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The Dance Spirit of Lady Xiao Ye
On the one hand, he extended the meaning of makeup in traditional kabuki to Butuo's denial of the body, focusing on revealing the soul. On the other hand, he erased personal differences and made people return to nature and simplicity. "Baldness" symbolizes leaving the world of mortals and returning to the mother's original fetus, while "gender inversion" is a response to the fixed role status of men and women in today's society, trying to find the homogeneous and universal origin of human nature.

In Xiao Ye's body, there are rings engraved by years, and there are also physical manifestations that cannot be described in words. Anyone who has seen his performance will find a brand-new self and get a spiritual baptism. Xiao Ye believes that the purpose of Buyi's performance is to present "the form of the soul", and this kind of power from the depths of the soul, which seems terrible and ferocious, actually touches the essence of life deeply and is closely related to the farming culture of the oriental nation.

Xiao Ye believes that dancing is a kind of mood that cherishes "oneself" or "life" extremely. With the passage of time, the body becomes weak and eventually dies, but the spirit will continue to improve. He once said, "Even if I die, my spirit will continue to beat."

Wang Weilian, a dancer from Taiwan Province, came to Yokohama in 2005 to study in Xiao Ye Ladies Dance Studio. He wrote in his diary, "Xiao Ye was lying on the bed that was shaken up. He can't move, can't talk, can't see, can't express, and his mouth is like a hole? " In his view, Xiao Ye's charm lies in a kind of weak and strong aesthetic feeling, which uses his body to carry out unconstrained imagination and attract people who "lack self-confidence and value themselves".

Xiao Ye's performance vocabulary-violence, impatience, rehearsal and rudeness, but he created amazing desire prototype and physical landscape. He emphasized that the form of dance should be guided by the noumenon of life, that is, the spirit is more important than everything-which is why Xiao Ye Kazuo's performance is mostly solo, and the form is almost minimalist and slow.

At the age of 20, Xiao Ye and his husband entered the Japanese Sports University to study gymnastics and dance. During this period, he was deeply influenced by La Argentina, a famous Spanish modern dance innovator who went to Japan for a public performance, and became interested in modern dance. After graduation, I worked as a physical education teacher in Kanto College, a missionary school in Yokohama, teaching gymnastics and dance, and made some performance attempts in modern dance.

During the war, Xiao Ye had to give up his dance career temporarily and go out with the army. Xiao Ye has experienced almost all historical changes in the last century. The rings of the years are deeply engraved on his 100-year-old body, and the erosion of the war legacy has left various spots on his skin. This unadorned body itself has become a touching expression of life tension. His limbs, like groping in hell, have completely brought our vision into an infernal affairs of the soul. Trembling fingers seem to be tapping a stringed instrument from a foreign country, and it is like mysterious audio and video coming from the darkness.

During World War II, Xiao Ye and his husband were captured for one year while fighting the Japanese in New Guinea. On the ship returning to Japan from New Guinea after his captive career, many people died of hunger and disease, and some even committed suicide by jumping into the sea because of unbearable pain. Because he had seen too many deaths, Xiao Ye was initially touched by many deaths, mourning the dead by dancing, condemning the evils of war, and trying to put forward a critical consciousness of Japanese imperial power.

Since this funeral, Xiao Ye has been out of control, and it seems that he has been dancing with ghosts all his life, hell and life. After demobilization, Kazuo Xiao Ye immediately began his performance as a dance artist. The Dance of Jellyfish, which premiered in Xiao Ye in 1950s, was based on this wartime experience. In the late 1950s, Mrs. Xiao Ye met Tatsumi Hijikata, a famous Japanese modern dance artist, and in the collision of exchange performances, a new BUTOH BUTOH was born and the world-famous BUTOH School was founded.

While absorbing western modern dance, they also combined some characteristics of traditional Japanese dancers. It is a brand-new dance form, which mainly uses body language to express the inner spiritual world of the Japanese nation. Since the birth of Butuo School, its charm has been loved all over the world. Butoh is also called "BUTOH" in Japan. Xiao Ye and Tatsumi Hijikata Dance Troupes have performed in Europe, America and other countries.

At first, most people could not fully accept the absurd modeling in butoh's performance, even the ugly and gloomy ghostly performance in the dark hell, which often made the audience feel uneasy and even afraid. Because Tatsumi Hijikata's Xiao Ye and Bhutto abandoned all the beautiful elements in traditional dance, they paid more attention to questioning and thinking about the meaning of life and exploring and expressing the deep soul of the universe. Xiao Ye often appears on the stage with grotesque, ferocious and horrible images. The stage performance is simple, often in the form of solo dance, and the rhythm is sometimes extremely slow, as if struggling to advance in a dark storm.