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In Japan, traditional theatre is still practiced as it was hundreds of years ago, maintaining its wealth of principles and philosophy. I wondered why this is the case and if the traditional and the contemporary could be a continuum, not separate entities. For the past twelve years, I have been studying Japanese Noh, 600-year old traditional Japanese performing art. Its principleswritten in Zeami's treatises continue to carry weight and value for today's performing arts. I bring Noh's principles into my contemporary work. Noh actors are like shamans, transmitting all kinds of spiritual power in the air through super precise movements and amorphous voice. This idea of 'performer as a vessel, a transmitter' resonates with me strongly. All principles of Noh are constructed to evoke maximum imagination with minimum execution. For instance, "Feel 10, show 7",means you express only 70% of the 100% you are feeling, leaving the rest for the audience' to figure out. "Sight outside of sight" refers to the performer’s ability to perceive 360 degree awareness in order to objectively see themselves in a larger context.