Observation and Acquisition: A Study of the Dialectic of East and West in the Modernization Process of Japanese Theatrical Types

D. T. Suzuki (1870 - 1966) in his sermons on Zen Buddhism, by comparing two poems by Basho (1644 - 1694) and Tennyson (1809 - 1892) , reveals two types of thought that have also spread to art. He sees the nature of the Eastern description in observation and the nature of the Western description, and from this he arrives at the inner result of an artist. In this article, using an anthropological study using Suzuki’s theory of the difference between East and West, we try to make a dialectical study that has led to the production of works by Yukio Mishima (1925 - 1970) and Robert Wilson (1941-). Focusing on the old forms of drama in Japan, Mishima began writing modern plays for Kabuki and Noh. Wilson also created a modern work in Einstein’s play on the beach, using Japanese theatrical traditions. Both were trying to deconstruct old species from museum use and achieve new shapes from the heart of tradition. But there has long been a concern that the ancient species, because of the relations they have within themselves, should be done in the same structure, because leaving that structure would be tantamount to leaving their body, and this was seen as an emptying of previous traditions. So what to do with this tradition? Hence, the question of this research is how to deal with tradition, using the fusion of two traditions, East and West. The hypothesis of this article is that Mishima and Wilson sanctified traditions but at the same time preserved their spirit. In this way, Mishima turned his attention to the text, and Wilson focused on the area of the body and the verbal and physical fragmentation in a Noh play. Both maintained the behavior and accompanied the modernization process wit h the behavior. In their opinion, a new ritualization should be realized in the modern field as well, and without the new ritual, the old ritualization cannot be modernized and cannot be displayed