Week 5 Theatre PDF

Japanese Culture Fall 2024 Assistant prof. Amal Refaat(Course coordinator ) JICA Volunteer: Kazuyo Takehara Looking back to what we studied… Cultural Diversity Egypt Japanese Theatre Noh & Kyogen Kabuki Ningyo Jyoruri Bunraku Takarazuka J...

Japanese Culture Fall 2024 Assistant prof. Amal Refaat(Course coordinator ) JICA Volunteer: Kazuyo Takehara Looking back to what we studied… Cultural Diversity Egypt Japanese Theatre Noh & Kyogen Kabuki Ningyo Jyoruri Bunraku Takarazuka Japanese Theatre in relation to religion https://www.youtube.com/watch?v=aDkmuvyl24I Noh-1:07-22, Kyogen-1:23-40 Noh & Kyogen (“skill”, “craft”, or “talent“) History of Noh and Kyogen is about 650 years, since Muromachi era. The earliest existing Kyogen scripts dated from the 15th century. Noh was a spiritual drama, combining symbolism from Buddhism and Shinto and focusing on tales with mythic significance. Noh is often based on the tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. Noh integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, deities, and demons Kyogen, its comic partner, served as a link between the theological themes of the Noh play with the pedestrian (everyday) world by use of theatrical farce and slapstick. Noh theatre was generally performed for the elite aristocratic class, but there were occasions where Noh was also performed for common audiences. Noh and Kyōgen plays were performed together in series of nine, alternating between the two styles, with short Kyōgen plays acting as interludes between the lengthy Noh.  能 Noh: General information Noh theater originated in the 14th century and evolved from earlier forms such as Dengaku and Sarugaku. It was refined by playwrights like Kan'ami and his son Zeami, who codified its techniques. Noh uses stylized masks to convey emotions. The costumes are elaborate and indicate the character's social status and role, enhancing the visual impact. The music in Noh includes vocal chanting and traditional instruments like the flute and drums. This creates a haunting atmosphere, essential for storytelling. Actors in Noh must master the use of gestures and postures, as every movement is symbolic. The expressive nature of these performances enhances narrative depth. First: Noh Stage Why the Pine tree? Evergreen pine tree (Tokiwa no Matsu) II Good fortune II Gods reside Second: Costume Third: The Noh mask is the most important tool  面(Men) Meaning of Noh Masks II Mask 面(Omote) II Front Side (character) 裏(Ura) II Back side (actor/human)  Eyebrows: Sadness Eyes: Joy Eyebrows: Joy Mouth: Sadness Eyes: Sadness Upturned Face Mouth: Joy Drooping Face Okina Mask Toyotomi Hideyoshi ＆ Noh Fourth: Plays Choreography: Noh is slow and precise, often mimicking natural movements. This enhances the contemplative nature of performances and allows audiences to immerse in the narrative. Vocal Tecniques: The chanting style varies from dramatic to melodic, utilizing a unique timbre. This adds layers to the emotional experience, reflecting the richness of the characters' inner worlds Roles in Noh There are four major categories of Noh performers: shite, waki, kyōgen, and hayashi. Shite (仕手, シテ). Shite is the main protagonist, or the leading role in plays. In plays where the shite appears first as a human and then as a ghost, Shitetsure (仕手連れ, シテヅレ). The shite's companion. 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. 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. Kyōgen (狂言) perform the aikyōgen (間狂言), which are interludes during plays. Kyōgen actors also perform in separate plays between individual Noh plays. Hayashi (囃子) or hayashi-kata (囃子方) are the instrumentalists who play the four instruments used in Noh theatre: 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 involves the chorus, the orchestra, and at least one shite and one waki actor.  Actors in Noh must master the use of gestures and postures, as every movement is symbolic. The expressive nature of these performances enhances narrative depth. Noh Repertoire This table summarizes a few notable Noh plays, including their central themes and key characters. Each play represents deep emotional and philosophical notions within Noh. PLAY TITLE THEME NOTABLE CHARACTERS Aoi no Ue Love and Betrayal Prince Genji Hagoromo Celestial Beings Fisherman and Angel Matsukaze Longing and Loss Two sisters Tamura War and Reflections Samurai spirit 19 Noh: Cultural Significance IMPACT ON ARTS AND SOCIETY Noh has significantly influenced various art forms in Japan, including literature, painting, and dance. Its cultural heritage promotes traditional values and societal ideals. Noh remains a vital part of Japan's cultural heritage, blending its historical roots with modern expression. Its key elements and performance techniques continue to captivate audiences today. 能 (Noh) https://youtu.be/F7KW11yFxok (1194) 能楽師が解説「はじめての能」《前編》 - YouTube related to the journey of the Holy Family in Egypt, Handmade weaving in Upper Egypt(2020) https://youtu.be/bIbsgLSJvmM intangible cultural heritage Arabic calligraphy: knowledge, skills and practices Traditional hand puppetry(2018) https://youtu.be/NteJ-vPKzXI Al-Sirah Al-Hilaliyyah epic(2008) https://youtu.be/69kHXDwMVoE Tahteeb, stick game(2013) https://youtu.be/QkbEI7co0y4 無形文化遺産 むけい ぶんか いさん The Convention for the Safeguarding of the Intangible Cultural Heritage defines the intangible cultural heritage as the practices, representations, expressions, as well as the knowledge and skills (including instruments, objects, artifacts, Intangible Cultural Heritage means the practices, representations, expressions, knowledge, skills – as well as the instruments, objects, artifacts and cultural spaces associated with – that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation), that communities, groups and, in some cases, individuals recognize as part of their cultural heritage. It is sometimes called living cultural heritage, and is manifested in the following domains, among others: Oral traditions and expressions, including language as a vehicle of the intangible cultural heritage; Performing arts Social practices, rituals and festive events; Knowledge and practices concerning nature and the universe Traditional craftsmanship UNESCO is the United Nations Educational Scientific and Cultural Organization. Intangible culture refers to the intangible, or formless, customs, expressions, knowledge, and techniques that have been carefully inherited from our ancestors and the cultural spaces associated with them. The term “Intangible Cultural Heritage” is defined as “a culture that a particular people feel proud to pass on to future generations”. Al-Sirah al-Hilaliyyah (‫' )السيرة الهاللية‬Chronicle of the al-Hilalis'), also known as the Sirat Bani Hilal ( ‫سيرة بني‬ ‫ )هالل‬or the al-Hilali epic, is an Arabic epic oral poem that recounts the tale of the journey of the Bedouin tribe of the Banu Hilal from Najd in Arabia to Tunisia and Algeria via Egypt.  Nogaku Noh and Nōgaku Noh Kyogen Is a major form of classical Japanese dance - drama that has been performed since the 14th century. It is the oldest major theatre art that is still regularly performed today. Difference between the terms Noh and Nōgaku Traditionally, a full Nōgaku program included several Noh plays with comedic Kyōgen plays in between; an abbreviated program of two Noh plays with one Kyōgen piece has become common today. the text “vividly describes the ordinary people of the twelfth to sixteenth centuries．Having a strong emphasis on tradition rather than innovation, Noh is extremely codified and regulated by the 狂言 (Kyogen) https://www.youtube.com/watch?v=-Fu-Ha4VsOg Imagination (at 3.43 min. of above) jump to somewhere not here Way of walking (walking around the stage) Way of talking (the words and the way expressing themselves) The role of the fan (弓、刀) Pantomime Performance by 2-3 actors Until 1430, both men and women were allowed to perform Kyogen Kyogen 1 Kyogen 2 棒縛り（ぼうしばり）Tie to Pole 附子（ぶす）Poison  靭猿（うつぼざる） Kyogen 3 Performing Monkey  Noh Kyogen Theme Historical characters, Ordinary people’s life, incidents, myth, tragedy comedy Clothes Luxurious kimono with Simple kimono with often masks no mask Script Ancient formal writing Old fashioned casual Japanese speaking Japanese Feature Beautiful songs & dance Funny stories & https://www.youtube.com/watch?v=aDkmuvyl24I conversation Noh-1:07-22, Kyogen-1:23-40 Bunraku puppet theatre https://www.bing.com/videos/search?q=%E4%BA%BA%E5 %BD%A2%E6%B5%84%E7%91%A0%E7%92%83&view=detail &mid=FD6DADB322EBC66B7DA4FD6DADB322EBC66B7DA 4&ajaxhist=0 https://www.youtube.com/watch?v=Dviy3C7i3Wo Ningyō Jōruri & Bunraku Bunraku is one of Japan’s representative traditional performing arts, designated a world Intangible Heritage by UNESCO in 2003. It is a closely collaborative form which synchronizes narrative recitation, Shamisen music and puppetry in performance. The origins of present-day Bunraku is Ningyo Joruri, which is the older puppet shows integrated with medieval narratives (Joruri) and called Ningyo Joruri “Puppet Narrative”. Puppet theater: -16th century, Osaka -Still performed till now Takemoto Gidayu, founder of Ningyo Joruri, the narrator Three roles on the stage Three people operate each puppet. They are covered in black clothing but in some cases they may show their faces in especially important scenes. The narrator of the drama, called Tayu, cleverly brings the world of the story to life by playing the part of several characters and describing the scenery as a narrator. Music is also an important part of Ningyo Joruri, usually performed by Shamisen players.  Kabuki https://www.bing.com/videos/search?view=deta il&q=%e6%ad%8c%e8%88%9e%e4%bc%8e%e3% 80%80%e5%85%a5%e9%96%80&&mid=EFF07AC 45EC4F933C9E0EFF07AC45EC4F933C9E0&&FO RM=VRDGAR 3min. 50sec.  Kabuki began in 1603 by Izumo no Okuni, Performing with a troupe of female dancers a new style of dance drama, on a makeshift stage in the Kamo River in Kyoto at the very beginning of the Edo period, and Japan's rule by the Tokugawa shogunate, enforced by Tokugawa Ieyasu In the earliest forms of Kabuki, female performers played both men and women in comic playlets about ordinary life. It didn't take long for the style to become popular, and Okuni was asked to perform before the Imperial Court. In the wake of such success, rival troupes quickly formed, and Kabuki was born as ensemble dance and drama performed by women. The three main categories of Kabuki play are Jidaimono (時代物, historical or pre-Sengoku period stories), Sewamono (世話物, "domestic" or post-Sengoku period stories), and Shosagoto (所作事, "dance pieces"). In 1629, the shogunate banned female actors on the grounds that they would “disturb public morals". So the style evolved into “Yaro (male)” Kabuki, performed by adult men, and has continued to the present day. Kabuki-mono: 傾奇者= Edo-period eccentric who attracted public attention with their eye-catching clothes, peculiar hairstyle, and weird behavior The style of the musk is different from Noh Villain Super Hero Kabuki is known for its heavily-style performances and is very unique. The acters used to be the female dancer troupe who performed dances and light sketches in Kyoto. The art form later developed into its present all-male theatrical form after women were banned from performing in Kabuki theatre in 1629. Kabuki developed throughout the late 17th century and reached its zenith in the mid-18th century. Why white powders on the faces ? Oshiroi Kumadori Takarazuka since 1913 https://youtu.be/jLMDrnZezg4 All-female musical theatre troupe based in Takarazuka, Hyōgo Prefecture, Japan. Women play all roles in lavish, Broadway-style productions of Western-style musicals and stories adapted from films, novels, Shōjo (girls) manga, and Japanese folktales.  Rose de Versailles https://www.youtube.com/watch?v=Oi3sxMNEPOc