fazer poético? No teatro ocidental, o tema do entrecruzamento de procedimentos com a construção do discurso poético passa a ser problematizado a partir do final do século XIX com o advento da encenação, possibilitando a construção de um novo diálogo entre encenação e pedagogia e o desenvolvimento de várias reflexões sobre o trabalho do ator. Tadashi Suzuki, encenador japonês contemporâneo, se insere nesse contexto ao sistematizar um treinamento para atores que lhes permita viabilizar seus objetivos estéticos e a criação de seus espetáculos. Além de proporcionar a aproximação com o trabalho deste encenador que, embora mundialmente conhecido, ainda é pouco divulgado no Brasil, o projeto se insere nas reflexões teórico-práticas surgidas a partir do trabalho de Suzuki e que são pertinentes ao teatro contemporâneo. Reflexões que dizem respeito às articulações entre material técnico e material poético na escritura cênica, à pedagogia teatral e, especialmente, às pesquisas da linguagem da encenação que tomam o ator como fonte geradora de códigos performáticos.
To what extent is it possible to think of the elaboration of a scenic speech separately from the procedures and technical means applied to it? Or, on the other hand, to what point does the choice of procedures and specific techniques determine a poetic work? In the Western theater, the theme of crossing technical procedures with the construction of a poetic speech has become a problem in the theaters as from the 19th century with the arrival of staging, what made the construction of a new dialogue between staging and pedagogy and the development of various reflections about the actors work possible. Tadashi Suzuki, a contemporary Japanese director, becomes relevant in this context when he systematizes a training for actors, one that permits the practicability of their esthetic objectives and a creation of their spectacles. Apart from allowing an approche to this directors work, which despite being known worldwide is still not so publicized in Brazil, the project collaborates with theoreticalpractical reflections that arose from Suzukis work and that are pertinent to contemporary theater. Reflections that refer to the articulations between technical material and poetic material in the dramaturgy of the scene, to theatrical pedagogy and to the researches of the staging language that take the actor as a source of performance codes.

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Castilho, Patrícia Lima [UNESP]. "O teatro de Tadashi Suzuki e o ator como eixo de sua poética cênica." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86850.

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Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-22Bitstream added on 2014-06-13T20:07:38Z : No. of bitstreams: 1 castilho_pl_me_ia.pdf: 1011777 bytes, checksum: 0826b5cd2a5a9b6a012fed90feeb1396 (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Universidade Estadual Paulista (UNESP)
A proposta desse trabalho é promover uma reflexão acerca do encenador japonês Tadashi Suzuki (Japão, 1939-) no que diz respeito a sua contribuição para a arte do teatro e, mais especificamente, à questão da expressividade do ator. Suzuki parte da ideia da atuação como a expressão da consciência do ator numa investigação constante acerca da própria condição humana. Este trabalho pretende averiguar o papel do ator e a sua articulação com os demais elementos da poética cênica daquele que é considerado um dos maiores pensadores do teatro e da atuação na contemporaneidade
The purpose of this work is to promote a reflection on the Japanese director Tadashi Suzuki (Japan, 1939-) as regards his contribution to the art of theatre and, more specifically, the issue of actor’s expressiveness. Suzuki starts from the idea of performance as the expression of the actor’s consciousness in a constant research about the human condition. This work intends to investigate the role of the actor and his relationship with other elements of poetic scenic of a man who is considered one of the greatest thinkers of theatre and performance in contemporary times

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Castilho, Patrícia Lima. "O teatro de Tadashi Suzuki e o ator como eixo de sua poética cênica /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/86850.

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Orientador: Wagner Francisco Araújo Cintra
Banca: Marianna Francisca Martins Monteiro
Banca: Mauro Roberto Rodrigues
Resumo: A proposta desse trabalho é promover uma reflexão acerca do encenador japonês Tadashi Suzuki (Japão, 1939-) no que diz respeito a sua contribuição para a arte do teatro e, mais especificamente, à questão da expressividade do ator. Suzuki parte da ideia da atuação como a expressão da consciência do ator numa investigação constante acerca da própria condição humana. Este trabalho pretende averiguar o papel do ator e a sua articulação com os demais elementos da poética cênica daquele que é considerado um dos maiores pensadores do teatro e da atuação na contemporaneidade
Abstract: The purpose of this work is to promote a reflection on the Japanese director Tadashi Suzuki (Japan, 1939-) as regards his contribution to the art of theatre and, more specifically, the issue of actor's expressiveness. Suzuki starts from the idea of performance as the expression of the actor's consciousness in a constant research about the human condition. This work intends to investigate the role of the actor and his relationship with other elements of poetic scenic of a man who is considered one of the greatest thinkers of theatre and performance in contemporary times
Mestre

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7

Brokering, Jon Martin. "The dramaturgy of Yukio Ninagawa and Tadashi Suzuki : the fusion of traditional Japanese theatrical conventions with Western classics." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275340.

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Loth, Joanne Marie. "Developing a theatre of the integrated actor : the application of the Suzuki actor training method within three theatrical contexts." Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/35837/1/35837_Digitised%20Thesis.pdf.

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This research project examines the application of the Suzuki Actor Training Method (the Suzuki Method) within the work ofTadashi Suzuki's company in Japan, the Shizuoka Performing Arts Complex (SPAC), within the work of Brisbane theatre company Frank:Austral Asian Performance Ensemble (Frank:AAPE), and as related to the development of the theatre performance Surfacing. These three theatrical contexts have been studied from the viewpoint of a "participant- observer". The researcher has trained in the Suzuki Method with Frank:AAPE and SP AC, performed with Frank:AAPE, and was the solo performer and collaborative developer in the performance Surfacing (directed by Leah Mercer). Observations of these three groups are based on a phenomenological definition of the "integrated actor", an actor who is able to achieve a totality or unity between the body and the mind, and between the body and the voice, through a powerful sense of intention. The term "integrated actor" has been informed by the philosophy of Merleau-Ponty and his concept of the "lived body". Three main hypotheses are presented in this study: that the Suzuki Method focuses on actors learning through their body; that the Suzuki Method presents an holistic approach to the body and the voice; and that the Suzuki Method develops actors with a strong sense of intention. These three aspects of the Suzuki Method are explored in relation to the stylistic features of the work of SPAC, Frank:AAPE and the performance Surfacing.

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Crothers, Chelsea. "Performer training evolutions: NSP the firstborn son of SMAT." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2414.

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This study examined the Nobbs Suzuki Praxis (NSP), a performer training that evolved as an Australian variant of the Japanese Suzuki Method of Actor Training (SMAT). There has been little research on NSP up until now and this study seeks to establish its importance as a training approach that has the potential to be transformative for the performers who practice it. The study utilised a multi-modal approach that included traditional and practice as research methodologies. The origins of NSP in SMAT were traced to identify similarities and differences, and reveal NSP’s inspirations and the reasons for its subsequent divergent evolution. NSP diverged as the result of an attempt by John Nobbs to clarify misconceptions about SMAT: that it is ‘movement-training’ as opposed to actor-training, that it is an exclusively Japanese theatre form as opposed to a method that could travel and transcend cultural boundaries, and that it is a directorial aesthetic or style of performance rather than a wholistic performer-training. NSP divergences were identified as alterations or additions, depending on their degree of separation from SMAT. This exegesis argues that NSP is more accessible to a broader participant group than SMAT. ‘Broader’ here means the training is more accessible to different ages, levels of experience and physical capacity. The study highlighted the particular intention in NSP of awakening a performer’s personal mythology, a uniquely individual performative state. Workshops and interviews were conducted with beginners to the training to explore the effects of NSP, revealing that it creates more formats for performers to awaken and unleash the potential of their personal mythology. While an experienced and perceptive facilitator is invaluable to a performer’s development, the performer’s access to revelatory experience was evidenced to be independent of what might be characterised as a ‘hierarchical master-student’ relationship. NSP is just one possible permutation of SMAT but this study demonstrates how NSP empowers advanced practitioners to, in turn, develop their own variations on SMAT and NSP as they respond to the individual and specific needs of their context.

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Cormier, Jason Briggs. "Learning to listen the collaboration and art of the SITI Company /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133357032.

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Books on the topic "Tadashi Suzuki"

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1932-, Takahashi Yasunari, ed. The theatre of Suzuki Tadashi. Cambridge: Cambridge University Press, 2004.

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The art of stillness: The theatre practice of Tadashi Suzuki. New York: Palgrave Macmillan, 2003.

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The way of acting: The theatre writings of Tadashi Suzuki. New York, NY: Theatre Communications Group, 1986.

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4

Allain, Paul. Tadashi Suzuki: His Life and Works. Bloomsbury Publishing Plc, 2000.

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The Theatre of Suzuki Tadashi (Directors in Perspective). Cambridge University Press, 2009.

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Allain, Paul. Art of Stillness: The Theater Practice of Tadashi Suzuki. St. Martin's Press, 2015.

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The Art of Stillness: The Theatre Practice of Tadashi Suzuki. Methuen, 2002.

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Culture Is the Body: The Theatre Writings of Tadashi Suzuki. Theatre Communications Group, Incorporated, 2015.

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The Theatre Practice Of Tadashi Suzuki A Critical Study With Dvd Examples. Methuen Publishing, 2011.

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Book chapters on the topic "Tadashi Suzuki"

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"Introducing Suzuki." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.ch-001.

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"Suzuki Now." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.ch-002.

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"The Suzuki Method." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.ch-004.

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"Video Exercises." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.0010.

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"Selected Bibliography of Works in English." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.0008.

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"Notes." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.0009.

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"Suzuki’s Spaces." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.ch-003.

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"Afterword." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.0007.

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"Acknowledgements." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.0006.

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"Suzuki’s Performance Practice." In The Theatre Practice of Tadashi Suzuki. Bloomsbury Methuen Drama, 2009. http://dx.doi.org/10.5040/9781408159996.ch-005.

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