June 1, 1936

Taiwan Geijutsu Shimpo

Vol. 2, No. 6

Dance Princess of the Peninsula: Choi Seung-hee

Grand Performance in Early July

Unprecedented on the Main Island
A Great Success

Program

Dance of the King: accompanied by gong

Sacrifice: by Bloch

Three Poems: music by Crane

• A: Dramatic Poem
• B: Lyric Poem
• C: Antique Poem

Rhapsody: Beethoven piece

Korean Style Duet: Korean Folklore Piece

Tristesse: Chopin piece

Maiden’s Dance: Korean Classical Music

Study No. 3: No Music Accompaniment

Dance of the Mask: Percussion Accompaniment

Youth: Pablo de Sarasate

Three Korean Melodies: Korean Music

• A:
• B: Folk Song Style
• C:

The Red and the Black: Piano and gong accompaniment

Honihoro Shi: music by Nishikiyo Kadono

Dance of the Golden Fingers: music by Grier

Flow of the Heart: Tchaikovsky piece

Excerpts from reviews of Choi Seung-hee

Baku Ishii: Choi Seung-hee’s body is indeed unusually fine for a Japanese in terms of its proportions. Her every move can be twice as effective as that of a normal human being. When it comes to something like “Going to the Wilderness,” the word “powerful” is certainly needed. Reprinted from “Gendai”.

Yasunari Kawabata: Without any hesitation, I answered that Choi Seung-hee was the best in Japan. And there was no doubt in my mind that Choi Seung-hee had what it took to make me agree. It is easier to say that Choi Seung-hee is the best in Japan than to say that anyone else is the best in Japan. First of all, she has a magnificent physique. The size of her dance. Her power. In addition, she is in the prime of her dancing years. She also has a distinctly ethnic flair. Reprinted from “Bungei”

Hiroshi Eguchi: What I feel when I see Choi Seung-hee’s dance is the beauty of incompleteness. But that does not mean that it is a wild art. Although it has been polished in many ways, there is an unfinished, and therefore unique, character to it. Reprinted from “Music World”

?ta Ryu?: There are many women in the dance world, but there are not many artists who have a spirit of thought in their dance. In an age when most of the dancers are immature and flashy, it is a powerful thing to have a woman like Choi Seung-hee. Reprinted from “Homeline”.

Tomoyoshi Murayama: It was a great surprise to encounter the dance of Choi Seung-hee. She has revived the old Joseon dance on the basis of her physical prowess and long years of basic training in modern dance. This is a privilege that only a great artist can achieve, or in other words, a “critical reception of heritage”. We were able to feel a maternal stirring through her. Reprinted from the “pamphlet”

Performance Schedule

• Keelung: 1 day
• Taipei: 3 days
• Taichung: 2 days
• Chiayi: 1 day
• Tainan: 2 days
• Kaohsiung: 2 days
• Pingtung: 1 day

王の舞：銅羅伴奏

生贄:ブロッホ

三つの詩：クレイン曲

• A: ドラマティック・ポエム
• B: リリック・ポエム
• C:　アンティク・ポエム

狂想：ベートーヴェン曲

朝鮮風のデュエット：朝鮮俗曲

無優華：ショパン曲

巫女の舞：朝鮮古曲

習作第三：無音楽

仮面の踊：打楽器伴奏

青春：サラサーテ曲

三つのコリアン・メロデー：朝鮮音楽

• A:
• B:民謡調
• C:

赤と黒：ピアノ・銅羅伴奏

ほにほろ師：角野錦生曲

金の指の踊：グリエル曲

心の流れ：チャイコフスキー曲