From Wikipedia, the free encyclopedia

Noh (能 Nō?), or Nogaku (能楽 Nōgaku?)[1] - derived from the Sino-Japanese word for "skill" or "talent" - is a major form of classical Japanese musical drama that has been performed since the 14th century. Many characters are masked, with men playing male and female roles. Traditionally, a Noh "performance day" lasts all day and consists of five Noh plays interspersed with shorter, humorous kyōgen pieces. However, present-day Noh performances often consist of two Noh plays with one Kyōgen play in between.

While the field of Noh performance is extremely codified, and regulated by the iemoto system, with an emphasis on tradition rather than innovation, some performers do compose new plays or revive historical ones that are not a part of the standard repertoire. Works blending Noh with other theatrical traditions have also been produced.

History

Together with the closely related kyōgen farce, Noh evolved from various popular, folk and aristocratic art forms, including Dengaku, Shirabyoshi, and Gagaku.

Kan'ami and his son Zeami Motokiyo brought Noh to what is essentially its present-day form during the Muromachi period (1336 to 1573)[2] under the patronage of the powerful Ashikaga clan, particularly the third shogun, Ashikaga Yoshimitsu. It would later influence other dramatic forms such as Kabuki and Butoh. During the Meiji era, although its governmental patronage was lost, Noh and kyōgen received official recognition as two of the three national forms of drama.

By tradition, Noh actors and musicians only rehearse together once, a few days before the actual performance. Generally, each actor, musician, and chorus member practises his or her fundamental movements, songs, and dances independently, under the tutelage of a senior member of the school. Thus, the mood of a given performance is not set by any single performer but established by the interactions of all the performers together. In this way, Noh could be seen as exemplifying the medieval Japanese aesthetics of transience, exemplified by the saying of Sen no Rikyu, "ichi-go ichi-e", "one chance, one meeting".

One of the important centres of Noh was Nagoya, which upholds its tradition in today's Nagoya Noh Theatre.

Roles

There are four major categories of Noh performers: shite, waki, kyōgen, and hayashi.[3]

1. Shite (仕手, シテ). In plays where the shite appears first as a human and then as a ghost, the first role is known as the maeshite and the later as the nochishite.
   • Shitetsure (仕手連れ, シテヅレ). The shite's Sometimes shitetsure is abbreviated to tsure (連れ, ツレ), although this term refers to both the shitetsure and the wakitsure.
   • Kōken (後見) are stage hands, usually one to three people.
   • Jiutai (地謡) is the chorus, usually comprising six to eight people.
2. Waki (脇, ワキ) performs the role that is the counterpart or foil of the shite.
   • Wakitsure (脇連れ, ワキヅレ) or Waki-tsure is the companion of the waki.
3. Kyōgen (狂言) perform the aikyōgen (相狂言) interludes during plays. Kyōgen actors also perform in separate plays between individual noh plays.
4. Hayashi (囃子) or hayashi-kata (囃子方) are the instrumentalists who play the four instruments used in Noh theater: the transverse flute (笛 fue?), hip drum (大鼓 ōtsuzumi?) or ōkawa (大皮?), the shoulder-drum (小鼓 kotsuzumi?), and the stick-drum (太鼓 taiko ?). The flute used for noh is specifically called nōkan or nohkan (能管?).

A typical Noh play always involve the chorus, the orchestra, and at least one shite and one waki actor.[4]

Plays

The current repertoire consist of approximately 250 plays, which can be divided according to a variety of schemes. The most common is according to content, but there are several other methods of organization.[5]

Categories

Noh plays are divided by theme into the following 5 categories, which are numbered in this order and referred to by these numbers (a "3rd group play", for instance).

1. Kami mono (神物) or waki nō (脇能) typically feature the shite in the role of a human in the first act and a deity in the second and tell the mythic story of a shrine or praise a particular spirit.
2. Shura mono (修羅物) or ashura nō (阿修羅能, warrior plays) have the shite often appearing as a ghost in the first act and a warrior in full battle regalia in the second, re-enacting the scene of his death.
3. Katsura mono (鬘物, wig plays) or onna mono (女物, woman plays) depict the shite in a female role and feature some of the most refined songs and dances in all of Noh.
4. There are about 94 "miscellaneous" plays, including kyōran mono　(狂乱物) or madness plays, onryō mono (怨霊物) or vengeful ghost plays, and genzai mono (現在物), plays which depict the present time, and which do not fit into the other categories.
5. Kiri nō　(切り能, final plays) or oni mono (鬼物, demon plays) usually feature the shite in the role of monsters, goblins, or demons, and are often selected for their bright colors and fast-paced, tense finale movements.

Mood

• Mugen nō (夢幻能) usually deals with spirits, ghosts, phantasms, and supernatural worlds. Time is often depicted as passing in a non-linear fashion, and action may switch between two or more timeframes from moment to moment.
• Genzai nō (現在能), as mentioned above, depicts normal events of the everyday world. However, when contrasted with mugen instead of with the other four categories, the term encompasses a somewhat broader range of plays.

Style

• Geki nō (劇能) or drama plays are based around the advancement of plot and the narration of action.
• Furyū nō (風流能) or dance plays focus rather on the aesthetic qualities of the dances and songs which are performed.

Okina (or Kamiuta) is a unique play which combines dance with Shinto ritual. It is considered the oldest type of Noh play, and is probably the most often performed. It will generally be the opening work at any programme or festival.

Sources

The Tale of the Heike, a medieval tale of the rise and fall of the Taira clan, originally sung by blind monks who accompanied themselves on the biwa, is an important source of material for Noh (and later dramatic forms), particularly warrior plays. Another major source is The Tale of Genji, an eleventh century work of profound importance to the later development of Japanese culture. Authors also drew on Nara and Heian period Japanese classics, and Chinese sources.

Some famous plays

For a more comprehensive list, see List of Noh plays: A-M N-Z.

Plays with a separate article are listed here.

The following categorization is that of the Kanze school.

Name	Kanji	Meaning	Category
Aoi no Ue	葵上	Lady Aoi	4 (misc.)
Aya no Tsuzumi	綾鼓	The Damask Drum	4 (misc.)
Dōjōji	道成寺	Dōjōji	4 (misc.)
Hagoromo	羽衣	The Feather Mantle	3 (woman)
Izutsu	井筒	The Well Cradle	3 (woman)
Kagekiyo	景清	Kagekiyo	4 (misc.)
Kanawa	鉄輪	The Iron Ring/Crown	4 (misc.)
Kumasaka	熊坂	Kumasaka/The Robber	5 (demon)
Matsukaze	松風	The Wind in the Pines	3 (woman)
Nonomiya	野宮	The Shrine in the Fields	3 (woman)
Sekidera Komachi	関寺小町	Komachi at Sekidera	3 (woman)
Semimaru	蝉丸	Semimaru	4 (misc.)
Shakkyō	石橋	Stone Bridge	5 (demon)
Shōjō	猩々	The Tippling Elf	5 (demon)
Sotoba Komachi	卒都婆小町	Komachi at the Gravepost	3 (woman)
Takasago	高砂	At Takasago	1 (deity)
Tsunemasa	経政	Tsunemasa	2 (warrior)
Yorimasa	頼政	Yorimasa	2 (warrior)
Yuya	熊野	Yuya	3 (woman)

 

Performance elements

Noh performance combines a variety of elements into a stylistic whole, with each particular element the product of generations of refinement according to the central Buddhist, Shinto, and minimalist aspects of Noh's aesthetic principles.

 

Stage

The traditional Noh stage consists of a pavilion whose architectural style is derived from that of the traditional kagura stage of Shinto shrines, and is normally composed almost entirely of hinoki (Japanese cypress) wood. The four pillars are named for their orientation to the prominent actions during the course of the play: the waki-bashira in the front, right corner near the waki's standing point and sitting point; the shite-bashira in the rear, left corner, next to which the shite normally performs; the fue-bashira in the rear, right corner, closest to the flute player; and the metsuke-bashira, or "looking-pillar", so called because the shite is typically faced toward the vicinity of the pillar.

The floor is polished to enable the actors to move in a gliding fashion, and beneath this floor are buried giant pots or bowl-shaped concrete structures to enhance the resonant properties of the wood floors when the actors stomp heavily on the floor (compare nightingale floor). As a result, the stage is elevated approximately three feet above the ground level of the audience.

The only ornamentation on the stage is the kagami-ita, a painting of a pine-tree at the back of the stage. The two most common beliefs are that it represents either a famous pine tree of significance in Shinto at the Kasuga Shrine in Nara, or that it is a token of Noh's artistic predecessors which were often performed to a natural backdrop.

Another unique feature of the stage is the hashigakari, the narrow bridge to the right of the stage that the principal actors use to enter the stage. This would later evolve into the hanamichi in kabuki.

All stages which are solely dedicated to Noh performances also have a hook or loop in ceiling, which exists only to lift and drop the bell for the play Dōjōji. When that play is being performed in another location, the loop or hook will be added as a temporary fixture.

 

Costumes

The garb worn by actors is typically adorned quite richly and steeped in symbolic meaning for the type of role (e.g. thunder gods will have hexagons on their clothes while serpents have triangles to convey scales). Costumes for the shite in particular are extravagant, shimmering silk brocades, but are progressively less sumptuous for the tsure, the wakizure, and the aikyōgen.

For centuries, in accordance with the vision of Zeami, Noh costumes emulated the clothing that the characters would genuinely wear, whether that be the formal robes of a courtier or the street clothing of a peasant or commoner. It was not until the late sixteenth century that stylized Noh costumes following certain symbolic and stylistic conventions became the norm.[6]

The musicians and chorus typically wear formal montsuki kimono (black and adorned with five family crests) accompanied by either hakama (a skirt-like garment) or kami-shimo, a combination of hakama and a waist-coat with exaggerated shoulders (see illustrations). Finally, the stage attendants are garbed in virtually unadorned black garments, much in the same way as stagehands in contemporary Western theater.

Masks

Noh masks (能面 nō-men or 面 omote) all have names. They are carved from blocks of Japanese cypress (檜 "hinoki"), and painted with natural pigments on a neutral base of glue and crunched seashell.

Usually only the shite, the main actor, wears a mask. However, in some cases, the tsure may also wear a mask, particularly in the case of female roles. Noh masks portray female or nonhuman (divine, demonic, or animal) characters. There are also Noh masks to represent youngsters or old men. On the other hand, a Noh actor who wears no mask plays a role of an adult man in his twenties, thirties, or forties. The side player, the waki, wears no mask either.

Several types of masks, in particular those for female roles, are designed so that slight adjustments in the position of the head can express a number of emotions such as fear or sadness due to the variance in lighting and the angle shown towards the audience. With some of the more extravagant masks for deities and monsters, however, it is not always possible to convey emotion. Usually, however, these characters are not frequently called to change emotional expression during the course of the scene, or show emotion through larger body language.

The rarest and most valuable Noh masks are not held in museums even in Japan, but rather in the private collections of the various "heads" of Noh schools; these treasures are usually only shown to a select few and only taken out for performance on the rarest occasions. This does no substantial harm to the study and appreciation of Noh masks, as tradition has established a few hundred standard mask designs, which can further be categorized as being one of about a dozen different types.

Props

The most commonly used prop in Noh is the fan, as it is carried by all performers regardless of role. Chorus singers and musicians may carry their fan in hand when entering the stage, or carry it tucked into the obi. In either case, the fan is usually placed at the performer's side when he or she takes position, and is often not taken up again until leaving the stage.

Several plays have characters who wield mallets, swords, and other implements. Nevertheless, during dance sequences, the fan is typically used to represent any and all hand-held props, including one such as a sword which the actor may have tucked in his sash or ready at hand nearby.

When hand props other than fans are used, they are usually introduced or retrieved by stage attendants who fulfill a similar role to stage crew in contemporary theater. Like their Western counterparts, stage attendants for Noh traditionally dress in black, but unlike in Western theater they may appear on stage during a scene, or may remain on stage during an entire performance, in both cases in plain view of the audience.

Stage properties in Noh including the boats, wells, altars, and the aforementioned bell from Dōjōji, are typically carried onto the stage before the beginning of the act in which they are needed. These props normally are only outlines to suggest actual objects, although the great bell, a perennial exception to most Noh rules for props, is designed to conceal the actor and to allow a costume change during the aikyogen interlude.

Chant and music

Noh theatre is accompanied by a chorus and a hayashi ensemble (Noh-bayashi 能囃子). Noh is a chanted drama, and a few commentators have dubbed it "Japanese opera." However, the singing in Noh involves a limited tonal range, with lengthy, repetitive passages in a narrow dynamic range. Clearly, melody is not at the center of Noh singing. Still, texts are poetic, relying heavily on the Japanese seven-five rhythm common to nearly all forms of Japanese poetry, with an economy of expression, and an abundance of allusion. The singing parts of Noh are called 'Utai' and the speaking parts 'Kataru'.[1]

It is important to note that the chant is not always performed "in character"; that is, sometimes the actor will speak lines or describe events from the perspective of another character or even a disinterested narrator. Far from breaking the rhythm of the performance, this is actually in keeping with the other-worldy feel of many Noh plays, especially those characterized as mugen.

Noh hayashi ensemble consists of four musicians, also known as the "hayashi-kata". There are three drummers, which play the shime-daiko, ōtsuzumi (hip drum), and kotsuzumi (shoulder drum) respectively, and a shinobue flautist.

Jo, Ha, Kyū

Main article: Jo-ha-kyū

One of the most subtle performance elements of Noh is that of Jo-ha-kyū, which originated as the three movements of courtly gagaku. However, rather than simply dividing a whole into three parts, within Noh the concept incorporates not only the play itself, but the songs and dances within the play, and even the individual steps, motions, and sounds that actors and musicians make. Furthermore, from a higher perspective, the entire traditional Noh program of five plays also manifests this concept, with the first type play being the jo, the second, third, and fourth plays the ha (with the second play being referred to as the jo of the ha, the third as the ha of the ha, and the fourth as the kyū of the ha), and finally the fifth play the kyū. In general, the jo component is slow and evocative, the ha component or components detail transgression or the disordering of the natural way and the natural world, and the kyū resolves the element with haste or suddenness (note, however, that this only means kyū is fast in comparison with what came before it, and those unfamiliar with the concepts of Noh may not even realize the acceleration occurred).

Audience etiquette

Audience etiquette is generally similar to formal western theater – the audience quietly watches. Surtitles are not used, but some audience members follow along in the libretto. At the end of the play, the actors file out slowly (most important first, with gaps between actors), and while they are on the bridge (hashigakari), the audience claps restrainedly. Between actors, clapping ceases, then begins again as the next actor leaves. Unlike in western theater, there is no bowing, nor do the actors return to the stage after having left. A play may end with the shite character leaving the stage as part of the story (as in Kokaji, for instance) – rather than the play ending with all characters on stage – in which case one claps as the character exits.

During the interval, tea, coffee, and wagashi (Japanese sweets) may be served in the lobby. In the Edo period, when Noh was a day-long affair, more substantial makunouchi bentō (幕の内弁当, "between acts bento") was served. On special occasions, when the performance is over, お神酒 (o-miki, ceremonial sake) may be served in the lobby on the way out, as it happens in Shinto rituals.

In terms of seating, there is seating in front of the stage, to the left side of the stage, and in the corner front-left of stage; these are in order of decreasing desirability. While the metsuke-bashira pillar obstructs the view of the stage, the actors are primarily at the corners, not the center, and thus the two aisles are located where the views of the two main actors would be obscured, ensuring a generally clear view regardless of seating.

Actors

There are about 1500 professional Noh actors in Japan today, and the art form continues to thrive. Actors begin their training as young children, traditionally at the age of three. Historically, the performers were exclusively male. In the modern day, a few women (many daughters of established Noh actors) have begun to perform professionally. Zeami isolated nine levels or types of Noh acting from lower degrees which put emphasis on movement and violence to higher degrees which represent the opening of a flower and spiritual prowess.[7] Many people also study Noh on an amateur basis. While the field of Noh performance is extremely codified with an emphasis on tradition rather than innovation, some performers do compose new plays or revive historical ones that are not a part of the standard repertoire. Works blending Noh with other theatrical traditions have also been produced.

The five extant schools of Noh shite acting are the Kanze (観世), Hōshō (宝生), Komparu (金春), Kongō (金剛), and Kita (喜多) schools. Each school can have different leading families, where the iemoto family, carrying the same name of the school, is considered as the most important. The iemoto holds the power to create new plays or modify lyrics and performance modes.

The society of Noh (Nōgaku Kyōkai), to which all professionals are registered, strictly protects the traditions passed down from their ancestors (see iemoto). However, several secret documents of the Kanze school written by Zeami, as well as materials by Komparu Zenchiku, have been diffused throughout the community of scholars of Japanese theater.

Actors normally follow a strict progression through the course of their lives from roles considered the most basic to those considered the most complex or difficult; the role of Yoshitsune in Funa Benkei is one of the most prominent roles a child actor performs in Noh. Other 'graduation pieces' include Shakkyō, Dōjōji and Hachi no Ki. In his maturity, an actor will be confronted with pieces where the main character is an elderly person, especially the 'Komachi' pieces, portraying the famous Heian period poetess Ono no Komachi, such as Kayoi Komachi or Sekidera Komachi.

Besides professional acting, Noh is practiced by thousands of amateurs who train in chant and dance and often producing recitals.

Influence in the West

Western artists influenced by Noh include:

Theatre practitioners

• Bertolt Brecht
• Peter Brook
• Jacques Lecoq
• Jacques Copeau
• Eugenio Barba
• Jerzy Grotowski
• Heiner Müller
• Eugene O'Neill
• Osvobozené divadlo
• William Butler Yeats
• Paul Claudel

Composers

• William Henry Bell
• Benjamin Britten
• Carlo Forlivesi
• Olivier Messiaen
• Karlheinz Stockhausen
• Iannis Xenakis
• David Byrne
• Harry Partch

Poets

• Ezra Pound

Aesthetic terminology

Zeami and Zenchiku describe a number of distinct qualities that are thought to be essential to the proper understanding of Noh as an art form.

• Hana (花, flower): the true Noh performer seeks to cultivate a rarefied relationship with his audience similar to the way that one cultivates flowers. What is notable about hana is that, like a flower, it is meant to be appreciated by any audience, no matter how lofty or how coarse his upbringing. Hana comes in two forms. Individual hana is the beauty of the flower of youth, which passes with time, while "true hana" is the flower of creating and sharing perfect beauty through performance.
• Yūgen (幽玄): an aesthetic term used to describe much of the art of the 13th and 14th centuries in Japan, but used specifically in relation to Noh to mean the profound beauty of the transcendental world, including mournful beauty involved in sadness and loss.
• Kokoro or shin (both 心): Defined as "heart," "mind," or both. The kokoro of noh is that which Zeami speaks of in his teachings, and is more easily defined as "mind." To develop hana the actor must enter a state of no-mind, or mushin.
• Rōjaku (老弱): the final stage of performance development of the Noh actor, in which as an old man he eliminates all unnecessary action or sound in his performance, leaving only the true essence of the scene or action being imitated.
• Myō (妙): the "charm" of an actor who performs flawlessly and without any sense of imitation; he effectively becomes his role.
• Monomane (物真似, imitation or mimesis): the intent of a Noh actor to accurately depict the motions of his role, as opposed to purely aesthetic reasons for abstraction or embellishment. Monomane is sometimes contrasted with yūgen, although the two represent endpoints of a continuum rather than being completely separate.
• Kabu-isshin (歌舞一心, "song-dance-one heart"): the theory that the song (including poetry) and dance are two halves of the same whole, and that the Noh actor strives to perform both with total unity of heart and mind.

See also

• Iemoto
• Higashiyama Bunka
• Shuhari

References

1. ^ "Nogaku". Dictionary.com.
2. ^ Watanabe, Takeshi (2009). Breaking Down Barriers: A History of Chanoyu. Yale Art Gallery. pp. 51. ISBN978-0300146929.
3. ^ "Enjoying Noh and Kyōgen". The Nohgaku performers' association. p. 3.
4. ^ M.(ed.) 2009. Drama from the Rim: Asian Pacific Drama Book. Drama Victoria. Melbourne. 2009. (p47)
5. ^ Ortolani, Benito (1995). The Japanese theatre: from shamanistic ritual to contemporary pluralism. Princeton University Press. p. 132. ISBN0691043337.
6. ^ Morse, Anne Nishimura, et al. MFA Highlights: Arts of Japan. Boston: Museum of Fine Arts Publications, 2008. p109.
7. ^ M.(ed.) 2009. Drama from the Rim: Asian Pacific Drama Book. Drama Victoria. Melbourne. 2009. (p32)

Bibliography

• James R. Brandon (editor). "Nō and kyōgen in the contemporary world." (foreword by Ricardo D. Trimillos) Honolulu : University of Hawaiʻi Press. 1997.
• Karen Brazell. Traditional Japanese Theater: An Anthology of Plays. New York: Columbia University Press. 1998.
• Eric Rath. The Ethos of Noh: Actors and Their Art. Harvard University Asia Center Press, 2004.
• Royall Tyler (ed. & trans.). Japanese Nō Dramas. London: Penguin Books. 1992 ISBN 0-14-044539-0
• Arthur Waley. Noh plays of Japan. Tuttle Shokai Inc. 2009 ISBN 4805310332 ISBN 978-4805310335

External links

• An Introduction to Noh & Kyogen
• Noh Stories in English Ohtsuki Noh Theatre Foundation
• Nō Plays -Translations of thirteen Noh plays- Japanese Text Initiative, University of Virginia Library
• Virtual Reality and Virtual Irreality On Noh-Plays and Icons
• "Noh & Kyogen". Japan Arts Council.
• Page on the variable expressions of Noh masks
• Noh plays Photo Story and Story Paper the-Noh.com : Comprehensive Site on Noh
• "Hachi-No-Ki, A Perspective"

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From Wikipedia, the free encyclopedia

Kyōgen (狂言?, literally "mad words" or "wild speech") is a form of traditional Japanese comic theater. It developed alongside Noh, was performed along with Noh as an intermission of sorts between Noh acts, on the same Noh stage, and retains close links to Noh in the modern day; therefore, it is sometimes designated Noh-kyōgen. However, its content is not at all similar to the formal, symbolic, and solemn Noh theater; kyōgen is a comical form, and its primary goal is to make its audience laugh. Kyōgen is sometimes compared to the Italian comic form of commedia dell'arte, which developed around the same period (14th century) and likewise features stock characters.

History

Kyōgen is thought to derive from a form of Chinese entertainment that was brought to Japan around the 8th century. This entertainment form became known as sarugaku and initially encompassed both serious drama and comedy. By the 14th century, these forms of sarugaku had become known as Noh and kyōgen, respectively.

Kyōgen provided a major influence on the later development of kabuki theater. After the earlier, more ribald forms of kabuki had been outlawed in the mid-17th century, the government permitted the establishment of the new yarō-kabuki (men's kabuki) only on the grounds that it refrain from the previous kabuki forms' lewdness and instead model itself after kyōgen.

Noh had been the official entertainment form of the Edo period, and was therefore subsidized by the government. Kyōgen, performed in conjunction with Noh, also received the patronage of the government and the upper class during this time. Following the Meiji Restoration, however, this support ceased. Without government support, Noh and kyōgen went into decline, as many Japanese citizens gravitated toward the more "modern" Western art forms. In 1879, however, then-former US President Ulysses S. Grant and his wife, while touring Japan, expressed an interest in the traditional art of Noh. They became the first Americans to witness Noh and kyōgen plays and are said to have enjoyed the performance. Their approval is believed to have sparked a revival of interest in these forms.[1]

In modern Japan, kyōgen is performed both separately and as a part of Noh. When performed as part of a Noh performance, kyōgen can take two forms: a separate (comic) kyōgen play, performed between two Noh plays (inter-Noh), or a (non-comic) scene within a Noh play (intra-Noh, between two scenes), which is known as aikyōgen (間狂言?, in-between kyōgen, kyōgen interval).

In aikyōgen, most often the main Noh actor (shite) leaves the stage and is replaced by a kyōgen actor (狂言方 kyōgen-kata?), who then explains the play (for the benefit of the audience), though other forms are also possible – the aikyōgen happening at the start, or the kyōgen actor otherwise interacting with the Noh actors. As part of Noh, aikyōgen is not comic – the manner (movements, way of speech) and costume are serious and dramatic. However, the actor is dressed in a kyōgen outfit and uses kyōgen-style language and delivery (rather than Noh language and delivery) – meaning simpler, less archaic language, delivered closer to a speaking voice – and thus can generally be understood by the audience, hence the role in explaining the play. Thus, while the costume and delivery are kyōgen-style (kyōgen in form), the clothing will be more elegant and the delivery less playful than in separate, comic kyōgen. Before and after aikyōgen, the kyōgen actor waits (kneeling in seiza) at the kyogen seat (狂言座 kyōgen-za?) at the end of the bridge (hashigakari), close to the stage.

The traditions of kyōgen are maintained primarily by family groups, especially the Izumi school and Ōkura school.

Elements of Kyōgen

Kyōgen plays are invariably brief – often about 10 minutes, as traditionally performed between acts of Noh – and often contain only two or three roles, which are often stock characters. Notable ones include Tarō kaja (太郎冠者?, main servant, literally "(common name) + servant"), Jirō kaja (次郎冠者?, second servant, literally "second son + servant"), and the master (主人 shujin?).

Movements and dialogue in kyōgen are typically very exaggerated, making the action of the play easy to understand. Elements of slapstick or satire are present in most kyōgen plays. Some plays are parodies of actual Buddhist or Shinto religious rituals; others are shorter, more lively, simplified versions of Noh plays, many of which are derived from folktales. As with Noh, jo-ha-kyū is a fundamental principle, which is particularly relevant for movement.

As with Noh and kabuki, all kyōgen actors, including those in female roles, are men. Female roles are indicated by a particular piece of attire, a binankazura (美男葛?) – a long white sash, wrapped around the head, with the ends hanging down the front of the body and tucked into the belt, like symbolic braids; at the two points (either side of the head) where the sash changes from being wrapped around to hanging down, the sash sticks up, like two small horns.

Similarly, actors play roles regardless of age – an old man may play the role of Tarō kaja opposite a young man playing master, for instance.

Costumes

Outfits are generally kamishimo (Edo period outfit consisting of kataginu top and hakama pants), with the master (if present) generally wearing nagabakama (long, trailing pants).

Actors in kyōgen, unlike those in Noh, typically do not wear masks, unless the role is that of an animal (such as a tanuki or kitsune), or that of a god. Consequently, the masks of kyōgen are less numerous in variety than Noh masks. Both masks and costumes are simpler than those characteristic of Noh. Few props are used, and minimal or no stage sets. As with Noh, a fan is a common accessory.

Language

The language in kyōgen depends on the period, but much of the classic repertoire is in Early Modern Japanese, reasonably analogous to Early Modern English (as in Shakespeare). The language is largely understandable to contemporary Japanese speakers, but sounds archaic, with pervasive use of the gozaru (ござる?) form rather than the masu (ます?) form that is now used (see copula: Japanese). For example, when acknowledging a command, Tarō kaja often replies with kashikomatte-gozaru (畏まってござる?, "Yes sir!"), which in modern Japanese one uses kashikomarimashita (畏まりました?). Further, some of the words and nuances cannot be understood by modern audience (without notes), as in Shakespeare. This contrasts with Noh, where the language is more difficult and generally not understandable to a contemporary audience.

There are numerous set patterns – stock phrases and associated gestures, such as kashikomatte-gozaru (with a bow) and Kore wa mazu nani-to itta sō. Iya! Itashiyō ga gozaru. "So first, what to do. Aha! There is a way to do it.", performed while bowing and cocking head (indicating thought), followed by standing up with a start on Iya!. Plays often begin with set phrases such as Kore ha kono atari ni sumai-itasu mono de gozaru. "This is the person who resides in this place." and (if featuring Tarō kaja) often end with Tarō kaja running off the stage yelling Yaru-mai zo, yaru-mai zo! "I won't do it, I won't do it!".

Lines are delivered in a characteristic rhythmic, sing-song voice, and generally quite loudly. Pace, pitch, and volume are all varied for emphasis and effect.

Movements

As with Noh, which is performed on the same stage, and indeed many martial arts (such as kendo and aikido) actors move via suriashi (摺り足?), sliding their feet, avoiding steps on the easily-vibrated Noh stage. When walking, the body seeks to remain at the same level, without bobbing up or down. Plays also frequently feature stamping feet or otherwise hitting the ground (such as jumping) to take advantage of the stage.

As with Noh, angle of gaze is important, and usually a flat gaze is used (avoiding looking down or up, which create a sad or fierce atmosphere, which is to be avoided). Characters usually face each other when speaking, but turn towards the audience when delivering a lengthy speech.

Arms and legs are kept slightly bent. Unless involved in action, hands are kept on upper thighs, with fingers together and thumb tucked in – they move down to the sides of the knees when bowing.

Music

Kyōgen is performed to the accompaniment of music, especially the flute, drums, and gong. However, the emphasis of kyōgen is on dialogue and action, rather than on music or dance.

Space

Kyogen is generally performed on a Noh stage, as the stage is an important part of the play (the space, the reaction to stamps, the ease of sliding, etc.). It can, however, be performed in any space (particularly by amateur or younger performers), though if possible a Noh-like floor will be installed.

Komai

In addition to the kyōgen plays themselves, performances include short dances called komai (小舞?, small dance). These are traditional dramatic dances (not comic), performed to a chanted accompaniment, and with varied themes. The movements are broadly similar to Noh dances. The often archaic language used in the lyrics and the chanted delivery means that these chants are often not understandable to a contemporary audience.

Kyōgen today

Today, kyōgen is performed and practiced regularly, both in major cities (especially Tokyo and Osaka) and throughout the country, and is featured on cultural television programs. In addition to the performances during Noh plays, it is also performed independently, generally in programs of three to five plays. New kyogen is written regularly, though few new plays enter the repertoire. As with Noh, many Japanese are familiar with kyōgen only through learning about it in school or television performances. As with Noh, many professional performers are born into a family, often starting performing at a young age, but others are not born into families and beginning practicing in high school or college.

In media

Kyogen is a concept addressed in xxxHolic, and is the title for the second episode of the anime. The English alternative used is 'Falsehood'.

References

1. ^ ""First Noh & Kyogen Program Witnessed by Americans" in Boston December 7, 2004.". PRWeb. 25 November 2004. Retrieved 31 May 2010.

• Brandon, James R. Nō and Kyōgen in the Contemporary World. Honolulu: University of Hawai'i Press, 1997.
• Kenny, Don (compiler) (1989). The Kyogen book : an anthology of Japanese classical comedies. Tokyo: Japan Times. ISBN4-7890-0459-7.
• Richie, Donald (1972). Three modern Kyogen. Rutland, Vermont: Tuttle Publishing. ISBN0-8048-1038-9.
• Sakanishi, Shiho (1938). Kyôgen; comic interludes of Japan. Boston: Marshall Jones Company.
• Takeda, Sharon Sadako (2002). Miracles & mischief : Noh and Kyōgen theater in Japan. Los Angeles: Agency for Cultural Affairs, Government of Japan. ISBN0-8758-7188-7.

External links

• Noh & Kyogen — An Introduction

Original source:

http://en.wikipedia.org/wiki/Kyōgen

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