Extended Essay in Theatre

Japanese Noh and the Stanislavski method meet

Shakespeare

How do Eastern and Western theatrical approaches, Japanese Noh and the Stanislavski method, make an audience see the same play

differently?

Word Count: 3623

Table of Contents

I. Introduction……………………………………………………….…………1

II. Main Body

A. Part 1. Similarities and differences in the Stanislavski method and

Japanese Noh…...... 4

B. Part 2. Effects of the Stanislavski method and Japanese Noh and the

conveyance of its themes and ideas……………...... ….....8

III. Conclusion……………………………………………………...………...... 16

IV. Works Cited………………………………………………………...…...... 18

Introduction As Amy Cook saliently states in her essay titled, ‘Staging Nothing: ‘Hamlet’ and

Cognitive Science’, “in Hamlet, few things are as powerful as nothing. ... The presence of nothing in the text calls attention to what nothing is supposed to stand for” (83). Indeed, the idea of nothing pertains to existential crisis and nihilism: the former is defined as a state of panic or feeling of intense psychological discomfort about questions of existence (Existential-Crisis) and the latter is defined as a viewpoint that traditional values and beliefs are unfounded and that existence is senseless and useless (Nihilism). Shakespeare’s Hamlet explores the psychological processes which Hamlet experiences throughout the play alongside the concept of nothing. In referring to the presence of nothing as “powerful” in her essay, Cook identifies that the existence of nothing asks the audience to imagine and contemplate what their motive and point of life are.

The audience is allowed to acknowledge the artistic intention through witnessing the development of Hamlet’s mental state.

The tragedy of Hamlet displays Hamlet’s psychological state, which entails Hamlet’s languishment along with existential crisis and nihilism. According to Vernon Elso Johnson, he states, “Early in 1601, when Shakespeare was supposedly still working changes into Hamlet, a series of dramatic events took place that complicated his view of corruption and affected him deeply”. In that period, Robert Devereux, the Earl of Essex, was executed for treason – he tried to usurp the throne forcibly; in order to strike terror of God and the government to everyone’s heart, the government exhibited Devereux’s head at the Tower for a year. Furthermore,

Shakespeare’s son, Hamnet, died in 1596. Around that time, Shakespeare wrote Hamlet, which examined “the dark recesses of the human soul” and showed “how corruption – “rottenness” – spreads through the realm of Denmark” (9-10). Perhaps Shakespeare’s plays’ mirroring of

British society is what enables it to be more flexible and played in different times and different regions.

Shakespeare’s play, it seems, is inherently flexible to the imposition of contrasting theatrical styles from different cultural backgrounds, perhaps the most vivid dichotomy being between the Eastern theatrical approach Japanese Noh, and the dominant Western theatrical approach, the Stanislavski method. Although both styles effectively communicate the emotions of the characters on stage to the audiences, they are distinguished from apparent differences, namely that the Noh performance incorporates artificial elements, whilst realism is deep-rooted within the Stanislavski method. Indeed, the ghost of Hamlet’s father stimulates a sense of dramatic irony throughout the play; however, the Stanislavski method still enables the audience to believe that Bernardo, Horatio and Marcellus are actually seeing the ghost. It could be said that this focus of the Stanislavski method on the actor-audience connection creates a gulf between the stage and the audience, giving imagination a pivotal role.

The Stanislavski method is reliant on the use of physical and realistic acting to build and evoke true sentiments from the audience, thereby maneuvering the audience’s imagination.

“Physical action is the “bait” for an emotion” (Moore 92). As for Japanese Noh, Charles Inouye states, “As reflected in the sparseness of the Noh Stage, this “empty-mindedness” was consonant with the way of the warrior, whose path (at least until Tokugawa period) was disciplined by battle and death” (68). This historical influence in the Noh Stage spontaneously excites imagination in the audience, thus facilitating the audience’s understanding of the play.

This examination of the effects of different theatrical approaches on the audience is significant to both this author and the society. Different theatrical approaches have distinct characteristics that distinguish them from each other; this indicates that each theatrical method will have different effects on the audience when communicating their ideas to the spectators.

Thus, how we, supposing that we are in the perspective of the audience, understand and accept a performance’s important artistic intention will be reliant upon types of theatrical approaches.

This research will facilitate the understanding of the audience in the communication of different theatrical approaches, thereby allowing this research to become critical to our society.

Part 1: Similarities and differences in the Stanislavski method and Japanese

Noh

Before beginning a thorough examination into the fundamental links shared by the

Stanislavski method and Japanese Noh, the origins of the two disparate conventions must be clarified. The Stanislavski method is a modern system of acting created by the Russian theatre practitioner, Konstantin Stanislavski. As a suitable acting style to the greater realism of the 20th- century, the Stanislavski system thus proposes the use of physical actions to allow the actors to reflect all states of emotions, thus becoming a replica of their character themselves (Stanislavsky

System).

However, Japanese Noh was employed much earlier in 14th century Japan. Originally derived from the Sino-Japanese language, Noh literally means “skill” or “talent” (Noh theatre).

These meanings of Noh are pertinent to its dispositions, as Japanese Noh largely relies on heavy costumery, and is embedded with musical elements. The traditional Noh performance typically follows a five act structure with a Kyogen interlude and (Noh theatre), as Inouye identifies, the audience is led through “a process of questions and answers, a chain of clarifications that build to the eventual fullness of a highly lyrical [...] spiritual reconciliation” (66). Shakespeare’s Hamlet also consists of five acts: perhaps this similarity in the number of acts is one factor that allows

Hamlet to be played in the Noh style and thus fit together. Furthermore, this ‘question and answer’ quality of the Noh is identified during a Kyogen interlude, as the first line of Hamlet begins with Bernardo’s very question, “Who’s there?”, to which Francisco replies “Bernardo?”.

In creating a sense of chaos through these questions, Japanese Noh succeeds in providing a comic tone during the Kyogen interlude from the play’s beginning. Possibly, Kyogen, a light-

hearted interlude that juxtaposes with solemn Noh, is what separates it so distinctly from the

Stanislavski method.

The rudimentary similarity between the Stanislavski and the Noh is the shared prioritization in building, portraying and delivering the characters’ emotions. This is evident in the aspect of Stanislavski’s theory, as “when an actor experiences a role, [...] the actor’s own personality virtually disappears”. In this quote, Hobgood affirms that an “experience” bifurcates the actor’s own natural personality and the persona of their given character, eliciting the full, latent spectrum of emotions from the actor. (150) Thus, the Stanislavski Method is a method that allows the actors to present or become two or more distinct personalities. Similarly, Japanese

Noh facilitates the portrayal of emotions by substituting any awareness of reality with aestheticism. “The splendor of the costumed actors create [...] an otherworldly atmosphere where the logic of the moment prevails,” states Inouye. (68) Through contrasting the artificial

“splendor” with the “otherworldly” effect, Inouye highlights the vital aesthetic facet of Japanese

Noh in terms of its ability to foster and articulate ambience.

The influence of Noh on the arts in modern Japan is especially apparent in Akira

Kurosawa’s (1910-1998) work Kumonosu-jō (“Castle of the Spider’s Web,” also known as

Throne of Blood, 1957), which is based on Shakespeare’s ‘Macbeth’. Traditional elements of a

Noh play, masks, robes and the conception of the stage space in relation to the audience, are used as vehicles to create dramatic effects by Kurosawa. For instance, the film begins with a chant:

“Look upon the ruin

Of the castle of delusion

Haunted only now

Of those who perished

A scene of carnage

Born of consuming desire”.

Through the use of a lexical set of diction pertaining to damage: “ruin”, “delusion”, “haunted”,

“perished” and “carnage”, this short introductory chant provides an initial image of General

Washizu’s longing for gaining power, and the tyrannical threats of his ambition (Savas 19-20).

Through entailing a musical element, this provides both aural and visual images through which the film is played: the effect becomes more of a performance, and the emotion is amplified.

Despite their shared abilities to convey emotion, both methods are rather rigid and controlled in their acting style: Japanese Noh for its strict five-act structure and spatial conception; the Stanislavski for its distinct boundary between acting and emotion. Indeed, according to Aesthetics and Ethics in the Reception of Noh Theatre in the West, Pellecchia identifies Noh “as artwork and as artistic practice is deeply imbued with ethical significations inextricable from its aesthetic manifestations”, in interpreting the moral awareness of actors with their costumes and elements of theatre, Pellecchia reveals how Japanese Noh is performed sternly within its traditional ideals (8). Similarly, Moore deconstructs the Stanislavski method through delineating its “subconscious” and “conscious” strivings: the two aspects of identity are disparate and contained (93).

Regardless of the similarity shared between the Stanislavski method and Japanese Noh, both styles employ different mediums to communicate their messages to the audience: the

Stanislavski method allows the actors to articulate their inner feelings through physical acting whereas Japanese Noh enables the actors to utilize both musical elements and physical elements that encompass recitation, music, dance and gesture (An Introduction to Noh). The Stanislavski method underscores the gravity of exposure to the actor’s own role through the strong use of physical and realistic acting in fully conveying emotions to the audience; in response to this,

Sonia Moore asserts, “every inner experience is expressed through a physical action” (91).

Furthermore, German theatre practitioner Bertolt Brecht suggests that a “convincing” actor should be able to deceive the audience (157). Indeed, the Stanislavski method is useful to trick the audience by incorporating the actor’s physical action that arises from the actor’s reminiscence or ‘experiences,’ thereby effective in making the audience entirely be absorbed in the play.

Moreover, both styles juxtapose each other in embodying their messages as the

Stanislavski method is chiefly concerned with depicting realism whilst Japanese Noh uses props of artificiality to further its message (St Denis et al 83). According to Brecht, the Stanislavski method “systematically compels the empathy of the spectator”; the Stanislavski method enables the audience to empathize with the actor by virtue of its emphasis on realism (155). While the

Stanislavski method requires realistic acting, Japanese Noh utilizes props such as fans and masks by embedding symbolism to enhance communication.

Part 2: Effects of the Stanislavski method and Japanese Noh on the narrative of ‘Hamlet’ and the conveyance of its themes and ideas

The effects of the Stanislvaski method and Japanese Noh on the narrative of Hamlet and effects on conveying Shakespeare’s message will be explored from the following sources:

Hamlet 2018 presented by the BBC and a Noh Hamlet performed by Munakata Ueda Kuniyoshi who is a professor of Emeritus of Shizuoka University in Japan. Hamlet’s soliloquy from Act 3

Scene 1 will be analyzed from both productions.

The first source to be analyzed is Hamlet produced in the Noh style by Munakata in

2012; the play only consists of Act 3 Scene 1 of Hamlet and lasts for approximately 27 minutes.

Even though this was performed in Japan by the Japanese performer, English was used throughout the play.

Figure 1. Entrance of the storyteller into the Noh stage in Noh Hamlet (“Noh Hamlet.”

Performance by Kuniyoshi Munakata, YouTube, Jsnworguk, 27 Dec. 2012,

www.youtube.com/watch?v=oXAG564oO_o&t=1421s.)

As shown in Figure 1, Hamlet begins with the actor or storyteller entering into the stage through the entrance called agemak by singing the following line: “To be or not to be: that is the question;” through the preliminary use of the poetic chant, Hamlet succeeds in drawing the audience’s attention. Subsequently, Hamlet reiterates the same line for three times: one could say this repetition serves as a vehicle to underscore Hamlet’s existential crisis. To expound upon the stage of this Hamlet, the stage is incomplete as it doesn’t fully follow the complete structure of the Noh Stage: the stage of Noh Hamlet only consists of agemaku (the entrance connects to the bridgeway), hashigakari (the bridgeway) and the main stage. According to Inouye, he contends that the sparsely decorated square connected with a bridgeway to offstage produces the following effect: “the conflict between one’s formal place in life and one’s ability to imagine oneself more broadly is worked out in a highly ordered way that yields spiritual resolution, fluidity, and wholeness” (66). To couple this idea to the stage used in this performance, perhaps Munakata deliberately utilizes the idea embedded in the Noh stage in order to demonstrate that Hamlet indeed longs to resolve his existential crisis and anguish in the space that furnishes him a moment to deeply ruminate on the conflict he experiences.

Then, the storyteller slowly begins his chant as Hamlet,

“Whether ‘tis nobler in the mind to suffer

The slings and arrows of outrageous fortune,

Or to take arms against a sea of troubles,

And by opposing end them?... To die, to sleep;

To sleep: perchance to dream: ay, there’s the rub;”

Throughout the chant, his tone is monotonous, for in Noh theatre “the voice is kept very low […]

The vocal technique may sound […] monotonic.” This is due to the origin of the Noh songs, which is ancient Buddhist chanting. (NOH THEATRE: HISTORY) Perhaps Hamlet’s tranquil, flat chanting is what reflects Hamlet’s psychological state, which is simultaneously disordered and vacant due to the perpetual pain.

Figure 2. Folding fan in Noh Hamlet (“Noh Hamlet.” Performance by Kuniyoshi

Munakata, YouTube, Jsnworguk, 27 Dec. 2012,

www.youtube.com/watch?v=oXAG564oO_o&t=1421s.)

The storyteller keeps chanting; however, he starts employing a folding fan with his body movements at the same time. The use of the folding fan is one of the salient features of Noh theatre, for the fan is an implement used as a means of interaction between the actor and the spectator. According to Pellecchia, “in a more corporeal vision of it, the fan can be seen as an extension of one’s body” (34). Moreover, the role of the folding fan is vital as the fan is employed as a tool that represents the character’s emotions in a meticulous way. These two

notions that are embedded in the fan validate that the actor deliberately uses the folding fan for the sake of embodying Hamlet’s emotions. To examine the use of the fan more profoundly, even the design of the fan is significant in expressing the character’s emotions. “The fan is also decorated with allusive motifs and illustrations, and it is chosen according to the nature of character that will appear on stage” (Pellecchia 39). In Noh Hamlet, a fan with clouds is used; in

Buddhism, clouds signify the ‘Western Paradise’ beyond Earth and in Shintoism, they signify the spirits of the dead (Japanese Art & Design Themes); Noh theatre was greatly influenced by both religions (Noh Theatre). Thus, the folding fan embellished with clouds might simultaneously depict Hamlet’s craving for reaching the state of nirvana, which is a state of freedom from all suffering that Buddhist believe can be achieved by removing all personal wishes, thus heaven, and his nearly dead physical and spiritual state (Nirvana).

Overall, in Noh theatre, the use of space, the chant and the folding fan are applied as crucial elements that contribute to embodying Shakespeare’s themes and ideas. The three stated elements of Noh Hamlet are chiefly responsible for portraying Hamlet’s psychological state and thirst for escaping his agony. Therefore, it is evident that this Noh Hamlet focuses on illustrating the essence of the play, which entails existentialism and nihilism, thereby primarily conveying

Hamlet’s misery to the audience.

The source to be subsequently analyzed is a British production done for the BBC by the

Almeida theatre. Unlike the Noh Hamlet analyzed that solely presents Act 3 Scene 1, Hamlet

2018 presents the whole play, which is approximately three hours in duration. The main character Hamlet was played by a British actor Andrew Scott. The production adopts realism and

naturalism throughout, namely the Stanislavski method. In order to examine how it applies the

Stanislavski method more profoundly, other scenes will be analyzed apart from Act 3 Scene 1.

Figure 3. Beginning part of Hamlet 2018 (Shakespeare, William. Hamlet. Performance by

Andrew Scott, 2018)

In Figure 3, it shows the very beginning part of the production, which begins with the TV news. The headline of the TV news is “SIDSTE FARVEL TIL KONGEN AF DANMARK.” If translated, it means “Last Farewell to the King of Denmark.” Through presenting the TV news that corresponds to a means of communication in the 21st century, this Hamlet is able to easily familiarize the audience with the play, thereby allowing the audience to believe that the death of

Hamlet’s father happened in the modern day. Furthermore, the use of motorcars indeed serves as a device to add to realism. Through the Act 1 setting that is identical to the current TV news, the play is successful in fooling the audience into this belief.

Figure 4. Stage of Act 3 Scene 1 in Hamlet 2018 (Shakespeare, William. Hamlet. Performance

by Andrew Scott, 2018)

Figure 4 shows the staging Act 3 Scene 1. As presented, the stage is decorated with a settee, standing lamps and yellow curtains. The stage correspondingly reflects an ordinary modern day room. A realistic production is made up of the followings: the fourth wall, everyday conversations and style of speaking, ordinary people, a carefully rehearsed acting style that creates or confirms the impression of reality, a carefully selected and distilled representation of real life that is still theatrically effective and real settings (Realism in the theatre). Along with the time, which is the modern day, employed in the play, the stage set is a “representation of real life” and “real setting.” To put in a nutshell, the stage of this Hamlet accords with the criteria of a realistic production, meaning this production uses the Stanislavski method to effectively embed realism in the play. Therefore, it also serves as a device that manipulates the audience to enable them to imagine what they see is real.

Figure 5. Physical action of Hamlet (Shakespeare, William. Hamlet. Performance by Andrew

Scott, 2018)

Stanislavski used his system that consists of eight methods to produce a good performance; the System includes the followings: emotional memory, method of physical actions, subtext, given circumstances, “if”, objective, super-objective, through line of actions, and so forth (Stanislavski’s techniques). Certainly, these methods are found in this Hamlet. Particularly,

Hamlet’s physical action is salient in the scene. According to Natasha Tripney, “Scott uses silence beautifully. There is eloquence in his every gesture: in the stroke of a finger on his wrist, in the gentle, almost unconscious way he tugs at his watch strap” (Hamlet starring Andrew Scott).

Especially, in his soliloquy, it seems Hamlet almost laments due to his highly meticulous facial expression and physical action. Indeed, Hamlet’s teary eyes and pertinent gestures realistically embody existentialism, nihilism and thus anguish. Through the use of fastidious physical action with realistic acting, the audience is able to be entirely absorbed in the play, feeling the same feeling as Hamlet’s together and imagining everything is real. Furthermore, through his

expression, it is realized that the Stanislavski indeed highlights portraying the character’s emotions in a greatly meticulous way.

On the whole, this Hamlet employs the representation of real life, realistic setting and physical action to naturally and realistically illustrate Hamlet’s despair and share his feelings with the audience. Unlike the Noh Hamlet that focuses on expressing the essence of

Shakespeare’s Hamlet, Scott’s Hamlet puts more stress on delineating Hamlet’s emotions.

Accordingly, the effect that a ‘Stanislavski’ Hamlet provides is different to that of ‘Noh’ Hamlet.

While a Noh Hamlet intends to deliver the essence of Hamlet’s feelings, thereby allowing the audience to identify the ideas, existentialism and nihilism, that prevail in Hamlet’s mind, a

Stanislavski Hamlet enables the audience to feel the same as Hamlet and thus believe what they feel and see to be real.

Conclusion

Japanese Noh and the Stanislavski method are products of antithetical, eastern and western, cultures. However, these two different theatrical approaches share similarities while they indeed juxtapose in some ways. To reiterate, the origins of Japanese Noh and the

Stanislavski method are different as Japanese Noh was employed in 14th century Japan while the

Stanislavski method is created in the 20th century Russia. Furthermore, while Japanese Noh highlights artificiality to foster its artistic intention and message, the Stanislavski method conversely pursues realism and naturalism. Nevertheless, they share the following cornerstone similarities: first, they focus on building and illustrating the character’s emotion; second, their acting styles are rigid and controlled. These differences and similarities serve as characteristics of both styles that create performances in different ways, which then make the audience see the same play differently.

As examined through the lens, the Noh Hamlet, through the use of space, chant and folding fan, to communicate the essence of the play. To investigate more in depth, critical symbols are embedded within the space, chant and folding fan. Through incorporating symbolism within the elements of theatre, Japanese Noh communicates the core of the play.

However, the Stanislavski method utilizes the representation of real life, real setting and physical action for characterization and conveyance of the character’s delicate feelings. Thus, the

Stanislavski method rather centres on making the audience believe their emotions arisen from the actor’s realistic acting real.

Between 1562 and 1642, there was Elizabethan theatre, also known as English

Renaissance theatre, which pursued the style of William Shakespeare, Christopher Marlowe and

Ben Johnson in London. Acting companies based upon Elizabethan theatre had this following feature: only male actors were involved. Elizabethan theatre shares this feature with Japanese

Noh. Furthermore, the role of costumes was critical, for costumes were responsible for symbolization and characterization (English Renaissance Theatre). Thus, perhaps the Noh version that shares the stated features with Elizabethan theatre takes us closer to Shakespeare’s original intentions that the Stanislavski method does.

This author personally prefers the Stanislavski method to Japanese Noh. Although

Japanese Noh takes a compelling approach, which focuses on symbolization and characterization through props and costumes, the Stanislavski method seems more apt for a general audience, for it rather puts emphasis on realism and naturalism that facilitate the audience’s understanding of the play.

To answer the research question “how do Eastern and Western theatrical approaches,

Japanese Noh and the Stanislavski method, make the audience see the same play differently?”, the chosen Eastern theatrical approach, Japanese Noh, allows the audience to focus on ascertaining the character’s primary emotions through symbolism whilst the chosen Western theatrical approach, the Stanislavski method, allows the audience to observe the character’s delicate, subtle emotions through realistic settings and realistic acting.

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