Michio Ito's Encounter with Japonism: East-West Joint Productions of 1915/1918

1916年4月，伊藤道夫（Michio Ito）在叶芝（Yeats）的《鹰井》（At the Hawk’s Well）首演中担任主角，正是在伦敦遭遇了日本主义。1915年5月，伊藤在科勒斯姆剧院演出，与霍尔斯特相识，霍尔斯特用伊藤的日语旋律创作了《日本组曲》。但这不是一部合拍片。霍尔斯特似乎没有让伊藤知道他的作文。相反，伊藤有机会与庞德的艺术家圈合作。叶芝，伊克尔斯，杜拉克和科伯恩。他们对日本的“不玩”很感兴趣，并在1915/1916年给了伊藤一些机会，让她穿着他们设计的日本服装跳舞。就这样，日本舞蹈在整个20世纪10年代成为伊藤的主要剧目。我们并不确切知道伊藤的日本舞蹈所用的音乐。《狐狸之舞》的原始音乐应该与霍尔斯特的《日本组曲》的结尾部分相似。1917年之后，伊藤在纽约也喜欢使用日本旋律。《鹰之井》于1918年在纽约演出，因为美国人也对日本的“无戏”感兴趣，科斯卡克·山田为这场演出创作了新的音乐。虽然山田的音乐仍以钢琴版本存在，但不清楚他的音乐在美国实际上是如何演奏的。伊藤也将田村和其他一些No-and - kyogens -剧作翻译成英文。应该弄清楚音乐是如何在这些作品中表演的，以及为什么在20世纪20年代中期他的剧目中突然减少了No/Kyogen-elements。

It was an encounter with Japonism in London that enabled Michio Ito to play the main part in the first performance of At the Hawk's Well by Yeats in April 1916. Although his appearances at Colescum Theatrc in May 1915 Ito got nequainted with Holst who composed Japanese Suite using Japanese melodies given by Ito. But it was not a co-production. It sems that Holst did not let Ito know about his composition. On the contrary, Ito had a chance of co-production with the artist-circle of Pound. Yeats, ickells, Dulac and Coburn. They were interested in Japanese No-play and gave Ito some opportunities in 1915/1916 to dance using Uapanese costumes they designed. In this way, the Japanese dances became Ito's main repertory throughout the 1910's. We don't know precisely about the music used for Ito's Japanesedances. The original music for Fox dance is supposed to have been similar to the finale of Japanese Suite by Holst. Ito preferred to use Japanese melodies also in New York after 1917. At the Hawk's Well was performed in New York in 1918, because American people were also interested in Japanese No-play Koscak Yamada composed new music for this performance. Although Yamada's music is still existing in piano version, it is not clear how his music was actually performed in America. Ito performed Tamura and some other No-and Kyogen-plays in English version, too. It should be made clear how music was performed in these productions and why No/Kyogen-elements because reduced in his repertory suddenly in the mid-1920's.