The purpose of this project is to explore the possibility of (1) an alternative expression of Hijikata Tatsumi's Butoh concept and (2) an expansion of the virtual auditorium with reference to a “live” theatrical quality.

Hijikata moved from destructive and brutal-body expression in the 1960s to the enfeebled and quiet expression of disease and aging in the 1970s, and then finally to suijyakutai ‘corpus moriens’: the concept that the dancer perceives in his mind's eye his own slowly dying and decaying body. The idea might have been partly inspired by the sokushinbutsu (self-mummifying Buddhist monks) in Shonai area of Yamagata Prefecture in northeastern part of Japan. The project was produced at the Tsuruoka Town Campus of Keio in Shonai from 31 August to 3 September 2008. It aimed at objectifying Hijikata's concept of suijakutai by dripping water on a life-size earthen statue of himself for four days, by which time the statue had almost completely deteriorated. The process was transmitted in HD quality through the web site, so that people outside of the performance site could have the nearly same experience in real time. Thus, the practice is successful in presenting not only an untried topic of theatrical research but also a distinct theatrical means of representation and transmission.

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The objective of this article is a reassessment of the year 1959, which has been considered as the first year of Ankoku Butoh because of the première of “Kinjiki (The Forbidden Colours)” by Tatsumi Hijikata, and of the facts surrounding the inception of Ankoku Butoh from the perspective of Hijikata's contemporary Kazuo Ohno.
On the premise of Ohno's artistic endeavor and style as a modern dancer, there had been a considerable amount of inspiration from paintings and literature in his creative processes especially in this era. Ohno had been in his exploratory phase since 1954. Recently discovered letters of Ohno reveal his artistic ambition and intention for the 1959 staging of “The Old Man and the Sea, ” which was adopted from Ernest Hemingway novel. According to these letters, this dance piece was a faithful rendition of the original story, and it was not an experimental and avant-garde work that had been gradually gaining popularity at that time. Instead, it was a modern dance with a leaning toward the expressionism that had been beginning to take root in the post World War II Japan, following the wake of pre-war heritage. Ohno had been engaged in self-exploration for a long time, because he thought that the internal motivation of the self was indispensable for creating movements and expressions. In this dance piece, however, Ohno's acquired modern dance techniques and the impulsive imagery in his psyche came to a rupture, and the performance was a failure.
Tatsumi Hijikata had been aware of Ohno's uncompromising self-exploration and inherent talent as a dancer from his early career. The encounter between Hijikata and Ohno is considered to have taken place during the mid 1950s. It was a definitive turning point not only for Ohno, but also for Hijikata's conception of Ankoku Butoh. Specifically, only one month after the staging of “The Old Man and the Sea, ” which Hijikata had taken part as an assistant director, Hijikata created the basic concept of “Kinjiki” and decided to cast Ohno's son Yoshito. The modern dance piece “The Old Man and the Sea” by Kazuo Ohno precipitated the emergence of Ankoku Butoh, and by severing Ohno from modern dance lineage, installed him as a critical counterpart in the germination of Hijikata's Ankoku Butoh.

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舞踏は、を創始者とする日本固有の前衛的なパフォーマンスである。本発表の目的は、土方の弟子であった舞踏家たちがいかに舞踏を伝承するかを明らかにし、身体と言葉の関係を問い直すことである。舞踏は特殊な指導方法を用いる。それは、舞踊の知識を持たない者から踊りを引き出すことと、非現実なイメージをもって身体的状態を変化させることである。

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慶應義塾大学アート・センターが所蔵する1960-70年代の日本の前衛芸術に関わる資料体とその研究活用の状況を「共同性」「領域横断性」に焦点を当て紹介した上で、アーカイヴにおいて近年重要性を増しているレファレンス活動について論じる。単なる業務記録の共有ではなく、レファレンス活動の成果を研究領域全体の成果として公共化することを目指し、図書館における先行例である「レファレンス協同データベース」の活動を参照しながら「研究来歴（Research Provenance）」としてのレファレンス事例の共有化の試みおよびその課題について検討を行う。

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