MISHIMA is a dance piece/installation.

The installation provides a pool filed with rice as a fictional Oriental Zen Garden created by MARCEL KASKELINE. At this garden takes place a sequence of images inspired on the life and creativenuniverse of the author Yukio Mishima .Yukio Mishima was a provocateur and poet with a pen and a pencil. Probably the most spectacularly talented young writer to emerge in Japan after the Second World War. Above all he was an artist with absolute integrity and devotion to his art. At the peak of a brilliant career and at the age of forty five, he committed the ritual suicide called Seppuku on November 25, 1970.
This performance is not biographical but makes reference to his intense life. The major factor is the source and legacy of his extraordinary literary and artistic work. It offers the base and depths to develop a procession of expressive images. One striking point was his obsessive pursuit of “beauty”. For him, beauty is something that burns your hands when you touch it.
But we can ask ourselves: What is beauty? According to Plato, the function of art is to evoke the intelligible world trough representations of the beauty of the human body. Contemporary artists look for new ways to represent the meaning of beauty and develop images to create a
completely new aesthetics. Mishima installation piece addresses a conceptual study at the body. It looks at movement with the aim to renew perceptions. The group of dancers enter the garden to write their movements on the floor covered of rice. The choreography develops inside this cycle. At the settling of the sun a meditative moment take place inducted from the music of Arvo Part
. As the night closes the sky it gives
the way for an explosion of movements and energy with the Japanese drums of the music group KODO. The choreographic sequences evolve in a procession of images. Mishima was an obsessive character. The dancers are going to be carried away in a sequence of repetition. Running, standing and fall. Standing up every time, and repeating again and again. While standing up they recreate life and add more movements to the original sequence. This mechanic insistence can be associated to the universe static Japanese film director Akira Kurosawa. In his magnificent film DODESKADEM the man dream to be at the same time a conductor wagon of a locomotive in a constant movement.