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The power of image: Hijikata Tatsumi...

University of Hawai'i at Manoa.

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The power of image: Hijikata Tatsumi's scrapbooks and the art of buto.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The power of image: Hijikata Tatsumi's scrapbooks and the art of buto./
作者:	Wurmli, Kurt.
面頁冊數:	297 p.
附註:	Adviser: James R. Brandon.
Contained By:	Dissertation Abstracts International69-04A.
標題:	Dance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3311909
ISBN:	9780549596332

The power of image: Hijikata Tatsumi's scrapbooks and the art of buto.
Wurmli, Kurt.

The power of image: Hijikata Tatsumi's scrapbooks and the art of buto. - 297 p.

Adviser: James R. Brandon.

Thesis (Ph.D.)--University of Hawai'i at Manoa, 2008.

This study is a visual analytical investigation of Hijikata's scrapbooks and exposes Hijikata's direct affinity with and assimilation of the visual arts.

ISBN: 9780549596332Subjects--Topical Terms:

610547
Dance.

The power of image: Hijikata Tatsumi's scrapbooks and the art of buto.
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245 1 4 $a The power of image: Hijikata Tatsumi's scrapbooks and the art of buto.
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520 $a This study is a visual analytical investigation of Hijikata's scrapbooks and exposes Hijikata's direct affinity with and assimilation of the visual arts.
520 $a Hijikata Tatsumi (1928-1986) is the acclaimed founder of the performance art genre commonly known as buto. After an initial experimental period spanning the late 1950s to the mid 1960s he concentrated his artistic efforts on directing, choreographing and teaching buto using his own creative system, called buto-fu or "buto scrapbooks."
520 $a Like many visual artists Hijikata collected and arranged existing (found) images and composed sixteen scrapbooks. The scrapbooks served Hijikata as a medium to create, explore and reflect on his buto. While making up his scrapbooks Hijikata applied established fine art techniques such as collage, montage and pastiche to isolate, emphasize or synthesize visual and artistic qualities of the images. These techniques were also reflected in the structure of his performances, where Hijikata borrowed, adapted and adopted images from seemingly opposite worlds and genres to construct a genuinely new stage world.
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