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Journal articles on the topic 'Tadashi Suzuki'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Tatsumi, Hijikata. "To Prison." TDR/The Drama Review 44, no. 1 (March 2000): 43–48. http://dx.doi.org/10.1162/10542040051058843.

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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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12

Tatsuhiko, Shibusawa. "Hijikata Tatsumi: Plucking off the Darkness of the Flesh." TDR/The Drama Review 44, no. 1 (March 2000): 49–55. http://dx.doi.org/10.1162/10542040051058852.

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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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13

Tatsumi, Hijikata. "From Being Jealous of a Dog's Vein." TDR/The Drama Review 44, no. 1 (March 2000): 56–59. http://dx.doi.org/10.1162/10542040051058861.

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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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14

Tatsumi, Hijikata. "On Material II Fautrier." TDR/The Drama Review 44, no. 1 (March 2000): 60–61. http://dx.doi.org/10.1162/10542040051058870.

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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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15

Akihiko, Senda. "Fragments of Glass: A Conversation between Hijikata Tatsumi and Suzuki Tadashi." TDR/The Drama Review 44, no. 1 (March 2000): 62–70. http://dx.doi.org/10.1162/10542040051058889.

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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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16

Tatsumi, Hijikata. "Wind Daruma." TDR/The Drama Review 44, no. 1 (March 2000): 71–79. http://dx.doi.org/10.1162/10542040051058898.

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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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17

Carvalho, Glauce Priscila Ribeiro de, and Wânia Mara Agostini Storolli. "A voz no Treinamento Suzuki." Urdimento - Revista de Estudos em Artes Cênicas 3, no. 42 (December 13, 2021): 1–16. http://dx.doi.org/10.5965/1414573103422021e0301.

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Este artigo trata a questão da voz no treinamento e no trabalho de direção de Tadashi Suzuki, estabelecendo relações entre fundamentos da prática do diretor japonês com o pensamento sobre a voz de Adriana Cavarero. O trabalho resultou da interação entre a experiência prática com o treinamento Suzuki e a reflexão baseada nos conceitos da filósofa, especialmente ao considerar o aspecto de unicidade e a natureza relacional e corpórea da voz. Observou-se como a voz no treinamento e nos espetáculos de Suzuki é compreendida em sua dimensão universal onde, ultrapassando as amarras da semântica, o elemento vocálico pode afetar e gerar a interação com o outro - performers e público.

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18

Raquel, Fernanda, and Christine Greiner. "Heterotopias teatrais e a concepção de energia – Suzuki e a cena contemporânea japonesa." Urdimento - Revista de Estudos em Artes Cênicas 3, no. 42 (December 13, 2021): 1–17. http://dx.doi.org/10.5965/1414573103422021e0102.

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Quando foi criada a SITI Company (1992) por Anne Bogart e Tadashi Suzuki, tornou-se comum falar no método Suzuki-Viewpoints. Porém, alguns artistas mais jovens desconhecem a produção destes grandes pesquisadores, antes da parceria. O objetivo deste artigo é apresentar algumas características dos primórdios do que foi considerado o treinamento Suzuki em 1965, quando criou o Waseda Shogekijo (Pequeno Teatro de Waseda), até a chegada de sua companhia em Toga. A proposta não é reconstituir a sua biografia, mas investigar o que segue em movimento do pensamento/ação de Suzuki, como a invenção de heterotopias teatrais que afetam, de modos diferentes, a cena contemporânea japonesa, e a sua noção singular de energia como tecnologia de comunicação.

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19

Sant, Toni. "Suzuki Tadashi and the Shizuoka Theatre Company in New York." TDR/The Drama Review 47, no. 3 (September 2003): 147–58. http://dx.doi.org/10.1162/105420403769041446.

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In this conversation, Suzuki talks about his work as artistic director of the Shizuoka Performing Arts Center. He discusses his training method, his work with Anne Bogart, the Theatre Olympics, and the need to devise strategies for transmitting knowledge across cultures from one generation to the next.

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20

Brandão, Luciana, and Bruna Emanuele Fernandes. "O método Suzuki precede uma filosofia." Urdimento - Revista de Estudos em Artes Cênicas 3, no. 42 (December 13, 2021): 1–29. http://dx.doi.org/10.5965/1414573103422021e0106.

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O presente artigo tem por propósito apresentar o contexto cênico e histórico que antecede e acompanha o início da carreira do diretor japonês Tadashi Suzuki, bem como expor sinteticamente princípios técnicos e teóricos que definem sua noção sobre encenação. Partindo de sua biografia, desde a infância no contexto pós-Segunda Guerra Mundial até seus primeiros anos como diretor profissional, buscamos expor a combinação de aspectos dos teatros oriental e ocidental que levaram ao desenvolvimento do método Suzuki. Por fim, a partir de escritos do próprio diretor, intentamos um resumo sobre sua visão técnica e teórica sobre a atuação.

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21

Kominz, Laurence, Tadashi Suzuki., and J. Thomas Rimer. "The Way of Acting: The Theatre Writings of Tadashi Suzuki." Monumenta Nipponica 42, no. 1 (1987): 103. http://dx.doi.org/10.2307/2385044.

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22

Kim, Theresa Ki-ja, Tadashi Suzuki, and J. Thomas Rimer. "The Way of Acting: The Theatre Writings of Tadashi Suzuki." Asian Theatre Journal 7, no. 1 (1990): 114. http://dx.doi.org/10.2307/1124043.

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23

Terao, Ehito. "Sprache und Hierarchie. Die Möglichkeit des Widerstands in internationalen Koproduktionen des Regisseurs Suzuki Tadashi." Forum Modernes Theater 33, no. 1-2 (June 13, 2022): 205–17. http://dx.doi.org/10.24053/fmth-2022-0016.

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Suzuki Tadashi (*1939) gehört zu den wichtigsten Theaterkünstler*innen in Japan. Er hat sein eigenes Schauspieltraining, die ‚Suzuki-Methode‘, entwickelt und sich in seinen Inszenierungen mit der De- und Rekonstruktion des Verhältnisses von Körper und Sprache beschäftigt. Im Jahr 2009 ließ der Regisseur in seiner Produktion Haisha-Nagaya no Kachi Kachi Yama, anders als in seinen bisherigen zahlreichen internationalen Produktionen, alle ausländischen Schauspieler*innen in japanischer Sprache spielen. In dieser Situation verfremden ihre Gesten und Sprechweisen die Selbstverständlichkeit der Sprache: Sie machen einen Sprach- und Kulturraum sichtbar, in dem die sprachliche, soziale und kulturelle Hierarchie ohne Gründe und als kollektive Phantasie entsteht. Im Spielraum der formalen Kollektivität bzw. der kollektiven Formalität zeigen sich markante Momente, mit denen die Grenzen der bestimmten Sprach- und Kulturräume überschritten und eine neue Möglichkeit der transkulturellen Schauspielkunst gezeigt werden.

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24

MCDONALD, MARIANNE. "The Rise and Fall of Dionysus: Suzuki Tadashi and Greek Tragedy." Arion: A Journal of the Humanities and the Classics 17, no. 3 (2010): 55–69. http://dx.doi.org/10.1353/arn.2010.0055.

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25

Brian, Crystal. "The Art of Stillness: The Theater Practice of Tadashi Suzuki (review)." Theatre Topics 14, no. 2 (2004): 497–98. http://dx.doi.org/10.1353/tt.2004.0015.

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26

Nanako, Kurihara. "Introduction: Hijikata Tatsumi: The Words of Butoh." TDR/The Drama Review 44, no. 1 (March 2000): 10–28. http://dx.doi.org/10.1162/10542040051058816.

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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. Hijikata Tatsumi died in 1986, but his impact on Japanese and world performance remains strong. One of the founders of butoh, Hijikata's dances were “blistering images of emaciation and death”, yet beautiful.

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27

Ehito, Terao. "Sprache und Hierarchie: Die Möglichkeit des Widerstands in internationalen Koproduktionen des Regisseurs Suzuki Tadashi." Forum Modernes Theater 33, no. 1-2 (2022): 205–17. http://dx.doi.org/10.1353/fmt.2022.0015.

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28

Aley, Judith. "The Way of Acting: The Theatre Writings of Tadashi Suzuki. By Tadashi Suzuki. Translated by J. Thomas Rimer. New York: Theatre Communications Group, 1986. x, 158 pp. Illustrations, “A Play: Clytemnestra.” $9.95 (paper)." Journal of Asian Studies 46, no. 3 (August 1987): 676–77. http://dx.doi.org/10.2307/2056941.

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29

Marcia, David. "The Theatre Practice of Tadashi Suzuki: A Critical Study with DVD Examples (review)." Theatre Journal 64, no. 3 (2012): 474–75. http://dx.doi.org/10.1353/tj.2012.0094.

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30

Bogart, Anne, and Maria Shevtsova. "Covid Conversations 2: Anne Bogart." New Theatre Quarterly 37, no. 2 (April 29, 2021): 103–18. http://dx.doi.org/10.1017/s0266464x21000014.

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Maintaining and nurturing an ensemble theatre have been Anne Bogart’s foremost concerns in these past near-thirty years since she and Tadashi Suzuki founded the Saratoga International Theatre Institute (SITI) in 1992. Suzuki had established the Suzuki Company of Toga (SCOT) in 1976, making a secluded mountainous landscape of Japan its home to this day. Bogart’s venture in the United States, although inspired by Suzuki’s model of a production-based troupe of high artistic standards that, at the same time, developed its unique training methods, by no means merely duplicates its predecessor. In this Covid Conversation, Bogart briefly maps a segment of SITI’s history, reflecting on the company’s inter-arts endeavours with differing dance idioms and its engagement with Greek tragedy. She discusses the effects of the Covid pandemic on her troupe, also interrupting its performances of The Bacchae at the Guthrie Theatre in Minneapolis. Her most recent opera production, Tristan and Isolde, was closed for the same reason at the Croatian National Theatre – a key work in her portfolio of nineteenth-century grand opera as well as contemporary avant-garde opera. An acclaimed theatre director, Anne Bogart runs and teaches the Graduate Directing Programme at Columbia University in New York. At the SITI summer school in Saratoga, she and the company have workshopped the Viewpoints method that she has elaborated from Mary Overlie’s six principles for theatre and dance training. Bogart’s international workshops have further developed her method. She is the author of A Director Prepares (Routledge, 2001) and of many influential books that include (with Tina Landau) The Viewpoints Book (Theatre Communications Group, 2004). The Art of Resonance is forthcoming (2021, Bloomsbury). Maria Shevtsova is the Editor of New Theatre Quarterly whose most recent book is Rediscovering Stanislavsky (Cambridge University Press, 2020). The following conversation took place on 27 August 2020, was transcribed by Kunsang Kelden, and was edited by Maria Shevtsova. It is followed by a short coda announcing the transition of SITI into a resource centre.

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31

Odom, Glenn. "From the flower to madness: the ontology of the actor in the work of Suzuki Tadashi." Theatre, Dance and Performance Training 7, no. 3 (September 2016): 362–74. http://dx.doi.org/10.1080/19443927.2016.1217264.

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32

Lodi, Fabiano. "A prática do treinamento como atividade sagrada na SCOT: Tadashi Suzuki e o teatro como modo de vida." Urdimento 2, no. 25 (June 2, 2016): 34–48. http://dx.doi.org/10.5965/1414573102252015034.

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33

Codreanu, Cătălin. "Paradigms of Education in The Art of Acting." Studia Universitatis Babeş-Bolyai Dramatica 67, no. 2 (December 13, 2022): 9–28. http://dx.doi.org/10.24193/subbdrama.2022.2.01.

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"Embedded in interculturality and transculturality, this paper focuses on the actor’s training, on facing, understanding and assimilating the theater lessons of the Far East, especially those of the Nō theater, based on the constructive encounters with them by practicing the Tadashi Suzuki (b. 1939) method, Japanese martial arts, researching Zen philosophy and the writings of Zeami Motokiyo (1363-1443). This article points out the similarity between certain paradigms of the Western theatricality with those of the Far Eastern one (holism, body-mind, here and now, flow, imaginary) as well as their fusion with other paradigms due to the interdisciplinary transfer existing between martial arts (aikidō and iaidō), Japanese culture, and the art of acting (shin-waza-tai, shoshin, ichigo ichie). The way in which fixed forms relate to imagination (kata), specific to both Far Eastern theater and martial arts (aikidō and iaidō), is also very important. This research highlights the essential nature of the fixed form for the impulses of imagination and creative freedom. Keywords: interculturality, art of acting, Zen, Nō theater, martial arts, holism, body-mind, imagination."

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34

ARCARI, JASON. "Ian Carruthers and Takahashi YasunariThe Theatre of Suzuki Tadashi Cambridge: Cambridge University Press, 2004. 293 p. £55.00. ISBN: 0-521-59024-8." New Theatre Quarterly 21, no. 3 (July 18, 2005): 304. http://dx.doi.org/10.1017/s0266464x05290176.

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35

Keenan, Tim. "The Theatre of Suzuki Tadashi. By Ian Carruthers and Takahashi Yasunari. Cambridge: Cambridge University Press, 2004. Pp. xxxiii + 293 + illus. £55 Hb." Theatre Research International 30, no. 3 (October 2005): 304–5. http://dx.doi.org/10.1017/s0307883305301696.

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36

Sorgenfrei, Carol Fisher. "Alluring Ambiguity: Gender and Cultural Politics in Modern Japanese Performance." New Theatre Quarterly 30, no. 4 (October 21, 2014): 341–51. http://dx.doi.org/10.1017/s0266464x14000682.

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In contrast to most studies of cultural nationalism, which tend to focus on literary style, narrative devices, or the static visual arts, in this article Carol Fisher Sorgenfrei analyzes the ways that Japanese actors deploy physical and vocal techniques in portraying gender and ethnic ambiguity. Expanding on her recent work on actor-dancer Itō Michio (1893–1961), she uses the concept of J-centrism (Japancentrism) to demonstrate how modern Japanese performing bodies (in both traditional and contemporary genres) imply political meaning – her title being a riff on Susan Sontag's famous essay ‘Fascinating Fascism’. While not suggesting that the artists under consideration promulgate fascism, Sorgenfrei maintains that the Japanese aesthetic preference for gender and ethnic ambiguity fuels the politics of Japanese cultural nationalism, even when the performers or directors adamantly disavow rightist, nationalistic ideologies. Through a focus on analysis of selected performances by Bando Tamasaburō and theoretical writings by Suzuki Tadashi, Sorgenfrei suggests that the performance of ambiguity by a single actor implies the ‘universality’ and cultural superiority of the Japanese body. Professor Emerita of Theatre at UCLA, Carol Fisher Sorgenfrei is a specialist in Japanese theatre and intercultural performance, and was recently a Research Fellow at the International Research Institute in Interweaving Performance Cultures at the Free University, Berlin, where she researched the work of Japanese dancer Itō Michio. She is the author of Unspeakable Acts: the Avant-Garde Theatre of Terayama Shūji and Postwar Japan (University of Hawaii, 2005) and co-author of Theatre Histories: an Introduction (Routledge, third edition 2015).

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37

Kitagawa, Seiichi. "KIMURA, Takashi, SUZUKI, Tadashi, SASANO, Shirô, HAYASAKA, Makoto (Eds.), Kafukasu: Futatsu no bunmei ga kosasuru kyokai (The Caucasus :A Crossroad of Two Civilizations), Tokyo, Sairyusha 2006, 354p." Japanese Slavic and East European Studies 28 (2007): 121–24. http://dx.doi.org/10.5823/jsees.28.0_121.

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38

Kim, Jae Kyoung. "Suzuki Tadashi's Intercultural Progress in South Korea." Asian Theatre Journal 30, no. 1 (2013): 207–22. http://dx.doi.org/10.1353/atj.2013.0012.

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39

Tuan, Iris Hsin-chun. "Suzuki Tadashi’s La Dame aux Camélias in Taiwan." Asian Theatre Journal 31, no. 1 (2014): 228–41. http://dx.doi.org/10.1353/atj.2014.0011.

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40

Carruthers, Ian. "Suzuki Tadashi's "The Chekhov":Three Sisters, The Cherry Orchard,andUncle Vania." Modern Drama 43, no. 2 (May 2000): 288–99. http://dx.doi.org/10.3138/md.43.2.288.

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41

Lampe, Eelka. "Collaboration and Cultural Clashing: Anne Bogart and Tadashi Suzuki's Saratoga International Theatre Institute." TDR (1988-) 37, no. 1 (1993): 147. http://dx.doi.org/10.2307/1146275.

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42

Anno, S., T. Okano, K. Inui, T. Koike, and H. Nakamura. "AB0235 DENOSUMAB INCREASE THE BONE MINERAL DENSITY REGARDLESS OF DISEASE ACTIVITY, THE BIOLOGICAL DISEASE-MODIFYING ANTIRHEUMATIC DRUGS, THE CONCOMITANT TYPE OF VITAMIN D, AND PRETREATMENT OF OSTEOPOROSIS IN PATIENTS WITH RHEUMATOID ARTHRITIS." Annals of the Rheumatic Diseases 79, Suppl 1 (June 2020): 1417.2–1418. http://dx.doi.org/10.1136/annrheumdis-2020-eular.2538.

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Background:Osteoporosis is one of the major comorbidities in patients with rheumatoid arthritis (RA). There are a lot of evidence that denosumab increase bone mineral density (BMD) in patients with osteoporosis. However, there are few reports investigated the influence of denosumab in patients with RA.Objectives:We evaluated the BMD change in patients with RA treated denosumab and assessed the effect of various factors, such as disease activity, biological disease-modifying anti-rheumatic drugs (bDMARDs) use, concomitant medications of osteoporosis and pretreatment of osteoporosis.Methods:This study included 140 consecutive RA patients (135 female, mean age was 70.6 ± 8.6 years) who fullfilled the criteria of osteoporosis and treated with denosumab. BMD at the lumbar spine, proximal femoral and femoral neck were evaluated by dual energy X-ray absorptiometry at baseline and one year after treatment. We evaluated the influence of disease activity, bDMARDs use, the concomitant type of vitamin D and pretreatment of osteoporosis for BMD change.Results:BMD change at the lumbar spine, proximal femoral and femoral neck were 5.9% (p<0.01), 4.0% (p<0.01), and 1.2% (p=0.36) durling one year. There were no differences in improvement ratio of BMD between each parameters (fig 1). Disease activity: 75 patients in remission or low disease activity and 65 patients in moderate or high disease activity were 6.4 vs 5.3% (p=0.91), 3.0 vs 5.1% (p=0.73), 2.0 vs 0.3% (p=0.1). bDMARDs: 45 patients with bDMARDs (anti-tumor necrosis factor inhibitors (TNF): 23, tocilizmab (TCZ): 13, abatacept (ABT): 7, Tofacitinib: 2) and 93 patients without bDMARDs were 6.0 vs 5.8% (p=0.31), 4.3 vs 4.1% (p=0.57), -0.2 vs 1.8% (p=0.18). Type of vitamin D: 47 patients taking active form vitamin D and 60 patients taking native form vitamin D were 5.5 vs 6.8% (p=0.82), 3.1 vs 3.8% (p=0.93), 0.4 vs 1.9% (p=0.14). Pretreatment of osteoporosis: 74 patients with pretreatment of osteoporosis (bisphosphonate:58, teriparatide:16) and 66 patients without pretreatment of osteoporosis were 6.9 vs 5.4% (p=0.41), 0.9 vs 4.0% (p=0.22), 2.0 vs 1.2% (p=0.68). Moreover, BMD change were not different in bDMARDs type, 5.0, 6.4, 0.5% in TNF group, 4.8, 0.7, -1.9% in TCZ group, 9.7, 4.9, 0.2% in ABT group (TNF vs TCZ: p=0.83, 0.98, 0.81, TNF vs ABT: p=0.83, 0.41, 0.97, TCZ vs ABT: p=0.98, 0.43, 0.9). There were no difference between bisphosphonate and teriparatide (6.2 vs 6.9%: p=0.49, 4.8 vs 0.9%: p=0.35, 0.9 vs 2.0%: p=0.49).Conclusion:Denosumab improved BMD in patients with RA independently regardless of disease activity, bDMARDs, the concomitant type of vitamin D and pretreatment of osteoporosis.References:[1]Y Nakamura et al, Arch Osteoporos: 2017; 12:80.[2]K Kaneko et al, Journal of Experimental Orthopaedics: 2019; 6:41.[3]T Suzuki et al, Therapeutics and Clinical Risk Management: 2018; 14:453–459.Acknowledgments:We wish to thank Atsuko Kamiyama, Tomoko Nakatsuka, Masato Uematsu and all participants in this study.Disclosure of Interests:Shohei Anno: None declared, Tadashi Okano Grant/research support from: AbbVie, Eisai, Mitsubishi Tanabe Pharma Corporation and Nipponkayaku, Speakers bureau: AbbVie, Asahikasei, Astellas Pharma Inc, Ayumi Pharmaceutical, Bristol-Myers Squibb, Chugai Pharmaceutical, Daiich Sankyo, Eisai, Janssen, Lilly, Mitsubishi Tanabe Pharma Corporation, Novartis Pharma, Ono Pharmaceutical, Pfizer, Sanofi, Takeda Pharmaceutical, Teijin Pharma and UCB, Kentaro Inui Grant/research support from: Janssen Pharmaceutical K.K., Astellas Pharma Inc., Sanofi K.K., Abbvie GK, Takeda Pharmaceutical Co. Ltd., QOL RD Co. Ltd., Mitsubishi Tanabe Pharma, Ono Pharmaceutical Co. Ltd., Eisai Co.,Ltd.,, Speakers bureau: Daiichi Sankyo Co. Ltd., Mitsubishi Tanabe Pharma, Janssen Pharmaceutical K.K., Astellas Pharma Inc., Takeda Pharmaceutical Co. Ltd., Ono Pharmaceutical Co. Ltd., Abbvie GK, Pfizer Inc., Eisai Co.,Ltd., Chugai Pharmaceutical Co., Ltd., Tatsuya Koike Grant/research support from: AbbVie, Astellas Pharma Inc, Bristol-Myers Squibb, Chugai Pharmaceutical, Eisai, Janssen, Lilly, Mitsubishi Tanabe Pharma Corporation, MSD, Ono Pharmaceutical, Pfizer, Roche, Takeda Pharmaceutical, Teijin Pharma, and UCB, Speakers bureau: AbbVie, Astellas Pharma Inc, Bristol-Myers Squibb, Chugai Pharmaceutical, Eisai, Janssen, Lilly, Mitsubishi Tanabe Pharma Corporation, MSD, Ono Pharmaceutical, Pfizer, Roche, Takeda Pharmaceutical, Teijin Pharma, and UCB, Hiroaki Nakamura Grant/research support from: Astellas Pharma Inc. and Asahi Kasei Pharma Co.

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Moonki Kim. "Localities of a Shakespearean Production -Suzuki Tadashi’s Intercultural English-Language Production of The Tale of Lear-." Journal of korean theatre studies association ll, no. 35 (August 2008): 215–47. http://dx.doi.org/10.18396/ktsa.2008..35.007.

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Lee, Jeong-Ha. "Case Study of Performing Arts Festival Activation - Focusing on Suzuki Tadashi's 2015 Toga International Theater Festival -." Journal of the Korea Entertainment Industry Association 11, no. 6 (August 31, 2017): 37–46. http://dx.doi.org/10.21184/jkeia.2017.08.11.6.37.

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Liang, Lia Wen-Ching. "Pure Love and Beyond: Suzuki Tadashi’s Use of Taiwanese Popular Music in La Dame aux Camélias (2011)." Asian Theatre Journal 31, no. 1 (2014): 204–27. http://dx.doi.org/10.1353/atj.2014.0015.

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"Culture is the body: the theatre writings of Tadashi Suzuki." Choice Reviews Online 53, no. 06 (January 20, 2016): 53–2576. http://dx.doi.org/10.5860/choice.193902.

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"9731668 the determination of tire parameter for real-time estimation of tire and road friction Shunichi Yamazaki, Tadashi Suzuki, Izumi Yamaguchi, (Japan Automobile Research Institute, Inc.), Yoshimi Furukawa (Honda R&D Co., Ltd.)." JSAE Review 19, no. 1 (January 1998): 93. http://dx.doi.org/10.1016/s0389-4304(98)90253-3.

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"5556624 Method of immunopotentiating and protecting an animal from E. coli infections using a combination of rosa roxburghii, artemisiae argyi folium a Araki Seiichi; Suzuki Mamoru; Fujimoto Masatoshi; Ueki Tadashi Ibaraki, Japan assigned to Eisai Co Ltd." Comparative Immunology, Microbiology and Infectious Diseases 20, no. 3 (June 1997): VIII. http://dx.doi.org/10.1016/s0147-9571(97)80333-5.

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