By Ernest Kearney — It is a pity that Shilo Kloko was at the Fringe so briefly, because it offers a wonderful opportunity to experience Butoh dance theatre and Japanese puppetry art.
Butoh, which rose as a reaction to the inclusion of Western Ballet and modern dance in Japan after World War II, avoids easy definition. But its emphasis on distress motion, resistance to approachable narrative structure and acceptance of grotesquerie all can be seen as a rejection of Western aesthetic.
American audiences have been exposed to Butoh concepts in the New Wave Cinema of “J-horror,” which shows Butoh influence in films such as Audition and the Ringu series.
With three performers on stage,—Walter Santucci, Yoriko Murakami and primary Ningyōtsukai (puppeteer) Noa Kobayashi— Shilo Kloko presents the audience with wildly imaginative and, at times, disturbing images. Kobayashi at one point squats on a chair and a torrent of bright red beans pour out from between her legs as she gives birth to a white-cloth puppet baby which she trusts to the care of an audience member.
Shilo Kloko also employs video projection and choir-singing to create a world simultaneously dreamlike and nightmarish; but one that is always fascinating to experience.
A well-earned PLATINUM and the sincere hope that they return to the Hollywood Fringe and stay longer.
♦ ♦ ♦
Shilo Kloko
Played During the Hollywood Fringe Festival 2018
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