JAPANESE THEATRE

Musical theatre genres tell us a good deal about Japanese history and changing values. Genres are linked to certain social classes and particular historical epochs. For example, Noh, the art of the samurai, emphasizes simplicity and personal enlightenment through self-understanding and self-reliance. Kabuki and bunraku (below) both illustrate the fondness of the townspeople for lavish theatrical entertainment (since Edo period, an era of prosperity).

--Japanese theatre relies on speech, music and drama for its effect

NOH Drama

--Dates from end of 14 th century. Most Noh plays written in 15 th century medieval times. One of the oldest living theatre forms in the World.

--Serious Buddhist art: Zen aesthetics of austerity, restraint and refinement.

--Audiences of elites and intellectuals (and those who study theatre in various parts of the world).

--Symbolic aspects: Long walkway in setting represents life, etc.

BUNRAKU--general term for Japanese puppetry

--dates from mid 17 th C. Development relates to growth of urban society in Japan. Osaka is its center

--Audiences are of the merchant class (townspeople)

Two groups of musicians (on-stage and off-stage) are on a small stage to the right: a narrator-singer and shamisen (3-stringed lute) player (The wall rotates to show them).

--Puppets are large-sized dolls with 3 manipulators (head, right hand and left hand) wearing black hoods. Became more realistic

The music is basically linear—no instruments filling in.

KABUKI (primarily dance theatre)

--Considered “public entertainment” from Tokugawa era (1600-1867)

--audiences are townspeople

--Performed by women until 1652; then women banned. (Now all parts played by men). “Onagata” is term for man disguised as a woman.

Music: 3 shamisen, percussion, winds and singing [LISTEN to CD 4/1]

--Two on-stage groups: l) shamisen with narrator-singer (borrowed from Bunraku) and 2) Singers, shamisen and other instruments. Offstage music (geza) provides sound effects (shamisen and percussion (daiko, gongs, bells, etc.

--Some music is from the temples and shrines, and also from Noh drama

Movement, gesture and facial expression are highly ritualized.

----Performers must learn the art of walking to create personna.

--Brilliant-colored costumes are symbolic. Green/treachery; black/ divinity and metamorphoses, etc.

TAKARAZUKA [Video example shown in class]

The Takarazuka Academy is a contemporary phenomenon in Japanese theatre—an example of how popular culture constitutes a major site for change. Popular culture in theatre provides a way of disrupting the gender stereotypes by presenting an “ideal non-polarized way of being that is necessary for the survival of society”.

--Practice of cross-dressing is centuries old in Japan

--Takarazuka was started in 1913 by Kobayashi Ichizo, President of Hankyu railways. Wanted to set up an attraction in city of Takarazuka to boost train ticket sales.

--In contrast to older form of theatre, Kabuki, with its all-male cast, Kobayashi created an all-female cast theatre (women in their twenties). Women not trained in theatre, so he opened a school to train them and develop their skills in dance, song and performance on stage. First performance of the Takarazuka Revue in 1914.

--Women’s did not traditionally have a role on stage. Advertised the school as a training place for “good wives, wise mothers”. Trained them with help of military forces—learned endurance and strength (detailed cleaning duties, etc.) Wore uniforms. Restricted their relationships. Each stayed for two-year period of time.

--Roles of male (otokoyaku) and female (musumeyako). Assigned secondary gender based on physical and socio-psychological criteria (voice, physique, personality, etc.). Performers must take on male or female character both on- and off-stage for 2 years.

--Male roles most popular. A desire to create the “ideal man” (who displays his affection towards the women, and is not too focused on his work.) Teenagers in audience are free to openly ‘flirt. Actors become idols of women of all ages.

--Accommodated by society as long as practices do not interfere with the legitimacy of marriage.

Introduction to Central/North Asia & Tuvan music * Introduction to Japanese Music *India/South Asia *Japanese Theatre * Indian pop & classical Dance * Indonesia: Java & Bali

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