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.