Travis L Williams
Does the use of hanamichi in Kabuki create a closer or more distant relationship between the audience and the performer?
The hnanamichi, or flowered way, decreases the distance between the audience and performer. The flowered way allows for the audience to interact very closely with the performer as they parade down the flowered way to the audience. The narrow board walkway "in the old days...was used by spectators to bring flowers to the stage" (p. 37). Traditional Western theater maintains the fourth principle which creates a distinct separation between audience and performer however the hnanamichi provides the opposite effect. "The hanamichi ultimately came to be used as an entrance and exit for actors" (p. 39). When the performers enter and exit the flowered way provides a space in which momentarily the audience can engage physically and directly interact with the performer and show appreciation without the suspension of disbelief. The spectators can show appreciation for the actor and celebrate their profession prior to the show and after the performance takes place. While the audience is more connected to the performer the performer is able to judge reactions from the audience but becomes separate from the character.
Does the use of the hanamichi in Kabuki create a closer or more distant relationship between the performer and the character?
Usually Kabuki theater uses heavy symbolism and traditional stories during performances thus the audience does not need to pay 'careful' attention to the complexity of the story. The use of the hanamichi really separates character from performer because the audience views performer and character separately. Kabuki has elaborate characters sometimes evil Samurai's or dragons and while the audience has negative feelings toward the character they still call out and celebrate the performer. Further the performer 'breaks character' on the hanamichi in a way, where they knowledge the audience's praise as a performer not character. Using the walk way distinctly separates character from performer in which the actor simultaneously plays both which hurts the believably of the acting on stage. Thornbury notes Kabuki is losing its historical context and faced by the pressure to constantly update and innovate with new material. The revised edited texts make more complex stunts and action sequences but the hanamichi is still represented and an integral part of Kabuki performances. While the flowered way connects audiences and performers it does not create a close relationship from performer to character.
Monday, January 30, 2012
Sunday, January 29, 2012
Jake Beck, Week 3, Q3.
Throughout the Thornberry article we get glimpses into the development of Japan's Kabuki threatre after World War 2 which I believe is essential to rebuilding the identity of Japan's culture. Like most countries after WW2 (except the US) most other countries had to rebuild their countries from the ground up. Japan, like Germany's political and constitutional aspects where shaped by the US and other countries. Japan's constitution was partially shaped by General MacArthur who was appointed as occupational leader until Japan regain independence in 1952. This is particularly important because part of Japan's central identity was shaped by a country(and its military) with values far different than their own.
After Japan reclaimed its independence much of their central cultural identity was partially lost. So it only makes sense that Japan would look back to their history of theatre in order to reclaim an identity. Something it's helpful to look back in order to look forward. Within Thornberry's article, he tracks how kabuki evolved as a response to the lose of cultural identity. Thornberry notes the various stumbles this art form took before becoming central a principle and crucial marker of identity for Japan. One such moment Thornberry talks about is the shift of Kabuki theatre putting on full multi hour performance to a midori style of presentation that highlighted the most notable scenes of a single play. This shift came for the Japanese peoples reaction to the performances. I can assume that after being ruled by a single emperor to the dissloution of that regime and having a country being rebuilt by a culture much different from their own, I can believe that the Japanese people wanted to pick and choice what the wanted instead of having it crammed down their throats. This response comes form the people deciding the way they wanted their theatre done. Even though Thronberry notes that the revival of Kabuki was considered particularly important to the rebuilding of Japan's culture, it was the audiences members reactions and preferences to Kabuki that ultimately helped decide the preferred form of presentation Kabuki would be used in representing the Japanese culture.
Throughout the Thornberry article we get glimpses into the development of Japan's Kabuki threatre after World War 2 which I believe is essential to rebuilding the identity of Japan's culture. Like most countries after WW2 (except the US) most other countries had to rebuild their countries from the ground up. Japan, like Germany's political and constitutional aspects where shaped by the US and other countries. Japan's constitution was partially shaped by General MacArthur who was appointed as occupational leader until Japan regain independence in 1952. This is particularly important because part of Japan's central identity was shaped by a country(and its military) with values far different than their own.
After Japan reclaimed its independence much of their central cultural identity was partially lost. So it only makes sense that Japan would look back to their history of theatre in order to reclaim an identity. Something it's helpful to look back in order to look forward. Within Thornberry's article, he tracks how kabuki evolved as a response to the lose of cultural identity. Thornberry notes the various stumbles this art form took before becoming central a principle and crucial marker of identity for Japan. One such moment Thornberry talks about is the shift of Kabuki theatre putting on full multi hour performance to a midori style of presentation that highlighted the most notable scenes of a single play. This shift came for the Japanese peoples reaction to the performances. I can assume that after being ruled by a single emperor to the dissloution of that regime and having a country being rebuilt by a culture much different from their own, I can believe that the Japanese people wanted to pick and choice what the wanted instead of having it crammed down their throats. This response comes form the people deciding the way they wanted their theatre done. Even though Thronberry notes that the revival of Kabuki was considered particularly important to the rebuilding of Japan's culture, it was the audiences members reactions and preferences to Kabuki that ultimately helped decide the preferred form of presentation Kabuki would be used in representing the Japanese culture.
Q5: Compare and contrast Kabuki to the history and development of American musical theatre.
In Artistic Direction in Takechi Kabuki, Tetsjui describes his attempt to revitalized what has been lost of Kabuki performance art. He offered his own critique of Kabuki history and performance while discussing the correlation to Japanese performance to more western ideals. Tetsjui "... became active as a director and embarked on a series of theatrical productions that included not only his own brand of kabuki but also a number of other experiments which drew on other Japanese theatrical traditions such as no and kyogen as well as the modern Western theatre and even opera,” (13).
Tetsjui highlights the differences and similarities to Kabuki and musical theatre. Kabuki is usually considered a japanese dramatic genre that has been used over the past 300 years (15). Kabuki also derived from joruri (puppet theatre), which gained more popularity in 1600-1700's, this type of performance declined as kabuki altered into a more musical theatre genre. Some would argue that Kabuki closely resembles a more musical drama "... because the contradiction between the musical and the dramatic- which is also a problem in opera for which arguably no adequate solution has been fond- has achieved a relatively simple dialectical resolution in theatrical arts of kabuki" (18).
The connection between Kabuki and opera is more closely related, according to James R. Brandon. Although the kabuki "musicality" appeals to more to some of an American audience, the "classical, high arts" should be shaped after a more traditional view of Kabuki.
Miranda Chesson
Tetsjui highlights the differences and similarities to Kabuki and musical theatre. Kabuki is usually considered a japanese dramatic genre that has been used over the past 300 years (15). Kabuki also derived from joruri (puppet theatre), which gained more popularity in 1600-1700's, this type of performance declined as kabuki altered into a more musical theatre genre. Some would argue that Kabuki closely resembles a more musical drama "... because the contradiction between the musical and the dramatic- which is also a problem in opera for which arguably no adequate solution has been fond- has achieved a relatively simple dialectical resolution in theatrical arts of kabuki" (18).
The connection between Kabuki and opera is more closely related, according to James R. Brandon. Although the kabuki "musicality" appeals to more to some of an American audience, the "classical, high arts" should be shaped after a more traditional view of Kabuki.
Miranda Chesson
Q2: Does the use of the hanamichi in Kabuki create a closer or more distant relationship between the audience and the performer? Between the performer and the character?
Q2: Does the use of the hanamichi in Kabuki create a closer
or more distant relationship between the audience and the performer? Between
the performer and the character?
Hanamichi, a raised runway that
runs through the audience as an extension of the main Kabuki stage, has been
used for different purposes through the history of Kabuki. Although Kabuki
performers do perform on the hanamichi the primary action of the story
generally takes place on the main stage, leaving the hanamichi to be used only
in specific moments. As Haruo explained in the article "The birth of
Hanamichi", the origins of the hanamichi can be traced back to the use of
the extension of the stage for the performers to enter the audience while
audience members offered performers money or flowers as gifts. The word
“hanamichi” actually means “flower path”. The hanamichi was not used during the
performance, but rather served as a way for the performers to address the
audience after the show. This use of the hanamichi allowed the audience to
connect with the performers, show their appreciation, and offer gifts, which
the author noted were a major source of support for Kabuki.
As performers began to use the
hanamichi for exits, entrances and to directly address the audience, as in an
aside, its use allowed for increased connection between the audience and the
character. The performers are not only in closer physical proximity to the
audience while on the hanamichi, but can also offer the audience a deeper look
into the characters they portray. For the audience, the use of the hanamichi
can enhance both the feeling of closeness to the characters in the drama as
well as the awareness of the performer who performs the character.
For the performer, the use of the
hanamichi also increases closeness between performer and character. Use of
hanamichi allows performers to bring their character to life for the audience,
thus increasing the sense of closeness between the performer and the character.
This is sometimes accomplished through dramatic monologues particular to each
character, delivered on the hanamichi.
Most of us have probably
experienced similar things in live performances we have attended. Performers
sometimes leave the stage and move among the audience or speak directly to an
audience member while remaining in character. Asides are another example often
seen in Western performances, which allow the audience a glimpse into the
character’s thoughts. Techniques such as these allow the performers to connect
with the audience while enhancing the characters they portray on stage.
By allowing the performers to move
off of the main stage and move among the audience, the use of the hanamichi in
Kabuki brings both audience and performers closer to the characters coming
alive on stage. The interaction
between the audience and the performers creates a different experience than
traditional theater. I personally think the use of similar techniques I have
seen used in performances creates an experience of being a member of the
audience, rather than simply an observer of the action taking place on
stage.
Jenna Barclay
Q4. Does midori programming ultimately help or hurt contemporary Kabuki?
James R. Brandon states "midori programs are assembled by bringing together independent, relatively short pieces and scenes taken from longer works". These programs typically feature a segment from a period drama and a segment from a domestic drama. Additionally, there is often a separate dance piece. The program is accompanied by music and narration. This is a stark contrast to toshi kyogen, where longer works can last more than eight hours.
The concept of midori programs is very interesting to me. Brandon talks about midori programs aims to entertain a younger audience. I initially felt that midori programs ultimately hurt contemporary Kabuki. While I have never seen a Kabuki performance, I compared it to the plays and musicals I have seen live. Would I have valued the experience as much if they only showed me the highlights? Would the characters resonate the same way? I would imagine it is more difficult to connect with a character if I only saw certain scenes. Also, often some of the best parts of a performance occur in between the big moments.
After I kept thinking about it, I belief that midori programs actually help Kabuki. While I see some potential issues with it, I also can see the benefits. I had a hard time thinking of a western performance that lasts eight hours or more. Young or old, there are few people that have 8 hours to devote to watching a performance in one setting. Regardless of actually having the time, I feel like few in our modern society would be willing to watch a performance for eight hours straight. In general we are an instant gratification, right now type of society.
Midori programs provides an avenue to expose more people to the performance. While it obviously changes the performance by focusing on selected scenes, it gives the audience a taste of Kabuki. Assuming they like the performance, maybe they will attend a toshi kyogen when it is performed. Exposing more people to Kabuki outweighs the drawbacks of midori programming. In my opinion, midori programming helps contemporary Kabuki.
Ken Wagner
James R. Brandon states "midori programs are assembled by bringing together independent, relatively short pieces and scenes taken from longer works". These programs typically feature a segment from a period drama and a segment from a domestic drama. Additionally, there is often a separate dance piece. The program is accompanied by music and narration. This is a stark contrast to toshi kyogen, where longer works can last more than eight hours.
The concept of midori programs is very interesting to me. Brandon talks about midori programs aims to entertain a younger audience. I initially felt that midori programs ultimately hurt contemporary Kabuki. While I have never seen a Kabuki performance, I compared it to the plays and musicals I have seen live. Would I have valued the experience as much if they only showed me the highlights? Would the characters resonate the same way? I would imagine it is more difficult to connect with a character if I only saw certain scenes. Also, often some of the best parts of a performance occur in between the big moments.
After I kept thinking about it, I belief that midori programs actually help Kabuki. While I see some potential issues with it, I also can see the benefits. I had a hard time thinking of a western performance that lasts eight hours or more. Young or old, there are few people that have 8 hours to devote to watching a performance in one setting. Regardless of actually having the time, I feel like few in our modern society would be willing to watch a performance for eight hours straight. In general we are an instant gratification, right now type of society.
Midori programs provides an avenue to expose more people to the performance. While it obviously changes the performance by focusing on selected scenes, it gives the audience a taste of Kabuki. Assuming they like the performance, maybe they will attend a toshi kyogen when it is performed. Exposing more people to Kabuki outweighs the drawbacks of midori programming. In my opinion, midori programming helps contemporary Kabuki.
Ken Wagner
Q4 Does Midori programming help or hurt contemporary Kabuki?rary
Does Midori Programming help or hurt contemporary Kabuki?
The Kokuritsu Gekijo Law was revised in 1988 and again in 1990, which is now called the Japan Arts Council Law. The main purpose of the revision and name change was to bring the modern and contemporary Western style performing arts within the purview of cultural policy along with traditional Japanese arts. The Madori programs were carefully assembled to showcase star actors and aimed at a highly entertaining festive day atmosphere. Presenting plays in their original and whole form stands in contrast to the midori style associated with commercial theatres such as the Kabuki-za.
Midori programs are assembled by bringing together independent, relatively short pieces and scenes taken from longer works. Typically a segment from a period drama (jidaimono) and one from a domestic drama (sewamono) are featured. Midori programs often include a separate dance piece, as well, with musical and narrative accompaniment. Since, the midori programming contains selected scenes, short works, and is often more affordable; it has become the preferred style at the Kokuritsu Gekijo. Also, included in the count of midori programs are those that feature selected scenes from a single work.
The Madori programming comes in response to the demands of contemporary audiences and contributes to a financially secure operating basis for the theater. According to Barbara E. Thornbury, midori programs have the advantage of being less expensive, less time consuming, and there is less of a risk associated with drawing in audiences. None of the madori programs alone can make up a performance, they must be combined with other works to fill a production bill.
The Kokuritsu Gekijo is able to justify it's madori programming in a clever way without violating its charter to present Kabuki in it's restored and whole form. The components of midori programs are not to be viewed as parts requiring restoration to some original whole form. Rather, the components of midori are to be viewed as redefined and authentically complete in and of themselves.Thus, it is the purpose of a production that defines what is complete.
Authenticity in Kabuki is rarely clear. The midori programs are more commercial and are intended to dominate programming. The institution is not sending mixed signals, since the Kabuki authenticity has multiple authenticities. Several different versions of a play can exist with the same exact title. Midori programmings help contemporary Kabuki; the contemporary aspect is the key component. However, whether or not midori programming helps historical Kabuki is questionable.
Submitted by Jenna Quinn
The Kokuritsu Gekijo Law was revised in 1988 and again in 1990, which is now called the Japan Arts Council Law. The main purpose of the revision and name change was to bring the modern and contemporary Western style performing arts within the purview of cultural policy along with traditional Japanese arts. The Madori programs were carefully assembled to showcase star actors and aimed at a highly entertaining festive day atmosphere. Presenting plays in their original and whole form stands in contrast to the midori style associated with commercial theatres such as the Kabuki-za.
Midori programs are assembled by bringing together independent, relatively short pieces and scenes taken from longer works. Typically a segment from a period drama (jidaimono) and one from a domestic drama (sewamono) are featured. Midori programs often include a separate dance piece, as well, with musical and narrative accompaniment. Since, the midori programming contains selected scenes, short works, and is often more affordable; it has become the preferred style at the Kokuritsu Gekijo. Also, included in the count of midori programs are those that feature selected scenes from a single work.
The Madori programming comes in response to the demands of contemporary audiences and contributes to a financially secure operating basis for the theater. According to Barbara E. Thornbury, midori programs have the advantage of being less expensive, less time consuming, and there is less of a risk associated with drawing in audiences. None of the madori programs alone can make up a performance, they must be combined with other works to fill a production bill.
The Kokuritsu Gekijo is able to justify it's madori programming in a clever way without violating its charter to present Kabuki in it's restored and whole form. The components of midori programs are not to be viewed as parts requiring restoration to some original whole form. Rather, the components of midori are to be viewed as redefined and authentically complete in and of themselves.Thus, it is the purpose of a production that defines what is complete.
Authenticity in Kabuki is rarely clear. The midori programs are more commercial and are intended to dominate programming. The institution is not sending mixed signals, since the Kabuki authenticity has multiple authenticities. Several different versions of a play can exist with the same exact title. Midori programmings help contemporary Kabuki; the contemporary aspect is the key component. However, whether or not midori programming helps historical Kabuki is questionable.
Submitted by Jenna Quinn
Hanamichi- Flowered Path
Q2. There is a healthy
amount of debate surrounding the hanamichi and its origin.
Haruo presents multiple theories as to how the bridge and
stage addition came to be. Believed to
be a product of the noh theatre, the hanamichi made its transition into
Kabuki. At first being construed as a
bridge, or “flower pathway”, the hanamichi was not a permanent part of the
stage, but instead transitory. It is
believed the origin of its name came from various translations of “flower
path”, “bestowing the gift of flowers”, or “believing the actor to be a
blossoming flower” (Haruo 29). Kabuki
had previously employed the hashigakari, but its position made it difficult for
those sitting in the boxes to see the entrances and exits of actors. Therefore, the hashigakari was transposed
onto a ninety-degree angle, and the hanamichi was born.
The role of the hanamichi continued to evolve, and it became
far more than just a pathway for the actors through the audience. Its temporary structure was changed, its
railings omitted, and it became a rooted edition to the rest of the stage. While the actors used to simply make their
entrance on the hanamichi to the mellifluous sounds of the audience calling out
their names, the hanamichi’s new role led to a closer relationship between the
audience and the performer.
Focusing more on just entrances and exists, Kabuki scripts
now called for intimate and specific scenes to take place on the
hanamichi. Actors were instructed to
make their way onto the bridged thrust of the stage for specific and intimate
acting moments. Stage directions
appeared in the script, “the actors stops, and delivers his speech dead centre
on the hanamichi” (Haruo 36). This
closeness to the audience, and purposeful movement among them, created a closer
relationship between the audience and the performer. Very similar to when I attended a Garth
Brooks concert in the third grade, and he flew through the air into the audience…
I blushed just like the woman described in the article…
The hanamichi also strengthened the relationship between the
performer and the character. Previously
used simply as a pathway, or translated into flower dances, or the entrance
point for boys with flowered staffs, the hanamichi grew into an area for prioritized
acting. Performers made their way onto
the hanamichi and introduced themselves to the audience. At this point, it was customary for the
performer to deliver a character monologue to fully display his acting prowess. The use of the hanamichi enabled the
performer to fully invest in his character; thereby, bringing life and energy
to it amongst the audience.
While the main action of the play does not usually take
place on the hanamichi, it is likely that something similar to character asides
would occur here. For example, if there
was a Kabuki version of Othello, it
could be concluded that some of Iago’s famous moments would take place on the
hanamichi running through the audience.
From this vantage point, Iago would be able to display his evil
machinations away from the rest of the company while culling the audience as
fellow conspirators. This type of Victoria Secret runway allows for close
audience interaction with the performer.
In turn, the performer is able to use the energy of the audience, as well
as, the dramatic nature of the scenes staged on the hanamichi to further
connect with his character.
In conclusion, the hanamichi absolutely generates a closer
relationship between the audience and performer, as well as, the performer and
character. It is an interesting and
useful stage convention that has several similar translations in Western
Theatre. I am a fan.
- Hailey Drescher
Q4:
Kabuki is a form of theatre that integrates music. Compare and contrast Kabuki to the history and development of opera or American musical theatre.
According to the articles read for this week I have found several similarities and contradictions between Kabuki and Western musical theatre. According to James R. Brandon in his article “Kabuki: Changes and Prospects: An International Symposium,” the author states the similarities between American musical theatre and Kabuki, which creates an appeal for westerners to watch the Kabuki performance, “Using some of these productions as examples, I noted the characteristics of kabuki that appeal to American audiences: powerful, controlled movements and gestures; elaborate stage settings; stunning costumes and makeup; and kabuki's "musicality." (255).
Similar to American musical theatre, kabuki features music and performance on a single stage. Takechi Tetsuji wrote an article translate by William Lee, “Artistic Direction in Takechi Kabuki,” which details Tetsuji’s attempt to revitalize kabuki. In naming one similarity between opera and kabuki, the author states, “Kabuki's theatrical and performance style is probably more suited to the creation of musical drama. This is because the contradiction between the musical and the dramatic-which is also a problem in opera for which arguably no adequate solution has been found-has achieved a relatively simple dialectical resolution in the theatrical art of kabuki,” (18). This article states very plainly that Takechi did take ideas from Western theatre in his attempt to recreate the dynamics of Kabuki, “At the same time he became active as a director and embarked on a series of theatrical productions that included not only his own brand of kabuki but also a number of other experiments which drew on other Japanese theatrical traditions such as no and kyogen as well as the modern Western theatre and even opera,” (13).
However, some believed at one point that in revitalizing kabuki directors should draw from opera types of musical theatre. Brandon wrote, “While some Europeans liked kabuki and some did not, they all agreed that ‘the moving, striking representation of real life is indeed the distinctive mark of the Japanese stage’-a view quite opposite to that of kabuki’s native reformists. Japanese dignitaries reported back from Europe that opera and ballet-classical, high arts-should be the models to reconstruct kabuki.” (262).
Monica Strauss
Week 3- Kabuki, by Angela Thurman
Q1. How has Kabuki influenced western theatre? Discuss one specific director or fomat.
Kabuki has influenced many aspects of Western theatre and has itself been influenced by the west in turn.
Harou tells us the the use of the Hanamichi in Kabuki inspired the use the of proscenium arch in western theatre as well as use of the alcove in Elizebethan theater.
Japanese touring companies took Kabuki on the road internationally as early as the 1800's and staged plays for expat Japanese. A company remained in Hawaii and their productions toured the US.
Western audiences and playwrights liked the grand gestures, the elaborate costumes and make up, and the musicality of the performances and many artists, including Charlie Chaplin, Max Reinhard and Bertoldt Brecht were influenced by Kabuki.
The West took Kabuki and altered and adapted it to suit Western preferences. Meyerhold, following this lead, was inspired by the theatrical, arrested poses of Kabuki in his staging of Hedda Gabler a year later. In 1913 Meyerhold took on his own studio, in which he combined his enthusiasm for Indian, Chinese and Japanese theatre (known to him mainly through illustrations), a taste for the ‘fairground’ arts of the circus and commedia, a love of the grotesque and a fascination with the ‘science’ of the body, in order to evolve a new psycho-physical approach to training actors, as well as to production.
Many techniques common to Kabuki were utilized in the West including the high energy performances, pauses, rythmic cadences, and the division of voice and movement. 20th century Europeans also took inspiration from Kabuki's aesthic principals, dramatic themes and staging and direction. Many also saw value in the social and anthropological value of Kabuki influences. This type of adaptaton was common in the West because the audiences were so open to change and innovation in the theatre. "Japanese drama"- theatre written by foreigners about Japan- flouished. Chaplin called Kabuki "the greatest theatre art in the world" and he was not the only one enthralled. Western audiences liked the Japanese import and it influenced Western theatre in many positive ways.
However, the West also influenced Kabuki. Kabuki was born at the turn of the 17th centure when the East and West mingled extensively for the first time. Kabuki plays include animals not native to Japan- tigers, elephants and peacocks were all dramatic imports. Certain plays used special effects thought to be copied directly from Jesuit plays- rolling waves painted on rotating cylinders, for example. Even the way that the plays were run- the day long performances and hour long intermissions were cut short to make the plays more accessible and more profitable.
Kabuki influenced the West and was influenced in turn by the West. This sharing of ideas, concepts, and dramatic ideals has benefitted both cultures.
Angela Thurman
Kabuki has influenced many aspects of Western theatre and has itself been influenced by the west in turn.
Harou tells us the the use of the Hanamichi in Kabuki inspired the use the of proscenium arch in western theatre as well as use of the alcove in Elizebethan theater.
Japanese touring companies took Kabuki on the road internationally as early as the 1800's and staged plays for expat Japanese. A company remained in Hawaii and their productions toured the US.
Western audiences and playwrights liked the grand gestures, the elaborate costumes and make up, and the musicality of the performances and many artists, including Charlie Chaplin, Max Reinhard and Bertoldt Brecht were influenced by Kabuki.
The West took Kabuki and altered and adapted it to suit Western preferences. Meyerhold, following this lead, was inspired by the theatrical, arrested poses of Kabuki in his staging of Hedda Gabler a year later. In 1913 Meyerhold took on his own studio, in which he combined his enthusiasm for Indian, Chinese and Japanese theatre (known to him mainly through illustrations), a taste for the ‘fairground’ arts of the circus and commedia, a love of the grotesque and a fascination with the ‘science’ of the body, in order to evolve a new psycho-physical approach to training actors, as well as to production.
Many techniques common to Kabuki were utilized in the West including the high energy performances, pauses, rythmic cadences, and the division of voice and movement. 20th century Europeans also took inspiration from Kabuki's aesthic principals, dramatic themes and staging and direction. Many also saw value in the social and anthropological value of Kabuki influences. This type of adaptaton was common in the West because the audiences were so open to change and innovation in the theatre. "Japanese drama"- theatre written by foreigners about Japan- flouished. Chaplin called Kabuki "the greatest theatre art in the world" and he was not the only one enthralled. Western audiences liked the Japanese import and it influenced Western theatre in many positive ways.
However, the West also influenced Kabuki. Kabuki was born at the turn of the 17th centure when the East and West mingled extensively for the first time. Kabuki plays include animals not native to Japan- tigers, elephants and peacocks were all dramatic imports. Certain plays used special effects thought to be copied directly from Jesuit plays- rolling waves painted on rotating cylinders, for example. Even the way that the plays were run- the day long performances and hour long intermissions were cut short to make the plays more accessible and more profitable.
Kabuki influenced the West and was influenced in turn by the West. This sharing of ideas, concepts, and dramatic ideals has benefitted both cultures.
Angela Thurman
Thursday, January 26, 2012
Q3 Significant differences in Japanese Theatrical Forms
The terms play and drama are different as described by Mitsuya Mori. Play can be both a noun and a verb and implies an activity of doing something. Due to it's nature of being a noun and a verb, play can be applied to music, sports, games, and other activities. Drama is defined as a noun without a corresponding verb that means "something to be done." A drama can't be a performance without being activated by a play. Thus, a play can stand alone and constitutes a performance without being accompanied by a drama. Historically, play is the base of theatre.
The differences in actor and player correspond to the differences in play and drama. An actor represents a character and a player simply plays. According to Mori, an actor or character can't stand apart from a player in theatre. Thus, the player and actor cross with each other on stage, which is indicated in the expression "an actor plays a character." The actor includes the player (A-p-C). The triadic relationship in theatre is introduced when the performance is intended to produce a drama where the audience is another key factor in developing the structural scheme.
The audience is a key factor in examining the differences in actor and player. The question is asked: "Which of the two on the stage does the audience actually watch, the actor or the character?" The differences can be observed by the Kata in Japanese theatrical forms. The Kata is the central concept in Japanese culture. Kata is almost synonymous with morality. If the Kata is broken that it is considered immoral.
In Noh and Kabuki, the Kata is referred to most often. The Noh actor is expected to imitate the Kata of any given character. The Noh actor is best represented by form and character. The Kabuki actor can create their own pattern of acting. Thus, the Kabuki is best represented as an actor and not a character because of the pattern. The pattern for the Kabki actor is different than the rigid form of the Noh. These differences are significant for Japanese theatrical forms.
Submitted by Jenna Quinn
The differences in actor and player correspond to the differences in play and drama. An actor represents a character and a player simply plays. According to Mori, an actor or character can't stand apart from a player in theatre. Thus, the player and actor cross with each other on stage, which is indicated in the expression "an actor plays a character." The actor includes the player (A-p-C). The triadic relationship in theatre is introduced when the performance is intended to produce a drama where the audience is another key factor in developing the structural scheme.
The audience is a key factor in examining the differences in actor and player. The question is asked: "Which of the two on the stage does the audience actually watch, the actor or the character?" The differences can be observed by the Kata in Japanese theatrical forms. The Kata is the central concept in Japanese culture. Kata is almost synonymous with morality. If the Kata is broken that it is considered immoral.
In Noh and Kabuki, the Kata is referred to most often. The Noh actor is expected to imitate the Kata of any given character. The Noh actor is best represented by form and character. The Kabuki actor can create their own pattern of acting. Thus, the Kabuki is best represented as an actor and not a character because of the pattern. The pattern for the Kabki actor is different than the rigid form of the Noh. These differences are significant for Japanese theatrical forms.
Submitted by Jenna Quinn
Tuesday, January 24, 2012
Noh blog- Q3-A. Thurman
I found the readings on Noh to be very interesting, although I did have to go to Wikipedia to find out exactly what Noh is! Here is an except from Wiki explaining Noh that I found helpful:
Noh (能 Nō), or Nogaku (能楽 Nōgaku)[1] - derived from the Sino-Japanese word for "skill" or "talent" - is a major form of classical Japanese musical drama that has been performed since the 14th century. Many characters are masked, with men playing male and female roles. Traditionally, a Noh "performance day" lasts all day and consists of five Noh plays interspersed with shorter, humorouskyōgen pieces. However, present-day Noh performances often consist of two Noh plays with one Kyōgen play in between.
While the field of Noh performance is extremely codified, and regulated by the iemoto system, with an emphasis on tradition rather than innovation, some performers do compose new plays or revive historical ones that are not a part of the standard repertoire. Works blending Noh with other theatrical traditions have also been produced.
So, now that we know what Noh is, I will attempt to explain the differences that Mori finds between the terms "play" and "drama" and also between "actor" and "player".
Mori explains that the term "drama" can only be used as a noun, and denotes a script that precedes a play. A drama must therefore be activated by a play, whereas a play can stand alone without a drama. The term "play" implies action or a performance, play can be used as a noun- "Let's go see the play"- or as a verb- "I love to play tennis". Play can be used to describe not only a performance in theatre, but also a musical performance, or even a sporting event. Plus, play is not only a performance, one can simply play with no purpose at all.
Mori compares this distinction with examples from the earliest forms of Japanese mythology, in which the Sun Goddess is tempted out of hiding by a dance- a play, specifically, a "God play". The dancer is dancing- or playing- but is also putting on a play, a performance, designed for a purpose, to draw out the Sun Goddess.
Mori points out that while play seems to be very similar across time and culture, drama is what changes.
Mori then compares and contrasts the terms "actor" and "player". An actor represents a character, so an actor represents a person who affects action. In the older sense of the word, an actor can also refer to a participant in a legal proceeding. A player is simply one who plays- at anything. In the mythology story the dancer was a player first, when Noh drama developed, the term was expanded to emcompass activity. So, actor is to drama as player is to playing.
Knowing these terms and what they imply is important in understanding the different types of Japanese theatre. Mori lays out several different diagrams involving the following componenets:
Au=audience
A=actor
p=plays
P=player
C=character
In one diagram, shown as A-p-C, Mori explains that the actor is playing a character. A dance might be P-p, a player playing. In Noh, the Au component is as important as the actor and the player. A-C in theatre is nothing, an actor and a character, you must have P-p to make it active. The A-C makes it artistic, pretend and ficticious- all of the components together are needed to make it Noh.
Submitted by Angela Thurman
Subscribe to:
Posts (Atom)