Dionysus Revisited: On Tadashi Suzuki ’ s Grammar of Feet

1. Dionysus Revisited:On Tadashi Suzuki’s Grammar of Feet Spring 2007 DFL Steven Yang

2. Tadashi Suzuki(1939-) • A Japanese director whose theory of feet training and discipline influence numerous actors and theatre directors worldwide.

3. Introduction • animal energy vs. non-animal energy • Suzuki Method as an amplifier of performance intensity. • Suzuki emphasizes on the training of lower body. • Absorb energy from the earth by having intimate contact with the ground.

4. In-depth Analysis on Suzuki Method • Suzuki Method (earthward oriented) vs. Western tradition (heavenward oriented) • see Akhiko Senda’s remark. • This earthward tendency also permeates in his approach of adapting western canons, like Greek tragedies, Shakespeare’s plays and so on. (see also Senda’s comment on this part) • By doing so, Suzuki wants to pursue a “totality” in his productions, like human existence in the chaotic world.

5. Minimal Setting in Dionysus • Minimal props and simple costume • Suzuki’s implicit representation on various elements, such as colors, lighting and music. • Simple setting help actors concentrate on their feet during the performance.

6. The Art of Stasis • Stasis (Suzuki Method) vs. Mobility (Western Approach) • Suzuki compares it to a car whose engine operates to the full but is also withhold by the driver. • Actors are not really still when they stand motionlessly on the stage.

7. The performance • Slow movement (cf. the art of stasis) • The body is the center of performance, especially actors’ feet. (see Suzuki’s Grammar of Feet) • The actors uses their loins as the core of power (animal energy) emancipation. • Ritual-like: actors evoke the pathos by their communion with the earth.

8. In Staging Dionysus • The story needs a tremendous force to express its tension (conflicts) to the full. If the actors don’t have good vocalization and bodily movement, the whole play will be spoiled. • Suzuki offers a successful interpretation.

9. Conclusion • To conclude, Suzuki’s “grammar of feet” is not merely a homage to Noh but an incarnation of our “pre-modern” instincts. • It may not be accepted by everyone worldwide, but undoubtedly he has established a paradigm whose principle helps us to navigate in this world of chaos.

10. Bibliography • Allan, Paul, and Jen Harvie. The Routledge Companion to Theatre and Performance. New York: Routledge, 2006. • Counsell, Colin and Laurie Wolf ed. Performance Analysis: an introductory course book. London: Routlege, 2001. • Suzuki, Tadashi. The Way of Acting: The Theatre Writings of Tadashi Suzuki. Trans. J. Thomas Rimer. New York: Theatre Communications Group, 1986. • Tadashi Suzuki. Trans. Yasunari Takahasi et al. 1 June 2004.