Abstract

Published for Paris’s 1985 Butô Festival, Jean Baudrillard’s essay is important to the history of butoh. Responding to dancemakers Carlotta Ikeda and Ko Murobushi, Baudrillard employs three main descriptors: revulsion, convulsion, and repulsion. The dancer shifts from animal to mineral, while the body captures or draws into itself the surrounding space, before violently ejecting it.

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