Basil Twist’s Dogugaeshi

A show composed almost entirely of set changes may not sound like the most exciting theatrical experience, but in the capable hands of master puppet artist Basil Twist, Basil Twist’s Dogugaeshi is simply mesmerizing. Currently making a return appearance at The Japan Society, where it was commissioned and first presented in 2004, the show takes its title from the tradition of sliding screens painted with elegant designs that were once commonly used to change the backdrops in Japanese puppet performances. Twist’s piece is a succession of images — some beautiful, others whimsical — that are constantly shifting and transforming.

While a straightforward storyline is nowhere to be found, there is a meditative autobiographical narrative that threads through the hour-long performance. The program notes discuss how the artist’s initial inspiration came from viewing black and white footage of dogugaeshi, as well as his subsequent research into the nearly forgotten tradition while in Japan. Similarly, the performance begins with the same brief film that Twist saw, and a later part of the performance shows a video of Twist’s interviews with elderly women who recall dogugaeshi screens from their childhoods.

Even if you haven’t read the program notes, it’s possible to admire the piece for its aesthetics alone. Some of the screens employed are decorated with imagery drawn from traditional Japanese paintings, while others have an American pop art feel, and still others display abstract geometrical patterns. Twist makes good use of distance and perspective to create the illusion of rooms opening up to reveal smaller rooms. A dreamlike atmosphere is created, as different screens slide in and out — sometimes slowly, sometimes more rapidly.

Elegant white foxes are the only hand-held puppets employed. They appear at seemingly random moments in front of, or between screens. A segment of the performance is dedicated to a dance by one of the foxes, lit by a spotlight and accompanied by musician/composer Yumiko Tanaka.

Tanaka’s primary instrument is the three-stringed shamisen, traditionally used in Japanese puppet performances. Her live music improvisations are supplemented by a terrific sound design by Tanaka, Greg Duffin, and Yasuhiro Otani that includes everything from drumming, chanting, Japanese pop music, the sound of a storm, and even a snatch of “There’s No Business Like Show Business.”

Also contributing to the overall experience is the lighting by Andrew Hill and the projection design by Peter Flaherty, both of which are as much a part of the visual aesthetic as the nearly 100 handcrafted painted screens that Twist employs.

And, of course, there are the puppeteers — Twist, along with Kate Brehm, Oliver Dalzell, Philippe Rodriguez-Jorda, and Jessica Scott — who work their magic behind the scenes, rarely seen by the audience aside from the occasional hand which might pull a string or help along a sliding panel that’s gotten momentarily stuck. Indeed, a few minor technical difficulties at the performance I attended prevented the experience from being as perfectly realized as it might, but it was still quite enjoyable.