When I wrote my email to reserve my place for this event I received a reply saying that this was not going to be a proper performance, but only “a gig”. Then at his worksop Kudo told me that it was going to be something simple, just a 15 minute improvisation.
As I’d never seen him performing live before I didn’t care, I’d already made my mind to assist, and also because I know when a butohka says that it’s going to be a short improvisation it’s always a false statement, it never happens that way.
This was an improvised performance with two musicians playing what I call concrete music (but it could be only contemporary music; sorry for my ignorance), with chords and percussions, and Kudo Taketeru as a dancer.
At the beginning I felt that Kudo was listening and reacting to the sounds, looking for a way to follow the difficult noise; he was acting in some way, so I was watching a person on stage, not even a transformed actor.
When he was a person little happened to me, even I had the impression that he was trying to be humorous unsuccessfully, curiously avoiding theatrically. Then after some 15 minutes (maybe more) of heating actions and repetitions he took off his clothes. It is when everything changed in front of us.
We saw a naked body now (just wearing a tiny thong), no more a person; he was a body, only a body. I don’t remember have seen that transformation since Ko Murobushi performances in the 1990s, with the difference that Ko was less theatrical, more primitive probably.
The moment we saw Kudo’s body naked he became movement, impulsive physical -improvised- actions; jumpings, falls, tremors, knocks on the walls, lashes on the walls, hits on the wall, we forgot the person to put all our attention in the moving body. Sometimes in the heat of the improvisation of that body the actor appeared again but this time using his masterful theatrical skills (if I can make it like that) becoming for instants a demon, an animal, a monster, a theatrical physical image, then erased the actor to be again only that body in those impulsive actions.
Kudo’s body is a spectacle when moving on stage too, because of how he moves, yes, but mostly for how it looks: big and heavy bonnes and developed muscles with almost no fat, skin with no hair, strong legs, strong gluteals, thin but muscular torso, long black hair, a big mouth, big hands (with long fingers), strong feet, so particular eyes that seems to have strabismus. He was sweating profusely and used that sweat on his improvisation like an expansion of his body, like a costume.
The music, as I said before, was difficult, improvised and interesting but complex, free but with some monotony coming directly from its style; never a melody, never sentimental feeling; there was no melodrama here, no sentimentalism, no way for a deep musical introspection, only flux of sound, running energy, noisy jumps and stops with a half of second of silence and then noise again. Kudo worked all the time listening to the music, with fluidity too, but sometimes with only external pace of movement. In one moment I felt the music started to follow him.
He was the king on that stage by that time.
There were climax, two or three perhaps. I remember one especially powerful because Kudo didn’t let it go away. That’s when the body he had become transformed itself in a demon, not a ghost because never was airy, it was a body becoming a demon of flesh.
Yes, we had to wait for this moment for quite a long in terms of performance time, watching the person, the actor going in many ways, trying many forms, but it was worth the wait.
(Atelier Dai Q Geijutsu, Tokyo. Thursday February 14th, 2019)