Filming noh performance at the Kongo Noh theatre

On June 15 2017 Kongo school actors will perform the plays Hashitomi and Kokaji as part of the research project on Noh as intermedia, led by musicologists Jaroslaw Kapuscinski (Stanford University) and François Rose (Pacific University), with Takanori Fujita (Kyoto City University of the Arts. Kongō Tatsunori will take the lead role in Hashitomi, while Udaka Tatsushige will perform the main role in Kokaji. I, along with Rebecca Teele, have acted as consultant and local coordinator here in Kyoto. The project is still in the works, so I should refrain from saying too much about it… Two full noh plays will be filmed live, and the resultant audiovisual recordings will be available as part of an educational website exploring the connections between the various media that constitute a noh performance. 

Diego Pellecchia

Heian Jingu Takigi Noh pre-show at Kyoto Porta Shopping Mall

Yesterday I went to see Kongō school actors perform an abridged version of the play Tsunemasa at Kyoto Porta Shopping Mall, B1F Kyoto station. Udaka Tatsushige took the shite role. The actors were forced to perform on a very small platform – quite a task when you wear a mask that restricts your vision considerably. The performance was a pre-event aimed at advertising the big 2-day Kyoto Takigi Noh 2017 @Heian Jingu June 1 and 2. This year’s topic is ‘A Fantastic Tour of Kyoto Powerspots’. The Kyogen Bōshibari was performed by Okura school actors.

Diego Pellecchia

New challenge accepted: Hagoromo 羽衣

Hagoromo

Hirasawa Yumiko in the Noh Hagoromo (Photo: Fabio Massimo Fioravanti)

In 2016 we celebrated Udaka Michishige’s 70th birthday with a Taikai, a large performance event in which I danced the shimai excerpt from the Noh Kurama Tengu. This coming summer (2017) we are not going to hold a public event, but a closed-door practice session in early August. I am going to take the main role in the play Hagoromo, performed in its full format, with costume and mask. My teacher assigned me this role knowing that I have been wanting to perform a female role after a long series of warriors, gods, tengus, etc. (the only exception would be the tsure (secondary) role of goddess I have occasionally performed in other practice sessions – see, for example, this old post).

Hagoromo is a relatively short one-act play, following the Aristotelian unities of time, space, and action. The action takes place on Miho bay (currently Shizuoka Pref.) just before dawn, when the fishermen’s boats return to the shore after night fishing. There, a tennin (a celestial maiden living in the ‘palace on the moon’) who has descended on earth in order to admire the beauty of the scenery, has taken off her ‘robe of feathers’ (the hagoromo) before bathing into the sea. The fisherman Hakuryō has found the hagoromo hanging on a pine branch and decides to take it back to his village. The tennin demands that the robe is returned to her: without it, she cannot fly back to the moon. Hakuryō says that he will give the robe back if she performs one of her famous dances, but without the robe the tennin cannot dance. Hakuryō insinuates that if he gives the robe back in advance, she will leave without dancing. However, the tennin reminds the fisherman that lie and deceit belong to the world of the humans: deities don’t lie. Ashamed of his distrust, Hakuryō finally gives back the robe. The tennin dances, admiring the beauty of Miho bay. Finally, she sends blessings and gifts, before flying back to the moon as the dawn breaks.

Despite its apparent simplicity, Hagoromo is a demanding play. The focus of the action is the shite, who sings or dances almost without interruption since its entrance. It will be my first time to perform the graceful jo-no-mai slow tempo dance. It will also be my first time to perform in kinagashi, that is, with a kimono-style costume instead of the large ōkuchi trousers used for male roles or, sometimes, for goddesses. The type of costume influences how one performs. In this case, the kinagashi style will considerably restrict the length of the steps I will be able to take.

Hagoromo will be an interesting challenge. This summer I will perform Hagoromo in a kenkyūkai (practice session), but I wonder if my teacher is not thinking about having me perform this noh on the Kongo Noh stage sometimes soon…

Hayashi kenkyukai next Sunday

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Every year February Udaka Michishige hosts the hayashi kenkyūkai. In Japan a kenkyūkai is a meeting of people gathering for a day of intensive study. In this case we members of the Kei’un-Kai and INI (Udaka-sensei’s students) get together for a day of intensive noh practice. In a hayashi kenkyūkai we perform only maibayashi and full noh plays performed in kimono and hakama. Those of us who study instruments also join as musicians when we don’t chant or dance.

This Sunday I am going to perform Takasago maibayashi, featuring the godan kamimai, one of the fastest dances in the Noh repertoire. I will also play the taiko for Makura Jidō maibayashi, featuring the gaku, another godan (five sections) dance.

The kamimai is not my first godan dance: I already studied the godan hayamai for Tōru and the gaku for Kantan. However, the speed of the kamimai in Takasago is quite a challenge. It requires not only confidence in the movements, but also full understanding of the music, and ability to think well ahead in order to keep up with the fast tempo.

Anyway, good luck to me!

–Diego Pellecchia

Events celebrating Noh actor Akira Matsui in London

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noh_akiramatsuriNoh time like the present is a series of Noh-related performances taking place at LSO St. Luke in London 24 -25 February 2017, celebrating Kita-school actor Matsui Akira, one of the few professional Noh actors intensively participating in non-traditional performances. Matsui recently turned 70, just like Kanze-school shite actor Tsumura Reijirō, another pioneer of intercultural theatre emerging from the Noh world. My teacher, Kongō school actor Udaka Michishige, also turned 70 last year. A generation of Noh actors opening the doors of noh training to the ‘world outside tradition’.


All information and details are available on the Japan-UK Events Calendar website – here

“These two performances at LSO St Luke’s are a rare opportunity to experience the 650-year-old art of noh, and the genius of classical noh performer Akira Matsui, now age 70, in a bold collaboration with western opera, theatre, ballet, music and poetry. We are particularly pleased that this special programme will include ‘Rockaby’ by Samuel Beckett.

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The project also includes a range of education activities ‘Getting to noh… more’, including a Seminar on Noh Theatre and Western Culture, at 6pm on 20 February 2017 at the Guildhall School of Music & Drama, and a series of lecture-demonstrations on Noh Maskmaking, in partnership with The Japan Foundation, from 17-24 February 2017 in Norwich, Oxford, Durham, London, Southend and Dublin.”

— Diego Pellecchia

Japanese Performance Theory Workshop at University of Michigan

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I repost here information on the forthcoming Japanese Performance Theory Workshop at University of Michigan, organized by Prof. Reginald Jackson. This looks like a wonderful chance to start thinking about how we could build bridges between the scholarship on Japanese theatre, often based on a literary/historical approach, and the rich variety of methodologies that have become common practice in contemporary performance studies.


image.jpgThe following is quoted from the University of Michigan, Center for Japanese Studies website:

The Japanese Performance Theory Workshop (JPTW) intervenes between Japanese Studies and Performance Studies to foster generative critical engagements with Japanese performance. Through seminar-style discussions, performance screenings, research presentations, and writing exercises, this intensive week-long summer workshop will help participants working on Japanese performance at the undergraduate, graduate, and faculty levels develop better conceptual, methodological, and pedagogical tools.

At a basic level, the JPTW represents an experiment designed to address a few overlapping gaps. The initial idea for this residential workshop emerged several years ago, mainly out of frustration with a prevailing conservatism in the study of Noh drama within the Japanese academy especially. The theoretical and methodological worldliness that often characterized literary study of premodern and modern narratives did not obtain for some sectors of the academy devoted to “traditional Japanese theater.” It felt like there was a wealth of fascinating material being underserved by painstakingly informative but unduly positivistic approaches. What if there was a way to energize that material along different lines?

There also seemed to be a gap between conceptually vibrant performance studies scholarship that dealt mainly with modern and contemporary western forms, on the one hand, and historically astute but conceptually dilute work on traditional Japanese performing arts, on the other. Performance Studies programs tend to neglect East Asian performance traditions, while studies of East Asian performance—of the premodern era, in particular—tend to lack theoretical rigor. While there exist intensive summer opportunities for students of various academic and artistic backgrounds to study Japanese performance traditions, both in the U.S. (e.g. the Noh Training Project) and in Japan (e.g. the Traditional Theater Training Program), there are no comparable opportunities for university students and faculty to study Japanese performance with an emphasis on strengthening conceptual approaches to it and analytical writing about it. Given these circumstances, the basic aim of the JPTW will be to provide a venue in which to study Japanese performance practices and critical theoretical approaches to Japanese performance in relation to one another within the context of an intensive summer workshop.

JPTW is a residential summer workshop that focuses on improving engagements with Japanese performance and performance theory. The program will host advanced undergraduates, graduate students, and faculty (five each), working across fields such as performance studies, Japanese literary and cultural studies, ethnomusicology, visual arts, dance studies, and creative writing.

To the extent that a rigorous engagement with Japanese performance need not require Japanese language skills or a performance background, neither of these is required for admission to the program. Indeed, this background can often inhibit more adventurous interpretations. Along these lines, the JPTW will maintain a critical stance toward prevailing notions of expertise and will explore forms of producing knowledge that do not adhere strictly to either an Area Studies model or a practice-based model.

https://www.ii.umich.edu/cjs/news-events/events/conferences-and-workshops.html

 

— Diego Pellecchia

Kongo School events – January 2017

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2016 was a terrible year in so many ways. What better way to start the new year than with Noh! Here are a few dates you may want to save if you are in Kyoto in January 2017

  • Jan 3 from 09:00 Yasaka Shrine Okina free of charge
  • Jan 3 from 12:00 Kongo Noh TheatreUtai-zome (ritual chanting of Okina, plus maibayashi Yumi Yawata) free of charge
  • Jan 6-8 Udaka Michishige Men-no-Kai Noh mask exhibition, Kyoto Prefectural Cultural Art Hall
  • Jan 17 Yōseikai Young generation series at Kanze Kaikan. Various performances. Free of charge
  • Jan 22 Kongo Monthly performance at Kongo Noh Theatre. Noh: Tōbōku, Iwafune

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— Diego Pellecchia

The 16th UDAKA Michishige Men-no-Kai Noh Mask Exhibition

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The 16th edition of the Men-no-kai exhibition celebrates Udaka Michishige’s 70th birthday and will feature masks by him as well as several by his students. Michishige’s masks have been published in The Secrets of Noh Masks (Kodansha International) and The Way of Noh (Casadeilibri).

Place: Kyoto Prefectural Center for Arts and Culture 2nd Floor
Kawaramachi Hironokoji-sagaru, Kamigyo-ku (across from the Prefectural Hospital)
Time: January 6th-8th 2017, from 10:00 to 18:00 (closes at 17:30 on the 8th.

On Saturday 7th from 13:30 Udaka Michishige will demonstrate the noh costuming process.

Access information (in Japanese) http://www.bungei.jp/map/access.html

— Diego Pellecchia

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Udaka Michishige in the Noh ‘Oshio’. Mask: Sankō-jō. (Photo: Uesugi Haruka)

 

Ominameshi (Kongo Monthly Noh October 2016)

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This coming Sunday, 23rd of October Udaka Michishige is going to perform the Noh Ominameshi 女郎花 at the Kongo Noh Theatre in Kyoto.

Here is a summary of the play.

A Traveling Priest comes to Mt. Otoko on the western outskirts of the capital in the autumn and seeing that the area is covered with beautiful ominaeshi or ominameshi (a yellow-flowered valerian), one of the seven autumn herbs, he recalls poetic references to it and decides to pick one. Just as he is about to do so he is stopped by an Old Man. The Old Man explains that he is the guardian of the flowers. The Priest wonders that this particular flower is protected. Exchanges of poetic references with the Old Man convince the Priest that he is a man of feeling. The Old Man then takes the Priest to the Iwashimizu Hachiman Shrine where he shows him two graves which he describes as being that of a man and a woman. The woman’s grave is covered with ominameshi and the Old Man reveals that they were husband, Ono no Yorikaze, a man of the area of Mt. Otoko, and wife, a woman from the Capital and that there is a story behind their deaths. Entreating the Priest to pray for their souls, the Old Man disappears.

Later the spirits of the man and his wife appear. They describe how the wife drowned herself after being treated coldly by Yorikaze. When ominameshi blossoms appeared on her grave Yorikaze was overwhelmed with remorse and also drowned himself. He suffers in hell for his unwitting cruelty and prays for deliverance for their souls. (Rebecca Teele Ogamo)

 

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— Diego Pellecchia