1. The Theatre of Asia (Japan)
The early history of Japan and its theatrical forms are shrouded in mystery.
The first written account, Records of Ancient Things, was not written until 712 CE.
Many rituals were related to Shintoism, which began in nature and ancestor worship.
These are now grouped under a general label, kagura (かぐら).
During this early period, a form of rhythmic dance set to music called sangaku (さんがく) was performed at court.
Jesters were also common.
Archways such as these are from the Shinto religion, which is still practiced in Japan and around the world today.
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2. The Theatre of Asia (Japan)
Japan underwent significant changes after the introduction of Buddhism in the 6th century.
In the following 200 years, continental culture from Korea, China, and India were especially embraced.
Masked dances performed at festivals were one such import. One survives to this day: bugaku (ぶがく). It is performed on important state occasions at the imperial court and at certain shrines and temples.
The dances were separated into “Dances of the Right” from Korea, and “Dances of the Left” from China or South Asia. Performers are costumed according to which group they perform with.
Bugaku is a symbolic representation of the most interesting part of a whole story.
It likely influenced the development of Noh.
Bugaku, or court dances, are still performed to this day at special events and at certain shrines and temples. Here a “dance of the right” is performed, noted by the red accents on the costumes.
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3. The Theatre of Asia (Noh Drama)
Noh drama emerged during a time of cultural prosperity under the Ashikaga shogunate (leaders of the samurai).
Kan’ami Kiyotsugu (かんあみ　きよつぐ) took elements of narrative song, dance, and Zen Buddhist ideals to create a new dramatic form.
It was originally known as sarugaku-no (さるがく- の), a term used for early comic, then religious, performances.
The name of the new form was shortened to Noh or No (能　or　の).
His son, Zeami (ぜあみ) perfected the form.
Zeami is considered the greatest of all Noh dramatists, writing over 100 of the 240 Noh plays in active repertory today.
A traditional Noh theatre and production.
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4. The Theatre of Asia (Noh Drama)
The biggest influence on Noh is Zen Buddhism, which believes that ultimate peace comes through:
Union with all being
Acceptance that individual desire must be abandoned
Acceptance that nothing in earthly life is permanent
Typical Noh protagonists are ghosts, demons, or obsessed human beings whose souls cannot find rest because they were too devoted to worldly things.
All Noh plays draw on these Buddhist views.
Many Noh characters wear masks – especially female and non-humans. Above is a sampling!
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5. The Theatre of Asia (Noh Drama)
Noh dramas are classified into five types:
Kamimono (かみもの) – plays praising the gods
Shuramono (しゅらもの) – plays about warriors
Kazuramono (かずらもの) – plays about women
Zatsu (ざつ) – miscellaneous plays, most often about deranged persons or spirits
Kiromono (きりもの) – plays about demons, devils, or supernatural beings
A traditional production is made up of one play in each type, in the order listed above.
This shows the innocence and peace of the world of the gods; then human error, repentance, and possibility of redemption; and finally the glory of defeating those forces that stand in the way of peace and harmony.
Since WWII, 5-play programs have been considered too long. They are now usually 2 or 3 plays.
Different Noh plays focus on specific types of characters and plot lines.
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