The modern theater of Japanese dance is analyzed in this article. The purpose of the article is consideration of language of dance of Buto from the point of view of the anthropological bases and cultural the practician of Japan. Features of assimilation of classical and nonclassical dance in Japanese culture are considered. It is explained why Buto's dance is hardly identified with habitual ideas of Europeans of dance. The authors consider opinions of domestic and foreign scientists. The primary attention is paid to Tatsumi Hidzikat's creativity. Biographic and social prerequisites of theater of dance of Hidzikat are characterized. The authors show as external calls and social shocks of Japanese were semiotics imprinted in their corporal and mental figurativity. Modernization of ethnic culture and dance under the influence of social cataclysms is described. It is shown how Hidzikat was created by the style. It leaned on the French literature, the western experimental art, the western art theater, Japanese folklore. East bases and motives of dance of Buto are specified: meditation, energiyny practicians, Buddhism. The authors pay attention to special abilities of Hidzikat: he was interested in language of a human body, possessed ability В«to pass through itselfВ» that language of movements which existed in culture, authentic for it. His body was very pliable and capable to storing of all universum of movements of native culture. The developed reflection form on understanding the kinesicheskikh of forms of language as parts of the vital world was also found in Tatsumi. Evolution of dance of Buto from aggressive and instinctive to anthropologically eco-friendly form is shown. Buto's dance shakes by the singularity of a form for the European. In it the whole layers and cuts of Japanese culture, her asceticism are imprinted. The understanding of this dance is impossible without knowledge of its anthropological and ethnocultural bases, a way of life of Japanese from which he grew up.
