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- Convenors:
-
Barbara Geilhorn
(German Institute for Japanese Studies Tokyo)
Andreas Regelsberger (Trier University)
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- Stream:
- Performing Arts
- Location:
- Torre B, Piso 2, Sala T5
Accepted papers
Session 1Paper short abstract
A classical celebratory narrative performing art, Yokote-manzai, died out towards the end of the 20th century. What if anything has been transmitted, transformed, and replaced from Yokote-manzai, to the future generations by the creation of an intermediary theatricalized version?
Paper long abstract
Ozawa Shôichi, in Nihon no hôrôgei (Japanese itinerant performing arts) states: "In the history of Japanese performing arts, a variety of performances have been born and become obsolete to this day. However, the complete extinction of street or congratulatory-at-the-gate (kadozuke) performances from small towns is a characteristic 20th century phenomenon" (2004: 217). One such is manzai (萬歳), a classical celebratory narrative performing art, that traces its origin to the Heian period. During the medieval period, it spread to other powerful governing authorities in the realm of the samurai class or in temples and shrines, and eventually to the public in various regions. The duet performers of Tayû (with folding fan narrating congratulatory words) and Saizô (striking a kotsuzumi, shoulder drum, and improvising narration), visited people's houses and public spaces with their auspicious mission, in exchange for their livelihood. One of those manzai that propagated to the northwest region of Tohoku, Akita, in late medieval period, is in Yokote, a remote county that is snowed in half the year. Yokote-manzai flourished, and was once performed by over 150 pairs, but was eventually reduced to the last pair in the post war era, and died out, towards the very end of the 20th century, with their passing. To capture the rhythmic narrative art of this pair, a theatre piece, "Manzai-nagashi" was created by Shibata Minao (1916-1996), a composer, musicologist, and music critic, and has been performed on occasion since then in Tokyo, Akita, and other places. The auspicious Yokote-manzai was an essential part of local people's lives, bringing spring every year. Its disappearance is akin to that of a phantasm or communal nostalgia Yokote represents, which may no longer be there. On the other hand, the creation of a communal theatre piece, Manzai-nagashi by Shibata and its subsequent performances imply the succession of such qualities in different spectra: free from the remote locality, creating a new communal space for those performing and a participatory audience.
Paper short abstract
This paper intends to enquire into the multiple nature of identity as it is created in nō. I will also consider theories of puppetry and material theatre as a way to parse the interaction between the human actor and the material reality of the mask.
Paper long abstract
As is well known, masks are used in the nō theatre to portray (with a few exceptions) spirits of the dead or other such supernatural entities like gods or demons. The mask is thus a medium through which the actor is able to enter into the character of a being that is quite removed from the human world. At the same time, the audience sees not a human on stage but the spirit being manifested by the actor. This paper intends to enquire into the multiple nature of identity as it is created in nō. With reference to the work of Sakabe Megumi and others, I will examine the meaning of the word omote, the nō term for mask, which can mean more accurately "face" or even "front" or "surface." I will also consider theories of puppetry and material theatre as a way to parse the interaction between the human actor and the material reality of the mask as it is used as a kind of medium through which a supernatural character may be embodied in performance.
Paper short abstract
Classical Japanese theatre, particularly Noh, reflects seriousness and tragic motifs. However, an exception is the effusive laughter found in Kyogen. Humour is a therapy engaged for improving quality of life. Kyogen and its therapeutic role in post war Japan is the focus of this paper.
Paper long abstract
Classical Japanese theatre, particularly Noh, is characterized by facial expressions, stage business and movement that reflect seriousness, philosophical and religious postures as well as tragic motifs which portray the intended tone and the mood of sobriety in the theatrical form. In sharp contrast to this theatrical tradition is the effusive laughter found in Kyogen, a form that was traditionally played as an extra-plotal scene interspersing Noh drama or by comic characters within the same tradition. Whereas Noh is played with a 'stone face', actors of Kyogen master comic gestures and exaggerated facial expressions to promote humour and laughter. Humour, and the virtues of humour have been extolled and documented by medical and scientific communities and it is therefore engaged as a means of decreasing stress, improving the quality of life of individuals as well as a way of diminishing psychological and physical pain. This paper examines the significance of Kyogen and its therapeutic role to individuals and societies in post war Japan. Humour in Kyogen and its ability to evoke laughter inform the adoption of the form in Japan to enable its nationals rebuild aspects of Japanese life. Kyogen gave a new outlook to life after the shock of the atomic bombs detonated in Hiroshima and Nagasaki thereby functioning as a post war therapy. This study examines Atsumori, Busu, Funa Benkei, and Kagyu as symbolic plays among the Kyogen repertoire. This is premised upon the continued influence of Kyogen in the 21st century and how it has evolved from being a part of Noh to an independent performance appealing more to the younger audiences and actors who do not only perform from the classical repertoire but engage adaptations from world literature, science fiction and who are constantly extending Kyogen frontiers to accommodate Kyogen comic books, colour books and puppets.