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Essay / Research Paper Abstract
A 3 page paper which examines the life and work of
theater artist Tadashi Suzuki. Bibliography lists 3 sources.
Page Count:
3 pages (~225 words per page)
File: JR7_RAsuzuki.rtf
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Unformatted sample text from the term paper:
theories, has written many works, and has his own particular method of performance which is taught in many performing arts forums. The following paper examines the life and the work
of Tadashi Suzuki. Suzuki "Tadashi Suzuki was born in 1939. He graduated from the Faculty of Polytechnical Sciences of Tokyo Vaseda University," though "Suzukis career began at the university
theatre. He founded in Tokyo the theatre Vaseda Sho-gekio (season 1966-67), which became a centre of the Japanese theatre avant-garde" (International Chekhov Theatre Festival). He is well known for being
the founder and director "of the Togo theatre" which he started in 1976 (International Chekhov Theatre Festival). He now teaches at universities in the United States and "In 1982 he
organized the first Japanese International Theatre Festival. He is general director and artistic director of the Shizuoka Centre of Performing Arts" (International Chekhov Theatre Festival). Ever since 1993 he
has been a "member of the International Committee of Theatre Olympics" and is the author of many works, mainly theoretical works concerning theater, "where he has formulated the method of
actors training, which is based on the ability to transform mans biological energy into an expressive force. In cooperation with the architect Arata Isozaki he worked on the design of
buildings for eight Japanese theatres" (International Chekhov Theatre Festival). He is not just considered to be one of the worlds most influential directors, but "an important theorist about performance.
The Suzuki Method is a system of exercises, designed to be a realization of Suzukis Philosophy" (Shizuoka Performing Arts Center). We note that "The cornerstone of this philosophy is a
belief in the fact that human beings possess the ability to tap into the expressive power of animal energy, and that theatre, as a context for this expression, is socially
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