CONSIDER the apocryphal story of an American visitor to Japan who was lavishly entertained by his Japanese hosts. To let him see as much of Japan as possible, their schedule included a visit to a Noh play. The American sat through the first act with gritted teeth and glazed eyes, and exerted an almost superhuman effort to at least feign polite interest. Then he caught a glimpse of his two Japanese companions-both blissfully asleep! This story says much about this ancient dramatic form which most Japanese willingly consider a "national treasure" but which few have the patience to endure. And even enthusiastic fans are ready to admit that not many people take to Noh on first exposure. Instead, it takes some preparation to study the plots, read the program notes, and to learn to appreciate the music produced by three drums and a flute.
Actually, the word "play" is somewhat misleading when applied to Noh. It is really a
blending of recitation, chants, and ritual dancing focusing on Buddhist themes or concepts
in which a "moral" or ethical principle is offered to illustrate righteous behavior. Many dramas
feature the souls of the dead in speaking roles or include the roles of plants, animals, and
other "spirits." And the actors- all roles, even 28 female ones, are played by men-chant their lines in a warbling, "sing-song" cadence.
While the origins of Noh can be traced back 1,000 years to the Tang Dynasty in China, the traditional Noh drama seen today was developed in the fourteenth century under the patronage of the A shikaga shogun and remained the chief entertainment of the court and the
feudal aristocracy for some 400 years. By the beginning of the eighteenth century, however,
Japanese audiences were flocking to see the vastly more popular Kabuki dramas. Although
Noh continued to retain some snob appeal and was officially considered the only proper entertainment for samurai and aristocrats, more and more Japanese-even those in high positions-came to regard it as an esoteric, even effete, taste. What is most interesting, perhaps,
is that Noh enjoys its present role as an officially protected and encouraged classical art
form due to the efforts of Tomomi Iwakura, one of the early Meiji oligarchs. In 1873, following
his inspection tour of Europe and America during which he was frequently entertained at operatic performances, Iwakura decided that Noh was akin to grand opera and should be preserved to entertain foreign dignitaries.
There is, however, a different form of dramatic art which is related to the classical Noh
play. Called Noh kyogen , or more simply, kyogen (literally "crazy talk"), the plays feature amusing dialogues- or monologues- about humanfoibles in everyday life. Performers are frequently seated on the floor and rely simply on witty dialogue, puns, and gestures to keep their audiences laughing uproariously. While the art was developed along with N oh during the fourteenth century, kyogen did not at first achieve the same official esteem as its loftier and more elegant cousin. By the Tokugawa period, however, its 300-year heritage gave the tradition
bound shogun ate ample reason to encourage kyogen over the "immoral" upstart, Kabuki, and
Noh flourished. In modern Japan, time and changing tastes have caught up with both Noh
and kyogen- and even with Kabuki. Audiences for these performances seem to be older and
older every year as younger Japanese turn to movies, TV, disco dancing, and a variety of
other entertainment forms.
1 noh-men: Noh masks 14 taiko:drum played with sticks
2 kojo: mask of old man 15 o-tsuzumi:large hand-drum
3 chujo: mask of a nobleman 16 ko-tsuzumi: small hand-drum
4 ko-omote: mask of a young woman 17 fue: Japanese flute
5 hannya: mask of a female demon 18ai-kyogen: kyogen actor who performs between acts
6 kyogen-men: masks for kyogen 19waki: second actor who performs without a mask
7 buaku: mask of a demon 20 tsukuri-mono: stage setting of Noh play
8 usofuki: comical pouting mask 21 ko-kata: child ac tor
9 saru: mask of a monkey 22 ji-utai:onstage chorus
10 kitsune: mask of a fox 23 kagami-ita:bac kground panel of Noh stage
11 hashi-gakari: bridge-like corridor 24 noh-butai: a Noh stage
12koken: assistan t to main ac tor 25kensho: the section for the audience
13 shite: main actor in Noh play
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