Strings/Lines (Updated: 09/28/19)

artist unknown

Strings are at the very foundation of much butoh practice due to the motif of being moved by something (like a puppet master).

Strings can be thought of both in the literal and figurative sense. A string can literally move you, but any qualia can also serve as the puppet master that attaches strings to somebody.

There are also two ways of thinking about strings/lines that can move you: (1) Linear Strings/Lines; (2) Non-linear Strings/Lines.

Linear Strings/Lines

Move as if a string is pulling any various part of the body. You can also change the amount of strings. These strings will move you in one direction depending on where the string is. This type of movement is actually an illusion because no movement can travel completely straight. There is only the appearance of being straight.

Non-linear Strings/Lines (Non-patterned)

This type of movement is the movement of nature. Like the linear string, you are also being pulled, but you feel the endless breaks of linearity. There is a general direction, but getting there is nonlinear. First play with subtle non-linear strings, where the linear deviation is very minimal, then expand the size.

A non-linear string/line is a deterritorialized line, a line that is fermented, a line that has lost its way, but still has a beginning and end. This line is a line that has embraced scribble.

Figure 1, Non-linear String (aka butoh string)

 

Non-linear Strings/Lines (Patterned) 

A good example of a patterned non-linear string is the coil spring string. In this way, the string has a good amount of shock absorption. Using this qualia can assist in feeling the Noguchi Taiso body.

Exercise 1: Cut String

Attach one string to any part of the body and keep the string taut with the body. Something or someone then suddenly cuts the string. React accordingly.

Exercise 2: Pointing (Body Weather exercise)¹

While approaching the other end of the room, point upstage left, downstage right, downstage left, and upstage right. Pay attention to the transitions. Build up the speed. Then do the same exercise while pointing in the directions you choose. Do not forget about above and under. Experiment with how far your body follows the pointing. Much like in butoh strings, you can also butoh point. Butoh pointing has the same premise as the butoh string in that the directions go somewhere but are nonlinear. You can choose between you doing the pointing or a string attached to your finger that is making you point. Use of reduction & regeneration is recommended.

Example Qualia-world Lines/Strings

Outside of strings, what else can move you from point A to point B? It can be endless:

  1. You’ve gotten in trouble and your mother pulls you by the ear.
  2. You are very hungry and your nose follows the smell of the food.
  3. You are a piece of driftwood traveling down the river.

 


¹ Sakomoto, Michael. Chicago workshop. Columbia Dance Center. April 2, 2016.
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