Mishima’s spirit is reborn through Béjart’s vision

Not just ballet m This is a rare artistic encounter between two cultural giants: Maurice Béjart was one of the most famous choreographers of the 20th century, while Yukio Mishima was one of the most provocative literary figures in Japan. It premiered in 1993 and was created for the Tokyo Ballet, and after a five-year break, it returned this summer, making the Japanese story deeply a profound Japanese story through Béjart’s unique choreography vision.

For any admirer of an artist, m It is a once-in-a-lifetime experience: a bold, emotional work that conveys Mishima’s strength through Bejat’s bold body. Even for those unfamiliar with both, it’s a breathtaking, visually fascinating performance that leaves a profound impact – this performance is only seen in the Tokyo Ballet this September.

Ballet is like everyone else

Although Bergat is internationally Bolero and The Spring CeremonyHe has a unique relationship with Japan. In 1986, he collaborated with the Tokyo Ballet Kabukia based The famous Kabuki Play Kanadehon Chushingura. Seven years later, he turned his attention to Mishima, a controversial and influential writer whose ritual suicide death remained a fascinating theme in Japan in 1970.

m Consider Mishima’s life and legacy as its theme, but it goes beyond biography to explore widespread themes such as love, beauty, death and rebirth. This is reflected in its title: m Of course, representing Mishima – also representing Béjart and five French words that define the core of the work: MER (ocean), abnormal (Convert), Mott (die), mystery (Mysterious) and myth (myth).

These themes are drawn directly from Mishima’s Canon throughout the work with literary references. The author’s fans will recognize The temple of the golden pavilion,,,,, Kyoko’s house and Confession of the mask. The ballet unfolds with a series of surreal, fantastic role models (from fevered pas de deux to haunted ensemble scenes), and everyone expresses the fragments of Mishima as he moves towards his dramatic, self-processing death.

Kiyonori Hasegawa Photos

Immerse the audience into the world of Misimma

Visually, m Rich in Japanese elements that reflect Mishima. The costumes are inspired by Japanese military uniforms and traditional costumes, and the stage on the stage is a symbolic symbolic environment drawn from his novels. The stage is both elegant and fascinating, and is immediately minimized and emotional.

“There is an amazing moment near one end Sakura Fubuki (Cherry Blossom Blizzard).

The character played by Ueno is simply called “women” Kyoko’s house. “I performed a Pas de Deux on machine-like music. It was a confrontation between men and women,” she said. “This movement is easy to be mechanical, and as the only female character on the show, it’s my duty to find softness, dignity and strength in the choreography.”

Perhaps the most memorable scene of ballet is when Mishima died. Béjart performs his seppuku in metaphor: pulling a long red ribbon from the dancer’s body, depicting the young Mishima. “It represents his gut,” Ueno explains. “The ribbons spread throughout the stage and mastered it from his life, showing how they intertwined with his destiny. Knowing this story makes the scene even stronger.”

Kiyonori Hasegawa Photos

The unique language of Béjart

In Bergat’s work, death is not the ending, but a passage. “He explored many ballet deaths,” Ueno said. “But he sees it as something spiritual, almost like light. mthere are some characters named Ichi, Ni, San and Shi – but “Shi” means “four” not only in Japanese. This also means “death”. ”

The fusion of symbolism and physics is crucial to Bergat’s approach. His work goes beyond duality and violates easy classification. “Bergat’s works are not classical or modern. They are their own genre,” Ueno said. “A lot of the movements don’t follow the melody or counting. I really have to choreography inside to show the meaning.”

Ueno’s role as a dancer m 10 years ago. She said she and the Tokyo Ballet have been growing since then. “Last year’s [performance of] Kabuki “Help the company become more fluent. I’m particularly curious about my own experiences – how as a woman and an artist, now will shape my character.”

Béjart’s centenary is coming in 2027, and Mishima’s own 100th birthday commemorates this year, m Arriving at a moment of special resonance. This is a work that invites viewers into the subtle and evocative world of Mishima, fully enveloping the audience. “People who are familiar with Mishima’s works will like it very much mSure,” Ueno said, “but I encourage people who have not read his work or watch ballet themselves. It’s not the same as anything they’ve seen before. ”

Tokyo Ballet m Performance date and ticketing information

Ballet will hold three dates in Tokyo Bunka Kaikan in September:

Saturday, September 20, 2025 – 14:00
Sunday, September 21, 2025 – 14:00
Tuesday, September 23, 2025 (holiday) – 13:00

To purchase a ticket, click here.
For information on visiting Tokyo bunka kaikan, click here.

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