OPENING FESTIVAL KRANNERT CENTER FOR THE PERFORMING ARTS STUDIO THEATRE, APRIL 19 AND 20, 1969 SHOZO SATO KABUKI DANCES FROM JAPAN

O PENING FESTIVAL 
KRANNERT CENTER FOR THE PERFORMING ARTS 
S T U D I O T H EAT R E, A P R I L 1 9 A N D 2 0, 1 9 6 9 
SHOZO SATO 
KABUKI DANCES FROM JAPAN 

Storyteller, Ed Kelly it i

Storyteller, Ed Kelly 

WHEN A NEW THEATRE IS DEDICATED IN JAPAN, it is an ancient custom to invoke the blessing of the gods upon the building. Shozo Sato,with the assistance of Kimiko Gunji and Takehiko Kato, will offer this supplication at the beginning of each of his performances.

W H E N A N E W T H EAT R E I 5 D E D I CAT E D I N J A PA N, 
it is an ancient custom to invoke the blessing 
of the gods upon the building. Shozo Sato,with 
the assistance of Kimiko Gunji 
and Takehiko Kato, will offer this supplication 
at the beginning of each of his performances. 

CLASSICAL DANCE Music of Ogie School Yashima, a tale of 12th Century civil war in Jap draws influence from the classic stylization of the Noh drama and contains a minimum of movement in pure dance form. The attitudes are generally more abstract than realistil Defined controlled movements are characteristic Shozo Sato of this dance. KABUKI DANCE Music of Nagauta School Urashima, Tale of the Fisherman, contains much of the acting qualities of Kabuki. There is considerable narrative dramatization, for instance in showing the advancing ages of the fisherman. Also, this dance makes use of stage props to a greater than ordinary degree. The highly-polished form of the dance uses a maximum of movement. Shozo Sato K S

CLASSICAL DANCE Music of Ogie School 
Yashima, a tale of 12th Century civil war in Japa 
draws influence from the classic stylization 
of the Noh drama and contains a minimum 
of movement in pure dance form. 
The attitudes are generally more abstract than realistil 
Defined controlled movements are characteristic 
of this dance. 
Shozo Sato 
KABUKI DANCE Music of Nagauta School 
Urashima, Tale of the Fisherman, contains much of the acting 
qualities of Kabuki. There is considerable narrative 
dramatization, for instance in showing the advancing ages 
of the fisherman.Also, this dance makes use of stage props to 
a greater than ordinary degree. The highly-polished form 
of the dance uses a maximum of movement. 
Shozo Sato 
K 

pan INTERMISSION n stic. KABUKI DANCE Music of Tokiwazu School Yama Uba, Woman in the Mountains, derives basically from Kabuki but owes its costumes to the Noh drama. Movements of the dance are highly constrained to complement the dignity of the woman's character. Shozo Sato

pan 
IN TERM IS S 10 N 
KABUKI DANCE Music of Tokiwazu School 
Varna Uba,Woman in the Mountains,derives 
basically from Kabuki but owes its costumes 
to the Noh drama. Movements of the dance 
are highly constrained to complement the 
dignity of the woman's character. 
Shozo Sato 

KOUTA DANCE Music Kouta, Little Song Mushi No Ne, Sound of Insects Hatsuhar Ya, Dance for New Year's Day These two short dances are especially choreographed to perform in the home, hence the movements are greatly circumscribed with gestures used to a maximum extent to portray beauty of the seasons in human emotions. Kimiko Gunji KABUKI DANCE Music of Nagauta School Fuji Musume, The Wistaria Flower Girl, is typically Kabuki, a fantasy, using colorful costum and stage settings with unrestrained movement Shozo Sato

KO UTA DANCE Music Kouta, Little Song 
Mushi No Ne, Sound of Insects 
Hatsuhar Ya, Dance for New Year's Day 
These two short dances are especially 
choreographed to perform in the home, hence the 
movements are greatly circumscribed with 
gestures used to a maximum extent to portray beauty 
of the seasons in human emotions. 
Kimiko Cunji 
KABUKI DANCE Music of Nagauta School 
Fuji Musume, The Wistaria Flower Girl, is 
typically Kabuki, a fantasy, using colorful costum 
and stage settings with unrestrained movemen 
Shozo Sato 

School wer Girl, is ul costumes movements, SHOZO SATO was born in Ikutaku, Kobe City, Japan in 1933. He obtained a degree in fine arts from Bunka Gakuin College, Tokyo, a well-known school in which painters, sculptors and actors receive special training. Mr. Sato has also received diplomas in flower arrangement - a subject upon which he has written & published the difinitive work in English-, classical dance, the tea ceremony, and he has studied music at the Tokyo Seisen School. His dramatic training took place at Toho Academy, Tokyo. In Kabuki, Mr. Sato was a special student of Nakamura Kanzaburo XVII. During the last decade,Mr.Sato has taught in Japan & in the United States. Arriving in this country in April, 1964, Mr. Sato made his first appearance on this campus in May of that year. His exhibition of original paintings, sculpture, & flower arrangements were seen this season at the Illini Union Gallery. The Japanese costumes & props are from Mr. Sato's personal collection. Scenery designed by John Boyt Lighting designed by Ray Caton Sound supervised by Jaap Spek Stage Manager: Sister Germaine No taking of photographs during the performance

y 
,choo/ 
wer Girl, is 
ul costumes 
novements. 
SH OZ O SATO was born in lkutaku, Kobe City, 
Japan in 1933. h!e obtained a degree in fine arts 
from Bunka Gakuin College, Tokyo, a well-known 
school in which painters, sculptors and actors 
receive special training. Mr. Sato has also received 
diplomas in flower arrangement - a subject upon 
which he has written & published the difinitive 
work in English-, classical dance, the tea ceremony, 
and he has studied music at the Tokyo Seisen 
School. His dramatic training took place at Toho 
Academy, Tokyo. In Kabuki, Mr. Sato was a special 
student of Nakamura Kanzaburo XVII. During the 
las(decade,Mr.Sato has taught in Japan & in the 
United States. Arriving in this~country in April,1964, 
Mr. Sato made his first appearance on this campus 
in May of that year. His exhibition of original 
paintings, sculpture, & flower arrangements were 
seen this season at the Illini Union Gallery. The 
Japanese costumes & props are from Mr. Sato's 
personal collection. 
Scenery designed by John Boyt 
Lighting designed by Ray Caton 
Sound supervised by Jaap Spek 
Stage Manager: Sister Germaine 
No taking of photographs during the performance 

Notes for Program: Shozo Sato, Kabuki Dances from Japan Paper textured on printed side. Pages printed on one side only. Blank facing pages between each printed page not included in scan.

 
Notes for Program: Shozo Sato, Kabuki Dances from Japan 
 
Paper textured on printed side. 
Pages printed on one side only. Blank facing pages between each printed page not included in scan.