Found In Translation Transcultural Performance Practice In The 21st Century Butoh Lynne Bradley by Lynne Bradley instant download after payment.

ABSTRACT

This practice‑led research PhD proposes the rubric of Cultural Translation as a useful

language and methodology for engaging with innovative transcultural performance

grounded in ethical practice. This investigation is situated in my work as a director

and actor‑trainer, and draws on the decade‑long collaboration between Australian

contemporary performance company Zen Zen Zo Physical Theatre1 and Japanese

Butoh2 company Dairakudakan (大 駱 駝 艦). My journey into the field of transcultural

training and performance originated during five years living, studying and performing

in Japan as an artist in my twenties. The enthusiasm I developed for both traditional and

contemporary Japanese culture during this period has led to a lifelong engagement

with Japan, its performing arts and a number of key artists and companies, most notably

Maro Akaji (麿 赤児) and Dairakudakan. Throughout my career as an actor‑trainer,

director and researcher I have pursued praxis which has tackled questions of Cultural

Translation; the ethics of cultural exchange and difference; and their relationship to

artistic innovation.

The research has been conducted through an iterative approach comprising three

creative practice cycles: 1. Butoh Training (Japan and Australia, 2014‑2015); 2. Creative

Development (Japan and Australia, 2015); and 3. Rehearsals and Performance Season of

In the Company of Shadows (Australia, 2016). The first two cycles functioned as a space

for creative experimentation, data collection, evaluation and reflection, leading into

the final performance presentation. This has been dovetailed with a theoretical inquiry

which has informed and been informed by the developing artistic work. The resultant

findings include a Cultural Translation of Maro’s Method of Butoh training and devising.

The study has drawn on theory surrounding Interculturalism, Cultural Translation and

Innovation Research in order to articulate principles and a pragmatic model for effective

transcultural performance praxis.

This doctoral project comprises two interlinked examinable outcomes; the production,

In the Company of Shadows (see video), and this written exegesis. Together these

represent the combined dimensions of critical and creative practice that constitute this

research project. The creative practice component is weighted at 40% and the exegesis

is weighted at 60%.