Gestural interactions in the intensive training of Waza at a puppet theater

Bibliographic Data

ID4755941
AuthorsHaruka Okui (Ministère de la Culture), Alexandre Legendre (0000-0001-5637-5715, Japan Society for the Promotion of Science)
Year2021
Publication date2021-12-09
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueTechniques & culture (JOURNAL)
Journal identifiersISSN: 0248-6016 • E-ISSN: 1952-420X
PublisherOpenEdition (PUBLISHER)
DOI10.4000/tc.16927
OpenAlexW4312685323
LanguageEN
References cited17

An ineffable character is often reported in the skill learning of artists or artisans in East Asia, especially in Japan. Bungoro Yoshida, one of the best classic puppeteers in modern Japan, attested that his master rarely gave him advice during the days of his apprenticeship (Irie 1981). Instead, the master simply said "no" when he saw the disciple's choreography, without explaining what was wrong with his performance. More precisely, when Bungoro manipulated a puppet on stage with his master, unseen by the spectators' eyes, the master would suddenly stamp on the disciple's foot without saying anything. The disciple had to guess the point of his mistakes on his own. This might have been partly because the master did not have a pedagogical mind, but also because he wanted his disciple to realize and reflect on his choreographic mistakes independently. Hence, it is usually said that skill is not taught but "stolen" by the disciple through attentive observation and imitation of the elder's performance

Art · Geography · Multimedia · Puppetry · Visual arts · Art Education and Development · Computer Science · Diversity and Impact of Dance · Theatre and Performance Studies

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