Both a refraction of the bombings of Hiroshima and Nagasaki and a protest against Western values, butoh is a form of Japanese dance theater that emerged in the aftermath of World War II. Sondra Fraleigh chronicles the growth of this provocative art form from its mid-century founding under a sign of darkness to its assimilation in the twenty-first century as a poignant performance medium with philosophical and political implications. Through highly descriptive, thoughtful, and emotional prose, Fraleigh traces the transformative alchemy of this metaphoric dance form by studying the international movement inspired by its aesthetic mixtures. While butoh has retained a special identity related to its Japanese background, it also has blossomed into a borderless art with a tolerant and inclusive morphology gaining prominence in a borderless century. Employing intellectual and aesthetic perspectives to reveal the origins, major figures, and international development of the dance, Fraleigh documents the range and variety of butoh artists around the world with first-hand knowledge of butoh performances from 1973 to 2008. Her definitions of butoh's morphology, alchemy, and philosophy set a theoretical framework for poetic and engaging articulations of twenty butoh performances in Japan, Europe, India, and the West. With a blend of scholarly research and direct experience, she also signifies the unfinished nature of butoh and emphasizes its capacity to effect spiritual transformation and bridge cultural differences.

布袋戏既是对广岛和长崎轰炸的折射，也是对西方价值观的抗议，是二战后出现的一种日本舞蹈戏剧形式。Sondra Fraleigh记录了这种具有挑衅性的艺术形式从本世纪中期在黑暗的标志下成立，到二十一世纪被同化为具有哲学和政治意义的凄美表演媒介的成长过程。通过高度描述、深思熟虑和情感丰富的散文，Fraleigh通过研究由其美学混合物激发的国际运动，追踪了这种隐喻性舞蹈形式的变革炼金术。虽然布袋戏保留了与其日本背景有关的特殊身份，但它也绽放出一种无国界的艺术，其宽容和包容的形态在一个无国界的世纪中获得了突出的地位。Fraleigh采用知识和美学的视角来揭示舞蹈的起源、主要人物和国际发展，她以1973年至2008年的布袋戏表演的第一手资料，记录了世界各地布袋戏艺术家的范围和多样性。她对布袋戏的形态学、炼金术和哲学的定义为日本、欧洲、印度和西方的二十种布袋戏的诗意和引人入胜的阐述设定了一个理论框架。通过学术研究和直接经验的融合，她还表明了布袋戏的未完成性，并强调了其影响精神转变和弥合文化差异的能力。

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