A dazzling triumph of form: the final masterpiece of the butoh master
The eponymous totem rises at the exact center of the stage, above four rectangular spaces that divide the floor into perfect quarters. Tall and striking, it is formed from three “pillars”, the central one capped with a small, inverted pyramid whose sharp tip points downward. Behind it, two large metal hoops sweep across the background, slowly traversing the space until they meet in the finale.
Into this simple yet exquisitely arranged setting enter four figures—shaved heads, white-painted faces, and matching ceremonial costumes of white and red. They move slowly, with quiet dignity, to take their places. Once aligned, they begin a dance in which two truths are immediately clear: the four become one, and the totem stands as the ritual’s unwavering focal point. Thus begins an extraordinary performance.
Ushio Amagatsu—the legendary founder of Sankai Juku, and the conceptualizer, director, and choreographer of the piece—explained: “There are several definitions of a totem. It can be a specific object serving as a sign or symbol of a group, tribe, or blood relation; sometimes it can be a wild animal or plant. The subtitle «Void and Height» refers to a work by stage artist Natsuyuki Nakanishi. It evokes the space that rises between four places.”
Formally, “Totem” is a quintessential example of butoh—the Japanese avant-garde dance form born in the 1950s as a response to war trauma and social upheaval. Known for its slow, controlled movement, striking bodily expression, white makeup, and minimalist staging, butoh’s pioneers—Tatsumi Hijikata and Kazuo Ōno—rejected conventional ideals of beauty, delving instead into themes of corporeality, death, suffering, and the unconscious. Often seen as ritual, meditation, or existential manifesto, butoh does not seek to entertain but to provoke deep reflection on the human condition.
Amagatsu, who passed away in 2024, developed a distinctive butoh language centered on the balance between body and gravity and the relationship between humanity, nature, and the cosmos. His dance is slow, ritualistic, precise, and contemplative. In contrast to Hijikata’s raw expressiveness, Amagatsu’s style is ascetic, poetic, and meditative. The dancers’ white-painted bodies appear like living sculptures, their choreography unfolding as rites of transformation. Created just one year before Amagatsu’s passing, “Totem” is regarded by many as his spiritual testament.
About the Theatre:
Founded in 1975 in Tokyo by Ushio Amagatsu, Sankai Juku is one of the world’s most renowned contemporary butoh dance companies. The company debuted internationally with “Kinkan Shonen” (“Golden Fruit”) in 1980 at the Nancy Festival (France), launching its global career. Since then, Sankai Juku has performed in over 40 countries, including prestigious festivals in Avignon, Edinburgh, Paris, Bogotá, and Mexico City, becoming one of butoh’s best-known ensembles worldwide. Since 1982, the company has regularly appeared at Théâtre de la Ville in Paris. In 2013, Warsaw’s Teatr Wielki National Opera showcased Amagatsu’s mastery with his Lyon opera production „Lady Sarashina” during the “Territories” series. After Amagatsu’s passing in 2024, the company continues his artistic legacy.
About the Director:
Ushio Amagatsu (1949–2024), founder of Sankai Juku (1975), creator of works including “Amagatsu Sho” (1977), “Shonen” (1978), and “Sholiba” (1979). Since 1981, closely affiliated with Théâtre de la Ville in Paris, where he staged 14 productions. He also worked independently, notably with Philip Glass on “Fushi” (1988). He directed operas including “Bluebeard’s Castle” (1997), “Three Sisters” (1998–won Syndicat National de la Critique award), and “Lady Sarashina” (2008—also awarded, performed in Warsaw 2013). His works were shown in Lyon, Paris, Brussels, and Vienna. Honors include the French Order of Arts and Letters (1992, 2014), Japan’s Purple Ribbon Medal (2011), and the Art Encouragement Prize (2004).
