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SE Asia Volume 1Rev.Pdf (8.403Mb) DANCE IN THE No THEATER The Cornell East Asia Series publishes manuscripts on a wide variety of scholarly topics pertaining to East Asia. Manuscripts are published on the basis of camera-ready copy provided by the volume author or editor. Inquiries should be addressed to Editorial Board, Cornell East Asia Series, East Asia Program, Cornell University, 140 Uris Hall, Ithaca, New York 14853. © 1982 Monica Bethe and Karen Brazell Fourth printing 1992 ISSN 8756-5293 ISBN 0-939657-29-5 (No. 29, three-volume set) ISBN 0-939657-09-0 (No. 29, volume I) CONTENTS OF DANCE IN THE NO THEATER VOLUME ONE: DANCE ANALYSIS correlates with: 1. Introduction 2. The Fundamentals of No Dance Video 1 3. Dance and Verbal Meaning Video 2 4. Dance and Props Video 3 5. Costume and Mask Video 4 6. Instrumental Music Video 5 VOLUME TWO: PLAYS AND SCORES Video Reference Table Introduction Part One: The Dances in Context Deity plays: Kamo Warrior plays: Atsimori3 Tadanori Woman plays: Eguohi3 Hagoromo Fourth category plays: Sakuragawa Fifth category plays: Yamamba Part Two: Types of Dances Dance to song: kuse, final, miscellaneous Long instrumental dance: quiet, male, Shinto, court Action pieces: anguish dance, color dance, danced action, realistic action pieces VOLUME THREE: DANCE PATTERNS Introduction Descriptions of Patterns The basics Ground patterns Design patterns Patterns involving props and costumes Glossary of Japanese terms Bibliography Index CONTENTS OF THE VIDEO CASSETTES VIDEO 1: FUNDAMENTALS OF NO DANCE approx. time Kiyotsune kuse (Kita no) 4:30 Demonstrations of dance patterns and style 10:10 Anguish dance, feminine and martial modes 4:40 Color dance 2:20 Demonstration of model sequences 7:30 Hagovomo kuse (Kita and Kanze) 14.15 Male dance (Kita and Kanze) 10.oo 54 minutes VIDEO 2: DANCE AND VERBAL MEANING Tadanovi excerpt (Kanze no) 1:20 Demonstration of martial patterns 1:40 Atsumovi final dance (Kita and Kanze) 7:05 Added sequences in Yamamba 5:50 Yamaniba kuse (Kita and Kanze) 13:30 Hagovomo final dance (Kita and Kanze) 7105 37 minutes VIDEO 3: DANCE AND PROPS Adaehigdhava excerpt (Kanze no) 2:10 Danced action with fan (Kanze) 1:20 Danced action with halberd (Kanze) 1:40 Sakuvagawa kuse and net scene (Kita) 11:20 Shinto dance (Kanze) 13:00 Uto explanation and anguish dance (Kita) 7:20 Eguchi kuse (Kanze) 9:20 45 minutes VIDEO 4: COSTUME AND MASK Kamo excerpt (Kita no) 2:50 Adaehigdhava excerpt (Kanze no) •35 Tadanovi final section, (Kanze shimai and no) 26:30 Kamo final dance, (Kita shimai and no) 10:30 Yamamba final dance (Kita shimai, Kanze shimaii and no) 20:_00 60 minutes VIDEO 5: INSTRUMENTAL DANCE Kamo heavenly maiden dance (Kita no) 2:00 Quiet dance (Kita and Kanze) 25:00 Court Dance (Kita) 13::00 40 minutes Note: Video cassettes are in black and white, Performers wear hakama except where no is specified. CONTENTS: VOLUME ONE Preface ix Format xiv Chapters 1. INTRODUCTON 1 Types of performances, modular structure, jo-ha-kyu, ground and design, overlap 1 The no stage 13 2. THE FUNDAMENTALS OF NO DANCE 23 Ground patterns, style, series, basic sequences 25 Sequences in the kuse dance 36 Sequences in the long instrumental dance 42 Summary 46 3. DANCE AND VERBAL MEANING 49 Juxtaposition of patterns and text, design patterns, highlight sequences 51 Yamamba's kuse dance 57 AtsumovVs final dance 60 Hagovomors final dance 64 Summary 67 4. DANCE AND PROPS 69 The fan 71 Hand props 74 Stage props 83 Props and meaning 88 The use of props in Uto 91 Summary 95 5* COSTUME AND MASK 97 Types of costumes 100 Dressing the actor 109 Dance patterns using costume 126 Masks and wigs 130 Performing with a mask 138 Summary 140 6. INSTRUMENTAL MUSIC 141 The instruments 144 The long instrumental dance 148 Variations of the long instrumental dance 163 Action pieces 170 Summary 177 Notes 179 PREFACE This study is an outgrowth of our previous publication No as Performance: An Analysis of the Kuse Scene of Yamamba. In that work we analyzed how the several arts of no interact in a single scene; in this one we analyze a single art, dance, to explain how it works as a subsystem of no and how it relates to the other subsystems. Our ap- proach has been to search for underlying structure through a compari- son of the traditions of the Kanze school, which Bethe studies with the actor Izumi Yoshio, and the Kita school, which Brazell studied under Takabayashi Koji. Since the Japanese method of teaching through example and imitation is bound to the particular, the general theories presented here are for the most part a distillation and amalgamation of particulars gathered from actual experience. In the process of writing, we have repeatedly brought our ideas to our teachers and checked them against their far greater knowledge of no. Often we have found eager response to our systematizations; at times we discovered our conclusions were based on wrong evidence; occasionally we sur- prised the actors with truths they had not formulated verbally. In addition to the oral instruction, we have drawn on numerous perfor- mances of no" and pertinent scholarship in Japanese and Western languages. The five schools of no actors represent separate traditions within a single genre. Viewed from without, no is no; all schools express the same essence. Viewed from within, the habits of one school can appear odd to members of another. As is evident from the photos in volume three, differences begin with the fundamentals, with the height of the arms and the placement of the feet in the basic position. Although in specific instances, variations between actors PREFACE can be as great as those between schools, choreography tends to be consistant within each school. In addition each school has a charac- teristic style shared by all its actors. The Kanze school of actors, to which Izumi Yoshio belongs, is the oldest and largest (about 200 professional actors). With the Hosho school, it comprises the upper lineage (kami gakavi). The Kita school, to which Takabayashi Koji belongs, is the newest and one of the smallest (about 40 professional actors). Along with the Komparu school, from which it branched off in the 17th century, and the Kongo" school, it belongs to the lower lineage (shimo gakavi). The conventions of the Kanze and Kita school, therefore, stand at opposite ends of the spectrum. Each school is headed by a single household (iemoto)s whose responsibility it is to preserve the school's traditions and to over- see the training and certification of the actors within the school. Certain masks, costumes, and secret traditions are the preserve of these heads. Izumi and Takabayashi are among the many respected performers who make up the membership of each school. Neither of them trained directly under the head of the school, though both have per- sonal contact with their respective heads. The larger Kanze school has a hierarchy of subgroups, each centered around a theater and each responsible for the training of the young actors. After his father died, Izumi received his basic training from the later owner of the Otsuki theater in Osaka, Otsuki Juzo, and he is still a regular member of the Otsuki no group, performing in their monthly programs (teiki no) and sharing responsibility for the training of young actors. In addition he performs regularly in Nagoya and periodically in Tokyo and Kobe. In the Kita school, the Takabayashi family, the only Kita actors in Kyoto, form their own subgroup. Takabayashi1s father, Ginji, PREFACE xi trained under Kita Roppeita, the former head of the school and one of the best actors of the twentieth century. When Roppeita died, a split occured between the next head of the school and Takabayashi Ginji. Although the breach was officially reconciled in 1971, the Takabayashis still adhere to some older conventions no longer prac- ticed in Tokyo. Takabayshi holds monthly performances in his studio, performs in various Kansai theaters, and participates in the monthly performances of the Kita school in Tokyo. The two actors, Izumi and Takabayashi, while fully representative of the schools to which they belong, have distinctive individual approaches which color their art. Izumi conceives of tradition as a fluid source of creativity. Faithful to the classical form when doing traditional no, he has also composed modern no. He feels that the performance of no", despite its precise, predetermined form, should be an act of spontaneous creativity, held firm by the form. Takabayashi is a traditionalist. Adhering strictly to the training he received from his father, he views performance as a ritual enactment. For him no has a life energy that supercedes the question of artistic creativ- ity. The two actors do not actually stand as far apart as this description implies. Both believe in the set form as the true vehicle. Both rely on precise control of the simplest, most basic techniques. For one, beauty is the ultimate expression, and for the other, religious ecstacy, but in no these two things are but reverse sides of the same coin. We have found that sharing the knowledge, approaches, and opinions of our teachers has opened us to a fuller understanding of no. Even a scanty discussion soon makes evident the narrowness of a single approach, and at the same time, the universality of the under- lying principles. It is through such comparison that the fundamentals stand out from the peculiarities of the individuals and the schools. While volume one of this book presents the basic concepts shared by all schools, volumes two and three separate the traditions, detailing xii PREFACE where they differ and illustrating these differences and similarities with diagrams and photographs• The range of materials covered in this study and our attempt to provide specific examples as often as possible, have left ample room for mistakes.
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