DOCSLIB.ORG

Nohand Kyogen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nohand Kyogen For more detailed information on Japanese government policy and other such matters, see the following home pages. Ministry of Foreign Affairs Website http://www.mofa.go.jp/ Web Japan http://web-japan.org/ NOH AND KYOGEN The world’s oldest living theater oh and kyogen are two of Japan’s four N forms of classical theater, the other two being kabuki and bunraku. Noh, which in its broadest sense includes the comic theater kyogen, developed as a distinctive theatrical form in the 14th century, making it the oldest extant professional theater in the world. Although noh and kyogen developed together and are inseparable, they are in many ways exact opposites. Noh is fundamentally a symbolic theater with primary importance attached to ritual and suggestion in a rarefied aesthetic atmosphere. In kyogen, on the other hand, primary importance is attached to making people laugh. History of the Noh Theater Noh performance chance to further refine the noh aesthetic Scene from a Kanze In the early 14th century, acting troupes principles of monomane (the imitation of school performance of the in a variety of centuries-old theatrical play Aoi no ue (Lady Aoi). things) and yugen, a Zen-influenced aesthetic © National Noh Theater traditions were touring and performing ideal emphasizing the suggestion of mystery at temples, shrines, and festivals, often and depth. In addition to writing some of with the patronage of the nobility. The the best-known plays in the noh repertoire, performing genre called sarugaku was one Zeami wrote a series of essays which of these traditions. The brilliant playwrights defined the standards for noh performance and actors Kan’ami (1333– 1384) and his son in the centuries that followed. Zeami (1363–1443) transformed sarugaku into After the fall of the Muromachi noh in basically the same form as it is still shogunate, noh received extensive patronage performed today. Kan’ami introduced the from military leader Toyotomi Hideyoshi, music and dance elements of the popular and in the 17th century noh became an entertainment kuse-mai into sarugaku, and “official property” of the Tokugawa he attracted the attention and patronage of shogunate. During these years, performances Muromachi shogun Ashikaga Yoshimitsu became even slower and more solemn than (1358–1408). in Zeami’s time. After Kan’ami’s death, Zeami became With the fall of the shogunate, noh in the head of the Kanze troupe. The continued Meiji period (1868–1912) was kept alive by patronage of Yoshimitsu gave him the the dedication of performers like Umewaka NOH AND KYOGEN 1 fue-bashira kijinguchi kagamiita (flute (nobleman’s (mirror board) pillar) entrance) hashigakari (bridge) agemaku (curtain) kirido (sliding door) Minoru I (1828–1909) and by the patronage atoza (rear stage) of the nobility. Since the end of World War wakiza or jiutaiza II, noh has had to depend entirely on the (side stage) san no matsu public for its survival. Noh today continues (third pine) to be supported by a small but dedicated group of theatergoers, and by a considerable ni no matsu (second pine) number of amateurs who pay for instruction kizahashi waki-bashira ichi no matsu (steps) (subordinate in noh singing and dancing techniques. (first pine) butai (main stage) actor’s pillar) In recent years noh performed outdoors at night by firelight (called takiginoh) has masks, which are often shown in museums The noh stage become increasingly popular, and there and special exhibitions. The many mask are many such performances held in the variations fall into several general types, summer at Buddhist temples, Shinto shrines, such as young woman, old man, and demon, and parks. and even among masks used for the same role there are different levels of dignity (kurai) Elements of a Noh which affect how the role and play as a Performance whole are to be performed. Joy and sadness can be expressed with the same mask Stage through a slight change in the way shadows The noh stage, which was originally fall across its features. outdoors but is now usually located within Usually only the leading character (shite) a larger structure, is itself a work of art. The wears a mask, though in some plays a mask main stage, measuring six by six meters, is is also worn by accompanying characters built of polished Japanese cypress (hinoki) (tsure). Subordinate characters (waki), their and covered by a magnificent Shinto-style accompanying characters (wakizure), and roof, and there is a bridge (hashigakari) that child characters (kokata) do not wear masks. serves as a passageway to the stage. To the Along with its masks, noh is also known right and rear of the main stage are areas for its boldly patterned extravagant where the musicians and chorus sit. The costumes, which create a sharp contrast with pine tree painted on the back wall serves as the bare stage and restrained movements. A the only background for all plays, the setting shite costume with five layers and an outer being established by the words of the actors garment of rich brocade creates an imposing and chorus. figure on stage, an effect that is heightened The three or four musicians (hayashikata) in some plays by the wearing of a brilliant sit at the back of the stage and play the red or white wig. flute, the small hand drum (kotsuzumi), the The ability of the shite and waki to express large hand drum (otsuzumi), and, when the volumes with a gesture is enhanced by their play requires it, the large floor drum (taiko). use of various hand properties, the most The chorus ( jiutai), whose main role is to important of which is the folding fan (chukei). sing the words and thoughts of the leading The fan can be used to represent an object, character, sits at the right of the stage. such as a dagger or ladle, or an action, such as beckoning or moon-viewing. Masks, Roles, Costumes, and Properties Program and Plays Many people, both in Japan and abroad, A traditional noh program included five who have little or no direct knowledge noh plays interspersed with three or four of noh theater have nevertheless come kyogen, but a program today is more likely into contact with noh through its famous to have two or three noh plays separated by NOH AND KYOGEN 2 one or two kyogen. Both the program and each individual play are based on the dramatic pattern jo-ha-kyu (introduction-exposition- rapid finale), with a play usually having one jo section, three ha sections, and one kyu section. The noh repertoire is made up of Kyogen performance Okina, which is only performed on special The sorceress (tsure role) summons the Scene from an Izumi occasions and is more of a ritual dance than spirit possessing Lady Aoi. school performance of the play Boshibari (Fit to a play, and about 240 extant plays classified The spirit (shite role) approaches. (The be Tied). into five different groups. The first group shite wears the deigan mask used for © National Noh Theater consists of the god plays (waki noh), in which vengeful female spirits.) It is Lady Rokujo, the shite is first a human being and later a Genji’s neglected mistress. Speaking for god. These plays, slow moving even by noh herself and through the chorus, Lady Rokujo standards, are performed relatively seldom tells of the ephemeral nature of happiness today. The second group is the warrior plays in this world, and of her resentment toward (shura-mono). In most of these a dead warrior Lady Aoi as the wife of the radiant Genji. from the losing side in the Taira-Minamoto (Lady Rokujo had been further humiliated War pleads with a priest to pray for his when her carriage was pushed aside by that soul. Wig plays (kazura-mono) represent the of Lady Aoi at a festival not long before.) third group. These plays are often about a The spirit of Lady Rokujo moves forward beautiful woman of the Heian period (794– to strike Lady Aoi with her fan, and then 1185) who is obsessed by love. The fourth moves to the back of the stage. There, group is the largest and is usually referred shielded from the audience by a robe held to as “miscellaneous noh” (zatsu noh) because by attendants, the shite changes from the plays on a variety of themes are included. deigan mask to the hannya female demon The fifth and final group is the demon plays mask. (kichiku-mono). In these plays, which tend The court official calls a messenger to to be the fastest moving of all the groups, summon a Buddhist mountain ascetic (waki the shite often appears in human form in role) to exorcise the spirit. the first scene and then reveals himself as a After the exorcism rite begins, the shite demon in the second scene. returns to center stage, now wearing the demon mask and wielding a demon rod. A Noh Play: Aoi no Ue They fight and the angry spirit of Lady Rokujo is overcome by the ascetic’s prayers. The play Aoi no Ue (Lady Aoi) is one of This triumph of Buddhist law and saving the most frequently performed in the noh of Lady Aoi contrasts with The Tale of Genji; repertoire. The original author of the play in the novel, Lady Aoi dies giving birth to is unknown; it was revised by Zeami and is Genji’s son. based on events in the 11th-century novel The Tale of Genji, by Murasaki Shikibu. History of Kyogen As the play opens, a court official (wakizure role) explains that Lady Aoi, the Kyogen is thought to have its roots pregnant wife of court noble Genji, is ill, in entertainment brought to Japan from and the sorceress Teruhi has been called in China in the 8th century or earlier.
Load more

Recommended publications
  • Noh and Kyogen
    Web Japan http://web-japan.org/ NOH AND KYOGEN The world’s oldest living theater Noh performance Scene of Hirota Yukitoshi in the noh drama Kagetsu (Flowers and Moon) performed at the 49th Commemorative Noh event. (Photo courtesy of The Nohgaku Performers’ Association) Noh and kyogen are two of Japan’s four variety of centuries-old theatrical traditions forms of classical theater, the other two being were touring and performing at temples, kabuki and bunraku. Noh, which in its shrines, and festivals, often with the broadest sense includes the comic theater patronage of the nobility. The performing kyogen, developed as a distinctive theatrical genre called sarugaku was one of these form in the 14th century, making it the oldest traditions. The brilliant playwrights and actors extant professional theater in the world. Kan’ami (1333–1384) and his son Zeami Although noh and kyogen developed together (1363–1443) transformed sarugaku into noh and are inseparable, they are in many ways in basically the same form as it is still exact opposites. Noh is fundamentally a performed today. Kan’ami introduced the symbolic theater with primary importance music and dance elements of the popular attached to ritual and suggestion in a rarefied entertainment kuse-mai into sarugaku, and he aesthetic atmosphere. In kyogen, on the other attracted the attention and patronage of hand, primary importance is attached to Muromachi shogun Ashikaga Yoshimitsu making people laugh. (1358–1408). After Kan’ami’s death, Zeami became head of the Kanze troupe. The continued patronage of Yoshimitsu gave him the chance History of the Noh to further refine the noh aesthetic principles of Theater monomane (the imitation of things) and yugen, a Zen-influenced aesthetic ideal emphasizing In the early 14th century, acting troupes in a the suggestion of mystery and depth.
    [Show full text]
  • Being in the Noh: an Introduction to Japanese Noh Plays —
    Being in the Noh: An Introduction to Japanese Noh Plays — http://edsitement.neh.gov/view_lesson_plan.asp?id=628 Conventions of the Noh Play A. The Five Types of Noh Plays: 1. The god play (Kami)—congratulatory piece praising the gods in a quiet, dignified tone. 2. The warrior play (Shura)—a slain warrior comes back as a ghost and relives his suffering 3. The woman play (Katsura)—an elegant, stylish woman is the protagonist 4. The mad woman (or madness) play/realistic play 5. The supernatural (or demon) play (Kiri)—a battle between a demon or other supernatural figure and a hero in which the demon is usually subdued. B. The Order of Performance 1. Okina-Sanbaso—a ritual piece 2. The god play (Noh) 3. A Kyogen play 4. The warrior play (Noh) 5. A Kyogen play 6. The woman play (Noh) 7. A Kyogen play 8. The mad play (Noh) 9. A Kyogen play 10. The demon play C. The Characters of a Noh Play 1. Shite (pronounced sh'tay)—the main character, the “doer” of the play Maejite—(pronounced may-j’tay) the shite appears in the first part of the play as an ordinary person Nochijite—(pronounced no-chee-j’tay) the shite disappears and then returns in the second part of the play in his true form as the ghost of famous person of long ago. 2. Tsure—(pronounced tsoo-ray) the companion of the shite 3. Waki—a secondary or “sideline” character, often a traveling priest, whose questioning of the main character is important in developing the story line 4.
    [Show full text]
  • War Sum up Music
    BAM 2013 Next Wave Festival #WarSumUp Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer War Sum Up Music. Manga. Machine. Hotel Pro Forma Vocals by Latvian Radio Choir BAM Howard Gilman Opera House Nov 1 & 2 at 7:30pm Approximate running time: one hour & 20 minutes; no intermission Directed by Kirsten Dehlholm BAM 2013 Next Wave Festival sponsor Music by The Irrepressibles, Santa Ratniece with Gilbert Nouno Concept by Willie Flindt and Kirsten Dehlholm Musical direction by Kaspars Putnins Costumes by Henrik Vibskov Leadership support for War Sum Up provided by The Barbaro Osher Pro Suecia Foundation Lighting design by Jesper Kongshaug Libretto from classic Noh theater edited by Willie Flindt Leadership support for opera at BAM Manga drawings by Hikaru Hayashi provided by: The Andrew W. Mellon Foundation Performed in Japanese with English titles The Peter Jay Sharp Foundation Stavros Niarchos Foundation Premiere: September 2, 2011, Latvian National Additional support for opera at BAM provided Opera, Riga by The Francena T. Harrison Foundation Trust Major support for music at BAM provided by The Virginia B. Toulmin Foundation Photo: Gunars Janaitis War Sum Up Latvian Radio Choir Soprano Ieva Ezeriete, Inga Martinsone, Iveta Romanca¯ne Alto Li¯ga Paegle, Dace Strautmane, Inga Žilinska Tenor Aigars Reinis, Ka¯rlis Ru¯tenta¯ls, Egils Ja¯kobsons Bass Gundars Dzil¸ums, Ja¯nis Kokins, Ja¯nis Strazdin¸š “Gamemaster” Ieva Ezeriete “Soldier” Aigars Reinis “Warrior” Gundars Dzilums “Spy” Liga Paegle Set design Kirsten Dehlholm, Willie Flindt, Jesper Kongshaug Video technique Kasper Stouenborg Video design Sine Kristiansen Manga drawings Hikaru Hayashi Black and white photos Zoriah Miller, Dallas Sells, Timothy Fadek, Kirtan Patel, Mário Porral, Richard Bunce Director’s assistant Jon R.
    [Show full text]
  • UC Irvine UC Irvine Electronic Theses and Dissertations
    UC Irvine UC Irvine Electronic Theses and Dissertations Title Soteriology in the Female-Spirit Noh Plays of Konparu Zenchiku Permalink https://escholarship.org/uc/item/7bk827db Author Chudnow, Matthew Thomas Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Soteriology in the Female-Spirit Noh Plays of Konparu Zenchiku DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSPHY in East Asian Languages and Literatures by Matthew Chudnow Dissertation Committee: Associate Professor Susan Blakeley Klein, Chair Professor Emerita Anne Walthall Professor Michael Fuller 2017 © 2017 Matthew Chudnow DEDICATION To my Grandmother and my friend Kristen オンバサラダルマキリソワカ Windows rattle with contempt, Peeling back a ring of dead roses. Soon it will rain blue landscapes, Leading us to suffocation. The walls structured high in a circle of oiled brick And legs of tin- Stonehenge tumbles. Rozz Williams Electra Descending ii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv CURRICULUM VITAE v ABSTRACT OF DISSERTATION vi INTRODUCTION 1 CHAPTER 1: Soteriological Conflict and 14 Defining Female-Spirit Noh Plays CHAPTER 2: Combinatory Religious Systems and 32 Their Influence on Female-Spirit Noh CHAPTER 3: The Kōfukuji-Kasuga Complex- Institutional 61 History, the Daijōin Political Dispute and Its Impact on Zenchiku’s Patronage and Worldview CHAPTER 4: Stasis, Realization, and Ambiguity: The Dynamics 95 of Nyonin Jōbutsu in Yōkihi, Tamakazura, and Nonomiya CONCLUSION 155 BIBLIOGRAPHY 163 iii ACKNOWLEDGEMENTS This dissertation is the culmination of years of research supported by the department of East Asian Languages & Literatures at the University of California, Irvine.
    [Show full text]
  • Noh Theater and Religion in Medieval Japan
    Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure.
    [Show full text]
  • Salvation and Sovereignty Syllabus KCJS
    KCJS Salvation and Sovereignty Syllabus Salvation and Sovereignty: Buddhism and Shinto in Japanese History Seminar Spring 2019 Course Syllabus Instructor: Adam Lyons Email: [email protected] Course Time: Wed./Fri. 1:10-2:40 PM Location: KCJS Classroom Instructor Office Hour: Wed./Fri. aFter class and by appointment. Course Description and Goals This course draws on the rich resources of Kyoto to consider the place of Buddhism and Shinto in Japanese history. In addition to traditional reading assignments and classroom discussion, we will conduct multiple research expeditions to museums and signiFicant religious and cultural sites in and around Kyoto. Although there are common misconceptions that hold Buddhism to be a “world- renouncing” religion and Shinto to be a Form oF nature worship, this course places an emphasis on the political dimension oF these traditions to pursue a more nuanced understanding of Buddhism and Shinto. We will explore how Buddhism and Shinto have been driving forces in Japanese history—with many oF the most powerFul institutions based right here in Kyoto. By the end of the course, students should be able to articulate the political signiFicance oF Buddhist and Shinto institutions and ideas. Students should also reFine their grasp oF the relationship between the social and the ideological in light oF the course’s themes: kingship/cosmology, and voluntary political associations/salvation. They should ultimately gain the ability to deconstruct ahistorical representations of Buddhism and Shinto as static and monolithic, and they can also expect to cultivate a Familiarity with some oF the major figures, sects, and concepts of Japanese religious history.
    [Show full text]
  • Experience Ikebana, Sashimono, Kimono, Shishimai, and Noh and More Exciting Traditional Japanese Culture!
    September 5, 2018 Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture) Arts Council Tokyo Traditional Culture Program Arts Council Tokyo offers many activities to learn more about Japan Experience Ikebana, Sashimono, Kimono, Shishimai, and Noh and more exciting traditional Japanese culture! Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture) implements various programs aimed for people who are not familiar with traditional Japanese culture and arts, like foreign people and children, to freely enjoy authentic traditional culture and performing arts, with the theme of “Approaching Tokyo Tradition.” The Council will hold a Japanese flower arrangement (Ikebana), Edo Sashimono, and Kimono dressing experience for foreign visitors on Oct. 20 and 21, in conjunction with the Tokyo Grand Tea Ceremony taking place at the Hama-rikyu Gardens. The second edition of the Shishimai and Acrobatics Experiences will also be held in October at Haneda Airport International Passenger Terminal. In addition, “Noh ‘SUMIDAGAWA’ -Sound of prayer cradled in sorrow-“will be held in February 2019. Stay tuned for the many exciting programs planned in the coming months. Arts Council Tokyo (Tokyo Metropolitan Supported by and in Tokyo Metropolitan Organized by Foundation for History and Culture) cooperation with Government The latest information for programs in the future will be updated on the following official website (in Japanese and English) web www.tokyo-tradition.jp facebook TokyoTradition twitter TYO_tradition Contact
    [Show full text]
  • UNIVERSITY of CALIFORNIA, IRVINE Soteriology in the Female
    UNIVERSITY OF CALIFORNIA, IRVINE Soteriology in the Female-Spirit Noh Plays of Konparu Zenchiku DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSPHY in East Asian Languages and Literatures by Matthew Chudnow Dissertation Committee: Associate Professor Susan Blakeley Klein, Chair Professor Emerita Anne Walthall Professor Michael Fuller 2017 © 2017 Matthew Chudnow DEDICATION To my Grandmother and my friend Kristen オンバサラダルマキリソワカ Windows rattle with contempt, Peeling back a ring of dead roses. Soon it will rain blue landscapes, Leading us to suffocation. The walls structured high in a circle of oiled brick And legs of tin- Stonehenge tumbles. Rozz Williams Electra Descending ii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv CURRICULUM VITAE v ABSTRACT OF DISSERTATION vi INTRODUCTION 1 CHAPTER 1: Soteriological Conflict and 14 Defining Female-Spirit Noh Plays CHAPTER 2: Combinatory Religious Systems and 32 Their Influence on Female-Spirit Noh CHAPTER 3: The Kōfukuji-Kasuga Complex- Institutional 61 History, the Daijōin Political Dispute and Its Impact on Zenchiku’s Patronage and Worldview CHAPTER 4: Stasis, Realization, and Ambiguity: The Dynamics 95 of Nyonin Jōbutsu in Yōkihi, Tamakazura, and Nonomiya CONCLUSION 155 BIBLIOGRAPHY 163 iii ACKNOWLEDGEMENTS This dissertation is the culmination of years of research supported by the department of East Asian Languages & Literatures at the University of California, Irvine. It would not have been possible without the support and dedication of a group of tireless individuals. I would like to acknowledge the University of California, Irvine’s School of Humanities support for my research through a Summer Dissertation Fellowship. I would also like to extend a special thanks to Professor Joan Piggot of the University of Southern California for facilitating my enrollment in sessions of her Summer Kanbun Workshop, which provided me with linguistic and research skills towards the completion of my dissertation.
    [Show full text]
  • Introduction This Exhibition Celebrates the Spectacular Artistic Tradition
    Introduction This exhibition celebrates the spectacular artistic tradition inspired by The Tale of Genji, a monument of world literature created in the early eleventh century, and traces the evolution and reception of its imagery through the following ten centuries. The author, the noblewoman Murasaki Shikibu, centered her narrative on the “radiant Genji” (hikaru Genji), the son of an emperor who is demoted to commoner status and is therefore disqualified from ever ascending the throne. With an insatiable desire to recover his lost standing, Genji seeks out countless amorous encounters with women who might help him revive his imperial lineage. Readers have long reveled in the amusing accounts of Genji’s romantic liaisons and in the dazzling descriptions of the courtly splendor of the Heian period (794–1185). The tale has been equally appreciated, however, as social and political commentary, aesthetic theory, Buddhist philosophy, a behavioral guide, and a source of insight into human nature. Offering much more than romance, The Tale of Genji proved meaningful not only for men and women of the aristocracy but also for Buddhist adherents and institutions, military leaders and their families, and merchants and townspeople. The galleries that follow present the full spectrum of Genji-related works of art created for diverse patrons by the most accomplished Japanese artists of the past millennium. The exhibition also sheds new light on the tale’s author and her female characters, and on the women readers, artists, calligraphers, and commentators who played a crucial role in ensuring the continued relevance of this classic text. The manuscripts, paintings, calligraphy, and decorative arts on display demonstrate sophisticated and surprising interpretations of the story that promise to enrich our understanding of Murasaki’s tale today.
    [Show full text]
  • Types & Forms of Theatres
    THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.
    [Show full text]
  • Aoi No Ue” –The Tale of Genji – Sep 13, 2020 (SUN) 8:00Pm ～ Exclusive Online Event Archived Until Sep 16, 2020
    Japanese Noh Theater at Odawara Castle “Aoi no Ue” –The Tale of Genji – Sep 13, 2020 (SUN) 8:00pm ～ Exclusive Online Event Archived until Sep 16, 2020 Program: 1. Japanese Drum Performance—Hojo Daiko 2. Japanese Noh Theater at Odawara Castle “Aoi no Ue” - The Tale of Genji - 3. FUMA NINJA Legend of ODAWARA The Tale of Genji is a classic work of Japanese literature dating back to the 11th century and is considered one of the first novels ever written. It was written by Murasaki Shikibu, a poet, What is Noh? novelist, and lady-in-waiting in the imperial court of Japan. During the Heian period women were discouraged from furthering their education, but Murasaki Shikibu showed great aptitude Noh is a Japanese traditional performing art born in the 14th being raised in her father’s household that had more of a progressive attitude towards the century. Since then, Noh has been performed continuously until education of women. today. It is Japan’s oldest form of theatrical performance still in existence. The word“Noh” is derived from the Japanese word The overall story of The Tale of Genji follows different storylines in the imperial Heian court. for“skill” or“talent”. The Program The themes of love, lust, friendship, loyalty, and family bonds are all examined in the novel. The The use of Noh masks convey human emotions and historical and Highlights basic story follows Genji, who is the son of the emperor and is left out of succession talks for heroes and heroines. Noh plays typically last from 2-3 hours and political reasons.
    [Show full text]
  • A GLOSSARY of THEATRE TERMS © Peter D
    A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam.
    [Show full text]