Just Say Noh. But Also Say Kyogen: Crash Course Theater #11

Summary

This video explores the origins and development of Noh theater, one of Japan’s most distinct and enduring theatrical forms. Tracing its roots from Shinto and Buddhist rituals, through early performance traditions like Dengaku and Sarugaku, Noh is refined by the influential figures Kan’nami and Zeami Motokiyo. The video delves into the structure of Noh plays, their philosophical themes, and the characters they portray, including the famous *Atsumori*. With its meditative pace, spiritual focus, and minimalistic staging, Noh continues to be a living art form, preserved and performed in modern Japan.

Takeaways

• 😀 Noh is a traditional Japanese theater form that originated in the 14th century and is still performed today.
• 😀 The roots of Noh can be traced back to ancient rituals, sacred dances, and Buddhist influences in Japan.
• 😀 Noh plays typically involve ghosts, demons, or tormented human characters and are performed using a mix of verse, prose, and dance.
• 😀 The five main types of Noh plays include Kami Mono (sacred stories), Shura Mono (warrior plays), and Kichiku Mono (demon plays), among others.
• 😀 Noh theater features minimalistic staging, elaborate costumes, and distinct masks, which are central to the performance.
• 😀 The Shite is the main character in a Noh play, and they are the only actor to wear a mask.
• 😀 Kyogen is a comedic form of theater performed alongside Noh, offering a lighter, often satirical break in between serious plays.
• 😀 The acting in Noh is highly stylized and codified, with actors training from a very young age to perfect their performance.
• 😀 Zeami Motokiyo, a key figure in the development of Noh, wrote extensively on its theory, emphasizing concepts like Yugen (elegance), Hana (spontaneity), and Monomane (embodying the character).
• 😀 Noh plays are philosophical in nature, with themes often exploring the impermanence of life, the destructiveness of desire, and the connection between humans and nature.
• 😀 *Atsumori* is an example of a Noh play, centered around a warrior's tragic death, exploring themes of guilt, attachment, and the Buddhist concept of rebirth.

Q & A

What are the key origins of Noh theater?

Noh theater's origins are rooted in early Japanese sacred dance, particularly Kagura, which was part of Shinto rituals. In the 6th century CE, Buddhism introduced new dance forms, and by the 12th century, Sarugaku (monkey music) influenced Noh with its inclusion of dance and theater.

What role did Kan'nami and Zeami Motokiyo play in the development of Noh?

Kan'nami, an acclaimed Sarugaku performer, helped combine Sarugaku with classical Japanese stories and Buddhist themes, laying the groundwork for Noh. His son, Zeami Motokiyo, refined Noh, writing theoretical works and creating many of the plays that are considered Noh canon.

What are the five types of Noh plays, and what do they focus on?

The five types of Noh plays are: Kami Mono (sacred stories), Shura Mono (warriors), Katsura Mono (ladies, often played by men), Gendai Mono or Kyojo Mono (naturalistic or mad woman plays), and Kichiku Mono (demon plays). Each focuses on different themes, such as spirituality, historical battles, or the supernatural.

How is the structure of a Noh play typically organized?

A Noh play usually consists of two scenes. The first often includes the Shite (main character) disguised, revealing themselves in the second scene. The plays generally involve three types of characters: Shite (main character), Tsure (companion), and Waki (antagonist or witness).

What is the purpose of the Kyogen in Noh performances?

Kyogen is a comedic interlude staged between Noh plays. It serves as a lighter, more casual relief, providing humor through stock characters and everyday situations. Unlike the serious tone of Noh, Kyogen maintains a more playful but still carefully performed style.

What is the role of masks in Noh theater, and how are they used?

Masks in Noh are essential for character portrayal, with each type representing specific categories such as male, female, god, or monster. Only the Shite (main character) wears a mask, and the mask helps convey the character's identity and emotions in a highly codified style.

How does Noh theater incorporate Buddhist and Shinto philosophies?

Noh theater reflects Buddhist ideas about the transitory nature of life, the destructiveness of desire, and the importance of detachment. It also incorporates Shinto concepts of the interconnectedness of nature and the divine, often through themes of spirituality, karma, and redemption.

What is the significance of the Noh stage and its design?

The Noh stage, with its roof supported by four pillars and a painted pine tree on the back wall, represents a sacred space. The Hashigakari bridge, with three pines symbolizing heaven, earth, and man, is where characters enter and exit, establishing the stage as a spiritual and meditative environment.

What are the key techniques Zeami Motokiyo emphasized for Noh actors?

Zeami highlighted three key techniques for Noh actors: Monomane (embodying the character), Yugen (grace and elegance while emphasizing life's impermanence), and Hana (spontaneity, allowing for subtle variations in performance). These techniques were central to creating an emotional and philosophical depth in Noh performances.

What is the philosophical theme of the Noh play Atsumori?

The play Atsumori explores themes of guilt, redemption, and the transitory nature of life. It tells the story of a warrior's soul, caught between life and death, seeking peace through prayer and detachment from attachments. The play ultimately emphasizes the Buddhist lesson of letting go of desire, even for something as precious as a flute.