Kyōgen (
Nōgaku Theatre | |
---|---|
Country | Japan |
Domains | Performing arts |
Reference | 12 |
Region | Asia and the Pacific |
Inscription history | |
Inscription | 2008 (3rd session) |
List | Representative |
Kyōgen together with Noh is part of Nōgaku theatre.[1]
Kyōgen is sometimes compared[by whom?] to the Italian comic form of commedia dell'arte, which developed around the same period (14th century) and likewise features stock characters. It also has parallels with the Greek satyr play, a short, comical play performed between tragedies.
History
editOne of the oldest ancestors of kyogen is considered to be a comical mimicry, which was one of the arts constituting Sangaku (ja:
Kyōgen provided a major influence on the later development of kabuki theater. After the earlier, more ribald forms of kabuki had been outlawed in the mid-17th century, the government permitted the establishment of the new yarō-kabuki (men's kabuki) only on the grounds that it refrain from the previous kabuki forms' lewdness and instead model itself after kyōgen.[2]
Noh had been the official entertainment form of the Edo period, and was therefore subsidized by the government. Kyōgen, performed in conjunction with Noh, also received the patronage of the government and the upper class during this time. Following the Meiji Restoration, however, this support ceased. Without government support, Noh and kyōgen went into decline, as many Japanese citizens gravitated toward the more "modern" Western art forms. In 1879, however, then-former US President Ulysses S. Grant and his wife, while touring Japan, expressed an interest in the traditional art of Noh. They became the first Americans to witness Noh and kyōgen plays and are said to have enjoyed the performance. Their approval is believed to have sparked a revival of interest in these forms.[3]
In modern Japan, kyōgen is performed both separately and as a part of Noh. When performed as part of a Noh performance, kyōgen can take three forms: a separate (comic) kyōgen play, performed between two Noh plays (inter-Noh), which is known as honkyōgen (
In aikyōgen, most often the main Noh actor (shite) leaves the stage and is replaced by a kyōgen actor (
The traditions of kyōgen are maintained primarily by family groups, especially the Izumi school and Ōkura school.
Elements
editKyōgen plays are invariably brief – often about 10 minutes, as traditionally performed between acts of Noh – and often contain only two or three roles, which are often stock characters. Notable ones include Tarō kaja (
Movements and dialogue in kyōgen are typically very exaggerated, making the action of the play easy to understand. Elements of slapstick or satire are present in most kyōgen plays. Some plays are parodies of actual Buddhist or Shinto religious rituals; others are shorter, more lively, simplified versions of Noh plays, many of which are derived from folktales. As with Noh, jo-ha-kyū is a fundamental principle, which is particularly relevant for movement.
As with Noh and kabuki, all kyōgen actors, including those in female roles, are men. Female roles are indicated by a particular piece of attire, a binankazura (
Similarly, actors play roles regardless of age – an old man may play the role of Tarō kaja opposite a young man playing master, for instance.
Costumes
editOutfits are generally kamishimo (Edo period outfit consisting of kataginu top and hakama pants), with the master (if present) generally wearing nagabakama (long, trailing pants).
Actors in kyōgen, unlike those in Noh, typically do not wear masks, unless the role is that of an animal (such as a tanuki or kitsune), or that of a god. Consequently, the masks of kyōgen are less numerous in variety than Noh masks. Both masks and costumes are simpler than those characteristic of Noh. Few props are used, and minimal or no stage sets. As with Noh, a fan is a common accessory.
Language
editThe language in kyōgen depends on the period, but much of the classic repertoire is in Early Modern Japanese, reasonably analogous to Early Modern English (as in Shakespeare). The language is largely understandable to contemporary Japanese speakers, but sounds archaic, with pervasive use of the gozaru (ござる) form rather than the masu (ます) form that is now used (see copula: Japanese). For example, when acknowledging a command, Tarō kaja often replies with kashikomatte-gozaru (
There are numerous set patterns – stock phrases and associated gestures, such as kashikomatte-gozaru (with a bow) and Kore wa mazu nanto itasō. Iya! Itashiyō ga gozaru. "So first, what to do. Aha! There is a way to do it.", performed while bowing and cocking head (indicating thought), followed by standing up with a start on Iya! Plays often begin with set phrases such as Kore wa kono atari ni sumai-itasu mono de gozaru. "This is the person who resides in this place." and (if featuring Tarō kaja) often end with Tarō kaja running off the stage yelling Yaru-mai zo, yaru-mai zo! "I won't do it, I won't do it!".
Lines are delivered in a characteristic rhythmic, sing-song voice, and generally quite loudly. Pace, pitch, and volume are all varied for emphasis and effect.
Movements
editAs with Noh, which is performed on the same stage, and indeed many martial arts (such as kendo and aikido) actors move via suriashi (
As with Noh, angle of gaze is important, and usually a flat gaze is used (avoiding looking down or up, which create a sad or fierce atmosphere, which is to be avoided). Characters usually face each other when speaking, but turn towards the audience when delivering a lengthy speech.
Arms and legs are kept slightly bent. Unless involved in action, hands are kept on upper thighs, with fingers together and thumb tucked in – they move down to the sides of the knees when bowing.
Music
editKyōgen is performed to the accompaniment of music, especially the flute, drums, and gong. However, the emphasis of kyōgen is on dialogue and action, rather than on music or dance.
Space
editKyogen is generally performed on a Noh stage, as the stage is an important part of the play (the space, the reaction to stamps, the ease of sliding, etc.). It can, however, be performed in any space (particularly by amateur or younger performers), though if possible a Noh-like floor will be installed.
Komai
editIn addition to the kyōgen plays themselves, performances include short dances called komai (
Kyōgen today
editToday, kyōgen is performed and practiced regularly, both in major cities (especially Tokyo and Osaka) and throughout the country, and is featured on cultural television programs. In addition to the performances during Noh plays, it is also performed independently, generally in programs of three to five plays.
New kyogen are written regularly, though few new plays enter the repertoire. Particularly significant is Susugigawa (
The distinctive diction of kyōgen is also occasionally used in other media, with kyōgen actors working as voice actors. An example is the animated movie A Country Doctor (カフカ
As with Noh, many Japanese are familiar with kyōgen only through learning about it in school or television performances. A play frequently featured in textbooks is Busu (
While there are a number of kyōgen families, there are at present two leading families: the Nomura
Foreign actors
editIn the post-war period, foreigners have participated in kyōgen as amateur performers. A notable early example was the 1956 performance by scholar and translator Donald Keene in the play Chidori (
Plays
editThere are a few hundred plays in the repertoire (about 180 in the Okura school), but many are now rarely performed, as the audience will not understand the jokes, or would deem them offensive (e.g., for making fun of a blind money-lender).[15]
Plays commonly studied and performed by beginners, due to brevity and simplicity, include Shibiri (痿痢, "Cramps", "Pins and Needles"),
Another play is
See also
editReferences
edit- ^ "Nôgaku theatre - intangible heritage - Culture Sector - UNESCO". ich.unesco.org. Retrieved 29 April 2018.
- ^ a b Kotobank, Kyōgen. The Asahi Shimbun
- ^ ""First Noh & Kyogen Program Witnessed by Americans" in Boston December 7, 2004". PRWeb. 25 November 2004. Archived from the original on December 23, 2004. Retrieved 31 May 2010.
- ^ Salz, p.131–136.
- ^ The International Reception of Samuel Beckett, by Matthew Feldman, "Beckett's Reception in Japan", p. 153
- ^ a b Pawasarat, Catherine (Dec 12, 2001). "Noho Theatre: Kyogen with a twist". The Japan Times Online. Retrieved 2012-07-26.
- ^ Noho Theatre Group ACT WITHOUT WORDS 1, video
- ^ "Theater: Beckett, in Japanese Style", Mel Gussow, The New York Times, March 12, 1986
- ^ a b Joseph Woodworth. "Kyougen: Farce and Folly on the Stage". AJET.net - Voice Online. Archived from the original on 2014-07-20. Retrieved 2012-07-26.
- ^ Pareles, Jon (1984-07-21). "Stage: Nomura Kyogen Theater of Japan". The New York Times. ISSN 0362-4331. Retrieved 2012-07-26.
- ^ Tanaka, Nobuko (Nov 14, 2001). "Revitalized kyogen to a crossroads". The Japan Times Online. Retrieved 2012-07-26.
- ^ Keene, Donald (July 8, 2006). "25. Triumph as Tarokaja". Yomiuri Shimbun. Archived from the original on July 20, 2006. Retrieved 4 January 2008.
- ^ T.T.T. category at the Kyoto Art Center Archived 2012-12-19 at archive.today
- ^ Paura Chan (April 5, 2011). "Traditional Theatre Training in Kyoto". What can I do with a B.A. in Japanese Studies?. Retrieved 2012-07-26.
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- ^ Don Kenny - The Kyōgen book: an anthology of Japanese classical comedies 1989 Demon Plays Asahina (Asahina, the Warrior) Bakuchijuo (A Gambler Beats the King of Hell) Bakuro (Bakuro, the Horse Trainer) Kaminari (Thunder) Kubihiki (Neck Pulling) Oni no Mamako* (The Demon's Stepchild) Seirai (Seirai, the Hawk ...
- ^ 痿痢[permanent dead link] Shibiri "Cramps"
Sources
editThis article includes a list of general references, but it lacks sufficient corresponding inline citations. (April 2009) |
- Brandon, James R. (1997). Nō and Kyōgen in the Contemporary World. Honolulu: University of Hawai'i Press.
- Kenny, Don (compiler) (1989). The Kyogen book : an anthology of Japanese classical comedies. Tokyo: Japan Times. ISBN 4-7890-0459-7.
- Richie, Donald (1972). Three modern Kyogen. Rutland, Vermont: Tuttle Publishing. ISBN 0-8048-1038-9.
- Sakanishi, Shiho (1938). Kyôgen; comic interludes of Japan. Boston: Marshall Jones Company.
- Salz, Jonah (2007). "Contesting Authority through Comic Disruption: Mixed Marriages as Metaphor in Postwar Kyogen Experiments". In Hiroshi Nara (ed.). Inexorable Modernity: Japan's Grappling with Modernity in the Arts. Lanham, Maryland: Lexington Books. pp. 129–150. ISBN 978-0-7391-1842-9.
- Takeda, Sharon Sadako (2002). Miracles & mischief : Noh and Kyōgen theater in Japan. Los Angeles: Agency for Cultural Affairs, Government of Japan. ISBN 0-87587-188-7.