An Introduction to Noh and Kabuki Theatre

日本の伝統的な能や歌舞伎の素晴らしい世界を詳しく紹介しています。 古典的な能と歌舞伎の 2 つの演目、「舟弁慶」と「義経千本桜」で、音楽、演技、舞踊の要素がどのように組み合わされるかをご覧ください。ちなみに「幽玄」とは、「the subtle and profound」で、それは奥深く美しい能を指す言葉です。また、江戸時代の初期に、常識はずれな行動や服装で注目を集める人たちの行為を『傾く（かぶく）』といい、その人たちは『かぶき者』と呼ばれていました。(English) A detailed introduction to the fantastic world of traditional Japanese Noh and Kabuki theatre. See how elements of music, acting, and dance combine in two classic noh & kabuki productions, "Funa Benkei" and "Yoshitsune Senbon Zakura." 'Yugen' is 'the subtle and profound,' a term for a profoundly beautiful Noh. Also, in the early Edo period, the behavior of people who attracted attention by acting or dressing out of the ordinary was called 'Kabuku,' and they were called 'kabuki-mono.'

"Benkei shielded Yoshitsune from the coming blows."

An Introduction to Noh and Kabuki Theatre

https://www.youtube.com/watch?v=buZwKlncMGk

1)

邦楽 Hou-gaku

Two Main Scales

* Yo scale - Western scale degrees 1,2,4,5,6

* In scale - Western scale degrees 1, b2,4,5, b6

  - Common in folk music, especially pieces for Shakuhachi

* Scales most often start on the equivalent of the European "D."

  - Can be transposed depending on the instrument

Traditional Contexts for Music

* Religious Music - Buddhist and Shinto

  - Festivals / Celebrations

* Court Music (Gagaku)

* Folk Music (Minyo)

* Theatre Music

2)

Fundamentals of Japanese Music - Hou-gaku

Instruments

* Folk Music 

- Shakuhachi　尺八

- Biwa　琵琶

- Koto　琴

* Noh Theatre 

- Nohkan　能管

- Tsuzumi　鼓

* Kabuki Theatre 

- Shamisen　三味線

- Taiko / Percussion　太鼓

3)

能 Noh

Principles and Aesthetics of Noh Theatre

Origins

* Sarugaku and Dengaku 猿楽 田楽

- Developed in the 11th through 13th centuries

- Sarugaku - pantomime rituals that later took on comedic elements

- Dengaku - folk songs/dances performed by rice farmers

* Sarugaku-no-noh 猿楽の能

- 14th-century actor/writer Kannami Kiyotsugu and his son, Zeami Motokiyo

- New, serious theatrical manner

- Borrowed elements of Buddhist chant

- Retained the Sarugaku orchestra (3 drums and flute)

4)

Music and Instruments in Noh

* Hayashi Orchestra

- Nohkan Flute

- Tsuzumi and Taiko

- Jiutai Chorus

* Role of Music in the Drama

- Characterisation/mood

- Independent songs

- Accompaniment

5)

Structure of Noh Theatre

Guiding Principle: "Jo-ha-kyu"　序破急

Structure of Noh Drama

* "Jo" 序 - Introduction

- Composed of one dan(paragraph)

- Introductory music(Shidai), leading in the actors

- Secondary actor always speaks first

* "Ha"　破 - Development

- Composed of three dan

- Entrance of primary actor(Shite), first designated song(Issei)

- Dialogue: Sashi, The MONDAI(questions,problems), Jo-no-mai

* "Kyu" 急　- Conclusion

- Composed of one dan 段

- Machiutai, "waiting song" while the primary actor changes costume

- Issei　一声 and mondai　問題

- Mai　舞

=>Issei = A short chant performed immediately after the appearance of a shite.

6)

FUNA Benkei 船弁慶

Minamoto no Yoshitsune is an exiled prince forced to leave his royal estate.

On his way to the town of Daimotsu no Ura, his beloved courtesan Shizuka begs to accompany him.

He refused to keep her out of danger.

To bid Yoshitsune farewell, Shizuka dances with him.

The following day, Yoshitsune and his ward, Benkei, board a ship to travel across the sea.

During their journey, they narrowly avoid massive waves but cross paths with the vengeful spirit of Taira no Tomonori, who wants Yoshitsune to drown as he did.

Benkei drives the ghost off with chants, and the damned spirit is cast back to sea.

Noh- introduction shidai

A)

The shouts of the drummers that you hear are a method for counting rests.

B)

Today, we set off on our journey.

But when will we return?

It's tough to say.

C)

I am Masashibo Benkei, of Saito on Mount Hiei.

And you, my liege Minamoto no Yoshitsune,

here led the Minamoto army into battle, under your brother Yoritomo,

D)

Jo-no-mai

Taking the reins of his kingdom,

Kosen cleared his name,

all thanks to the good deeds of Lord Toshu.

As a minister of Etsu,

he could have capitalized on his powers,

having his way with the world,

but he was wise enough to know that fame and honor

were a signal from the heavens to back down.

And so he climbed into his little boat and rowed away,

basking in the glory of nature.

E)

Let this be a lesson.

For this is how my lord absconded from the capital one moonlit night,

crossing the waters to the western lands.

If only he would plead his innocence,

surely Yoritomo would relent,

for like intertwining willow branches,

the bond between two brothers holds for good.

Count on me...

F)

Mai

Chaotic, yet they could not mask your voice, which told me where to find you.

But your voice told me where to find your ship.

And now it is your turn to sink into the sea.

Just like I did, Yoshitsune...Riding the waves,

Tomonori raised his halberd

and swung it in a wavy line that whipped the sea

into a vicious wind, dimming the sky,

much to the terror of the crew.

G)

But Yoshitsune did not so much as flinch.

Without so much as flinching,

Yoshitsune bared his sword

and met his foe as if he were alive.

Benkei shielded Yoshitsune from the coming blows.

But realized he could not fend off the ghost with a sword alone.

And so he rubbed his prayer beads in supplication,

praying to Gozanze Myo-o in the east, Godariyasha Myo-o in the south,

Daitoku Myo-o in the west, Kongoyosho Myo-o in the north,

and Daisho fudo Myo-o in the center,

Dainichi Nyorai incarnates, imploring them to snare Tomonori in their ropes.

H)

The next moment, the phantom was cut down and slipped away.

Benkei told the boatmen to row with all their might.

Cruising ahead, the boat soon made it to shore.

On land, the ghost chased after them again,

but this time, Benkei smote him down.

His ghastly form was dragged into the waves and washed away.

7)

Principles of Kabuki Theatre 歌舞伎

Origins

* Kabuki developed from Noh during the Edo Period in the early 17th century

- Folk musicians in brothels performed early kabuki plays; the government dismissed kabuki as a legitimate art form

* Elements borrowed from Noh

- Same stage layout(at first)

- Similar topics for scripts

- Hayashi orchestra

- Jo-ha-kyu

Aesthetics

* Costumes and Makeup

- Slightly more elaborate than costumes found in Noh

Easily recognizable and functional for flashy choreography

- Kumadori 隈取　- stylized makeup worn by certain characters to enhance their individuality

- Onnagata 女形　- men dressed as women

* Staging

- Hanamichi 花道 - an extension of the stage located at stage right that extends through the audience for dramatic entrances/exits

- Kata 型 - poses or particular forms used by an actor in a scene or a dance

- Mie 見栄 - a particular kata where an actor suddenly freezes, spreads his legs firmly apart, cocks his head back, and widens his eyes; used for dramatic emphasis

8)

Music and Instruments in Kabuki

Percussion

* Noh drums(Tsuzumi and Taiko)

* Ohdaiko - massive drum with tacked-on heads, played with large beaters

* Hyoshigi - a pair of wooden clappers used to call attention to "Mie" and the opening/closing of the curtain

* Other instruments used for specific scenes(i.e. bells and gongs for temple scenes)

Geza-Ongaku, "off-stage music"

* Musicians stand behind the main stage in a walled-off room called the Geza

- Look out on stage through slatted windows

* Provides atmospheric music, additional music not played by musicians on stage, and sound effects

9)

Yoshitsune Senbon Zakura - 義経千本桜

In another telling of the story from Funa Benkei, Minamoto no Yoshitsune has been cast out of the royal family by his jealous brother.

Shizuka, his beloved, is sent away to be sure she is unharmed as Yoshitsune travels.

He gives her a "Kotsuzumi"（小鼓） as a token of his love.

Shizuka decides to follow Yoshitsune anyway, accompanied by Tadanobu, one of Yoshitsune's wards.

Along the way, the two admire the blooming cherry trees, sharing stories and dancing with each other to amuse themselves.

Shortly after, one of Shizuka's suitors, Hayami no Touta, appears with his army.

Tadanobu reveals himself as a kitsune, a magical fox, the man away with his powers.

Kabuki- Yoshitsune Senbon Zakura

a)

Shizuka Gozen(Nakamura Shichinosuke)

When Shizuka strikes the drum given to her by Yoshitsune, Tadanobu appears out of nowhere.

Sato Tadanobu, in reality, the fox Genkuro Ichikawa Ennosuke

b)

They are on their way to find Shizuka's lover and Tadanobu's master, Yoshitsune.

As they proceed, they amuse themselves by dancing, and they recall a recent battle.

c)

Hayami no Toda - Ichikawa En'ya

Toda tries to steal both Shizuka and her drum,

but Tadanobu drives him and his men away.

d)

Tadanobu was a magic fox in disguise.

The skins of Shizuka's drum are made from the hides of the fox's parents.

He follows Shizuka as she journeys through the mountains.