Medieval Theater in Japan Olena Berezovska

Origins of the performing arts in Asia China has been dominant and referential culture in East Asia China has been dominant and referential culture in East Asia The influence of Buddhism The influence of Buddhism Dance and theatre during ancient times Dance and theatre during ancient times By the 4 th century BCE, impersonation of other characters through makeup and costume was occurring By the 4 th century BCE, impersonation of other characters through makeup and costume was occurring

Noh Theatre Noh means “talent” or “skill” Noh means “talent” or “skill” During 14th century, Noh grew out of combination of Chinese performing arts, known as sarugaku and traditional Japanese dance dengaku During 14th century, Noh grew out of combination of Chinese performing arts, known as sarugaku and traditional Japanese dance dengaku Major playwright/actors were Kannami and his son Zeami Major playwright/actors were Kannami and his son Zeami After the civil war ( ) Noh spread throughout all the levels of society After the civil war ( ) Noh spread throughout all the levels of society

Type of Plays Kami (“god”) play – sacred story of a Shinto shrine Kami (“god”) play – sacred story of a Shinto shrine Shura mono (“fighting plays”) Shura mono (“fighting plays”) Katsura mono (“wig play”) has female protagonist Katsura mono (“wig play”) has female protagonist Gendai mono (“present-day play”) Gendai mono (“present-day play”) Kyojo mono (“madwoman play”) Kyojo mono (“madwoman play”) Kiri or kichiku (“final” or “demon”) Kiri or kichiku (“final” or “demon”)

The play The dialogue is sparse, serving as a mere frame for the movement and music The dialogue is sparse, serving as a mere frame for the movement and music Consists of three plays Consists of three plays Kyogen, humorous sketches, are eprformed as inteludes between plays Kyogen, humorous sketches, are eprformed as inteludes between plays A program may begin with okina, an invocation for prosperity and peace in dance form A program may begin with okina, an invocation for prosperity and peace in dance form The recitation (utai) is one of the most important elements in the performance The recitation (utai) is one of the most important elements in the performance

Noh Roles Shite – the principal actor Shite – the principal actor Waki – subordinate actor Waki – subordinate actor The kyogen actor, one of whom is involved in Noh plays as a narrator The kyogen actor, one of whom is involved in Noh plays as a narrator Subsidary Roles: attendant (tsure),a boy (kokata), non-speaking walk-on (tomo) Subsidary Roles: attendant (tsure),a boy (kokata), non-speaking walk-on (tomo)

The Stage - Butai

The stage Temple roof supported by 4 columns Temple roof supported by 4 columns –First Actor, Pillar, Mark Pillar, and Flute Players Pillar –Each of these represents either the placement of the actor’s entrance, or the part of the stage in which the musician stands Sliding door- used by minor characters, musicians, stage assistants for quick entrances and exits. Sliding door- used by minor characters, musicians, stage assistants for quick entrances and exits. 3 real small pine trees 3 real small pine trees –They stand for heaven, earth, and man along the pebble path Epiphany Pine- painted on the center wall represents spirituality. Epiphany Pine- painted on the center wall represents spirituality.

Stage Structure

Performers location on the stage

Butai

Masks & Costumes Noh masks can convey several different emotions and pictures Noh masks can convey several different emotions and pictures There are over 200 kinds of different masks There are over 200 kinds of different masks Terasu – tilting upwards, kumorasu – tilting downwards Terasu – tilting upwards, kumorasu – tilting downwards Usually, only shite and tsure wear masks Usually, only shite and tsure wear masks

Types of Noh Masks

Kabuki

What is Kabuki?  Kabuki- meaning “off balance” or “unconventional”  Ka for music, bu for dance, and ki for skill  An energetic form of theatre that began around 1600 was founded by Okuni  She drew inspiration from Buddhist dances with contemporary forms Plays that once lasted a full day, but today only last about 5 hours.  Includes themes of feuds, revenge, scandalous murders, romance, lover’s suicide

Kabuki Acting  Highly stylized form of story telling  The audience is aware they are in the theatre watching a play.  Actors specialize in certain characters.  Movement is also stylized

The Plays  The text of the play is less important than the acting.  To reveal emotions they display exaggerated facial expressions and strike dramatic poses.  Very similar to Western musicals

Types of Play Aragoto – exaggerated tales featuring fantastic characters Aragoto – exaggerated tales featuring fantastic characters Wagaoto – realistic stories, often revolving the relationship between a man and a courtesan Wagaoto – realistic stories, often revolving the relationship between a man and a courtesan Jidaimono – great epics of the feudal period Jidaimono – great epics of the feudal period Sewamono – realistic plays, describing the lives of ordinary people during the Edo period, not about mythical heroes of the past, based on true events Sewamono – realistic plays, describing the lives of ordinary people during the Edo period, not about mythical heroes of the past, based on true events Shosagoto – concentrates rather on dancing than acting Shosagoto – concentrates rather on dancing than acting Tale of the 47 Loyal Assassins (Kanadehon Tale of the 47 Loyal Assassins (Kanadehon Chushingura) – 10 hour tale with 10 acts and Chushingura) – 10 hour tale with 10 acts and a prologue (Asano Naganori, Kira Yoshinaka) a prologue (Asano Naganori, Kira Yoshinaka) Seppuku- ritual suicide

Kabuki Characters Aragota – heroes Aragota – heroes Onnagata – females played by male actors Onnagata – females played by male actors Tachi Yaku - males Tachi Yaku - males

Makeup  Known as Kumadori  Not realistic looking  The face is painted with white and bold lines, mostly red or blue.  Red lines= Virtue/ strength  Blue= Evil  Mie-pose

Costumes

Stage Structure Kamite (stage on the left) – occupied by high-ranking characters Shimote ( stage to the right) – occupied by lower ranking- characters

Bunraku

What is Bunraku? Japanese puppet theater began in the 16 th century Japanese puppet theater began in the 16 th century Its popularity rising spectacularly in 1686 after the outstanding playwright Chikamatsu Monzaemon began a collaboration with the magnificent chanter Takemoto Gidayu I who established the Takemoto puppet theater in Osaka in 1684 Its popularity rising spectacularly in 1686 after the outstanding playwright Chikamatsu Monzaemon began a collaboration with the magnificent chanter Takemoto Gidayu I who established the Takemoto puppet theater in Osaka in 1684 Surpassed Kabuki in popularity Surpassed Kabuki in popularity

What Makes it Different? Bunraku puppets are one-half to full life-size Bunraku puppets are one-half to full life-size They are controlled by 3 puppeteers They are controlled by 3 puppeteers Major puppeteer appears bear-faced, while the others are "invisible" in black hoods Major puppeteer appears bear-faced, while the others are "invisible" in black hoods Another unique component is that main puppeteer control facial expressions Another unique component is that main puppeteer control facial expressions

The Play Bunraku plays reflect the prevailing Buddhist and Confucian morals of Edo period Bunraku plays reflect the prevailing Buddhist and Confucian morals of Edo period Major themes were historical, legendary, or heroic tales Major themes were historical, legendary, or heroic tales Most contemporary plays about the conflict between social obligation and personal desire (giri-ninjo) Most contemporary plays about the conflict between social obligation and personal desire (giri-ninjo)

Stage Structure The first partition hides the stagehand who dashes across the stage to draw the curtain The second partition is designed to conceal the lower body of the main puppeteer and left-arm puppeteer The third partition is a raised platform, which usually represents the interior of a house.

Butoh

Origins Butoh is the name given to the variety of performance practices that emerged after the Second World War in Japan Butoh is the name given to the variety of performance practices that emerged after the Second World War in Japan Founders: Tatsumi Hijikata and Kazuo Ohno Founders: Tatsumi Hijikata and Kazuo Ohno It can be executed with or without audience It can be executed with or without audience In 1959, first butoh play by Tatsumi Hijikata “Kinjiki” ( “Banned Colors”), based on a novel by Yukio Mishima In 1959, first butoh play by Tatsumi Hijikata “Kinjiki” ( “Banned Colors”), based on a novel by Yukio Mishima

Butoh’s features Search for an individual or collective memory Search for an individual or collective memory Use of taboo topics :death, eroticism, mobilization of archaic pulsations Use of taboo topics :death, eroticism, mobilization of archaic pulsations Extreme or absurd environments Extreme or absurd environments Slow hyper-controlled motions Slow hyper-controlled motions Almost nude bodies completely Almost nude bodies completely painted in white Upward rolled eye and contorted face Upward rolled eye and contorted face Inward rotated legs and feet Inward rotated legs and feet Fetal positions Fetal positions It can be purely conceptual with no movement at all It can be purely conceptual with no movement at all Aesthetical features go against archetypes of perfection and beauty Aesthetical features go against archetypes of perfection and beauty

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