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Paper short abstract

During last few decades many transcultural nō theatre performances were produced, including "Nekyia Nō", based on Odyssey, and a play titled "At Jacob's Well", staged by Tessenkai Nō Theatre, in Europe, in 2019. The author would like to trace the origins and general form of this type of dramas.

Paper long abstract

The beginning of the twenty first century was marked by the growing importance of intercultural dialogue in the field of theatre and all the performing arts. Theatrical interconnections seem to be related to the performances of various ensembles, realized outside the borders of their home countries, the use of transcultural elements in stage productions, and the cooperation of artists coming from different parts of the world. These phenomena are also characteristic for the contemporary Japanese nō theatre.

During last few decades many transnational and transcultural shinsaku nō (newly written) dramas has been produced, including "Nekyia Nō" (based on Odyssey Book 11, staged in Tokyo and Epidaurus by Kasai Ken'ichi), "Chinkon-Repose of Souls" (by Jadwiga M. Rodowicz, staged both in Japan and Poland) and the very recent project titled "At Jacob's well", by Austrian author Diethard Leopold, produced in Austria, France and Poland, by the renown, Tokyo based, Tessenkai Nō Theatre, in September 2019. The author of the paper participated, in the latter production, playing a conventional waki tsure role. The number of this type of performances, and willingness of Japanese nō theatre artist to participate in them, proves that one is dealing with a whole artistic current. The current, which expands the boundaries of modern nō convention, adding to it, the transcultural and transnational elements. The author would like to trace the origins and general form of this type of nō performances as well as would like to analyse his own performative involvement.

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Paper short abstract

This presentation will focus on the process by which Ichikawa Danjūrō IX endeavored to canonize kabuki after Tenran kabuki in 1887. For the canonization of kabuki, Danjūrō employed the method adapting Chikamatsu jōruri plays, or noh and kyōgen dramas which were perceived as authorized "traditions".

Paper long abstract

Ichikawa Danjūrō IX was a central figure while kabuki reforms were attempted in the early Meiji period. For instance, he promoted katsureki-mono (new historical plays) which employed a historical investigation and an acting method based upon realism, in order to rectify existing historical plays. After the Sino-Japanese war, however, Danjūrō became conservative and gave a skeptical response to untested new plays, striving only for traditional masterpieces. It is said that the ignominious defeat of Kairiku Rensho Asahi no mihata (1894) created against the series of warfare plays by Kawakami Otojiro, which captivate audiences by showing spectacular battle scenes despite of the shoddy plot. This incident sent shock waves through the whole kabuki industry and Danjūrō who dedicated himself to kabuki reforms changed his way of thinking, starting to pursue the canonization of kabuki.

However, I argue that Danjūrō had switched his attitude earlier than this period. Due to successive failures of katsureki-mono around the 1880's, Danjūrō was already frustrated to attempt the reformation of historical plays. Furthermore, there was an unprecedented event executed by Engeki Kairyōkai that the Emperor Meiji appreciated kabuki plays for the first time in 1887, which is called Tenran kabuki, in order to propagate kabuki as a sophisticated and defined performance on behalf of Japanese theatres. I estimate this encouraged Danjūrō, who was a leader of Tenran kabuki, to convert his position from reformation to canonization of kabuki. For instance, Fukuchi Ōchi created four katsureki-mono for Danjūrō adapted from Chikamatsu jōruri plays between 1890 and 1893. It seems that they intended to rely on the authority of the Great Chikamatsu and his canons. On the other hand, the alliance of Danjūrō and Ochi created many shosagoto (dance dramas) based upon noh or kyōgen dramas. Likewise adaptations from Chikamatsu jōruri, the utilization of traditional performing arts like noh and kyōgen can be considered for heightening the value of kabuki. In this presentation, I will trace the process by which Ichikawa Danjūrō IX endeavored to canonize kabuki after the event of Tenran kabuki, and scrutinize the method of canonization exemplifying specific kabuki plays performed by himself.

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Paper short abstract

The paper refers to innovation in kabuki in the previous 5 years such as anime-originated kabuki and new technologies. Then it discusses how effectively such challenges have been organized between tradition and innovation to get and raise new audiences as well as to satisfy existing audiences.

Paper long abstract

The modern world of kabuki is serious to attract more audience of younger generations. One of the most conventional means has been young and popular kabuki actors’ appearance on TV programs, movies or modern plays. Inviting modern directors or collaboration with other performing arts have been effective and continue. However, they seem to realize that it is not enough to keep and raise theatre goers for kabuki performances.

For example, they have produced kabuki performances based on Japanese anime from 2015, which has also got visitors from abroad. Such programs as <i>One Piece, NARUTO</i> and <i>Nausicaa of the valley of the wind</i> could be intended for overseas performances. Shinbashi Enbujo Theatre has featured such innovative kabuki programs as well as traditional kabuki. Especially, Nausicaa was a more than 7 hours of one-day program through matinee and soiree. While <i>One Piece</i> and <i>NARUTO</i> invited actors from modern theatre, the theatre of Nausicaa was composed of kabuki actors only and traditional kabuki techniques were respected.

While Ichikawa Ebizo XI, succeeding to Danjuro XIII in 2020, did not join such newly written kabuki, he introduced a new technology, ‘immersive projection’ to his performance, <i>Tale of Genji</i>. He also starred in an abridged version of classic kabuki drama, <i>Yoshitsune senbon zakura</i>, in the Kabuki-za theatre for the soiree of July 2019. The abridged version of scenario was newly prepared for the performance. Ebizo played thirteen roles throughout the play, often by ‘hayagawari’ method. Such a show clearly emphasizes an entertainment aspect of kabuki.

In addition, there was a collaborative performance between figure skating and kabuki, <i>Hyo-en</i>, shown in 2017 at National Yoyogi Stadium. It was intended to raise awareness to Japanese culture and sports for Tokyo Olympics and Paralympics in 2020. Although the collaboration finished just as a single project, it was a great opportunity to think about performers’ body in terms of stylized acting and skating technique. It also features Japanese drumming and projection mapping.

The presenter will discuss how effectively such challenges were organized between tradition and innovation to get and raise new audiences as well as to satisfy existing audiences.