The Fisherman’s Daughter

This is a demonstrative clip of Dr. Lee Stother’s The Fisherman’s Daughter, a Noh-inspired film/performance I had the chance to take part in during my first stay in Japan in Spring 2007. As a member of the International Noh Institute (Kongoh School), Lee has studied with Udaka Michishige and Ogamo Rebecca Teele in a number of different occasions, and the study and practice of Noh has greatly influenced her work as playwright/videomaker. Her The Fisherman’s Daughter is beautifully documented in the clip below.

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Noh comment

I normally despise English puns on ‘Noh’, usually lame and trite. But after reading the delightful report of a Noh performance I found on a blog by WK Hellestal that I copy below, I couldn’t refrain from doing one myself. I personally sympathise with the spectators who really cannot cope with the Noh dramatic devices, and come up with the most fanciful observations – the variety of reactions that Noh theatre can generate is just amazing.

“Noh.

My first visit to the local Noh theater. I didn’t understand a damn thing, but apparently the performances are done in classical Japanese, so I’m not sure how much the native audience understood either.

Masks were interesting. Costumes were beautiful. Drumming and random shouting were cool. But I need a story, so I made one up in my head as I watched. A brief summary of the first act, as interpreted by me.

Ghost A: I don’t like you.

Ghost B: I don’t like you either.

Ghost A: Can we agree to put aside our differences for the moment, in order to join forces to terrorize these helpless townspeople?

Ghost B: My distaste for you has been ameliorated somewhat by the undeniable allure of your plan.

Mayor: No! Don’t terrorize us! We’re helpless!

Ghost A: Hahahaha! Terrorize!

Mayor: No, seriously. We’re not helpless. I’m a ghostbuster. I studied psychology and parapsychology under Dr. Venkman.

Ghost A: I don’t see no damn proton pack on your back.

Mayor: It’s, uh… being dry-cleaned. It’s due back today, though. Any time now.

Ghost B: Isn’t my fan cool? I have a fan. It’s super cool.

Mayor: Not just your fan, dude. That’s some wild-ass hair you got going on. I mean, I know it’s a wig, but it’s a fucking great wig.

Ghost A: Don’t get too chummy. We’re supposed to be terrorizing him, remember?

Ghost B: You’re not the boss of me.

Ghost A: Am too.

Ghost B: Are not.

Ghost A and B: Argh!

Mayor: My plan of setting the two against each other has succeeded. I’m now going to sit in the corner and remain there for the rest of the performance, moving only to shift my weight when my legs start hurting from this uncomfortably formal kneeling style.

End Act 1

The rest of the story continued in a similar vein. I assume.”

Here the link to the original post.

Is this the future of Noh Theatre?

It will take me a few days to digest what I saw yesterday night at Purcell Room, Southbank Centre, London. Theatre Nohkagu’s double bill of Kiyotsune and ‘shinsaku eigo noh’ Pagoda, written by British playwright Jannette Cheong and Richard Emmert has been a rich experience, and I already know I will want to come back to my notes again and again later. I would rather not give a review of the play, as it would be a limiting practice for something so formative. Aesthetic evaluation apart, the central question rising is ‘what is Noh’? Previously, in SOAS canteen, Emmert and I were talking about the nature of Noh from the perspective of the foreigner, and the purpose and future of Noh in English. The mind immediately goes to European opera, whose language was transformed from Italian into French, English, German, etc. We now accept all these languages as if they legitimately belonged to the opera world. My teacher Udaka Michishige was never involved in such transcultural Noh productions, however his judgment on postmodern experiments is rather positive, as they might be seeds that cross-fertilise a theatre form on the verge of stall. Experiments done in the West might well be source of inspiration for Japanese-based performers. Yokomichi Mario’s heavily debated Takahime, (re)appropriation of Yeats’s At the Hawk’s Well, already provided an example in the 1950s. It is pointless to discuss the value of Noh in English on the basis of personal taste as what floats on the surface of aesthetic judgment is not meant to stay. Let us look at what this new way of writing and performing Noh is telling us, about how issues of authenticity and cultural ownership have to be re-examined. Whose Noh was that? Will Noh be multilingual in the future? Probably its performers will be.

Some reflections on the Symposium Japanese Theatre Transcultural

I am back from the Symposium Japanese Theatre Transcultural: German and Italian Perspectives held in Trier University in collaboration with Università Cà Foscari, Venice 27-29 November 2009. Thanks to a wonderful organisation and to the good-will of a good number of students from the Japanologie department (from Germany, Belgium, Japan, etc) the conference was a success and all participants were satisfied with the fruitful discussions on the theme of the encounter of Japanese theatre with Italy and Germany. Organisers Andreas Regelsberg and Stanca Scholz-Cionca did a great job, indeed.

Germany boasts a huge tradition both in Japanese studies and in theatre studies: it is very much interesting to attend conferences outside the anglo-saxon environment and notice so many differences in style and scholarly approach. Any international student working in the UK knows well how British research tends to be critical-theory oriented, sometimes to the extreme: PhD students are now sorted by ‘who they use’ (be it Lacan, Merleau-Ponty, Bourdieu, etc.) rather then what they write about. It is almost impossible to write a paper without at least one or two references to post-modern philosophers, whose theories are often inappropriately borrowed and abused. Theory for theory’s sake. For people like me, coming from a different academic background, it is hard to cope with what over here sometimes seems as the only possible way of academic enquiry. I have heard similar comments from students from France, Hong Kong, Greece, Germany, Japan, etc. It goes without saying that critical theories offer transversal perspectives necessary for the development of a thesis. However, the oversimplification and labelling of modern philosopher has created a division between ‘primary sources’ on one hand, and ‘academic tools’ on the other. Not to mention the fact that ‘acceptable’ critical perspectives only come from recent and mostly, of course, Western philosophy.

The most interesting aspect of the symposium was the combination of papers by scholars and practitioners – if this is rather common in UK and USA, in Germany and Italy it is still rare. This has been a successful attempt at an attempt at bridging the fictional gap between ‘theory’ and ‘practice’ as well as between ‘Japan’ and ‘the West. There is so much to learn from the language of the practitioner, so different from that of the onlooker. Practice is all that theatre is about, after all. We are all looking forward for this to happen again.

Candle crowns

 

lucia

 

 

 

 

 

 

Following up my previous post, and since December festivals are getting closer, I could not help associating the madwoman of the Noh play Kanawa 鉄輪 and the Scandinavian representation of St. Lucia. Obviously the two iron crowns with candles have very different meanings – while the Japanese is part of a revenge ritual of a jealous woman, the Scandinavian candles are symbols of the return of the light after the 13th of December.
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Japanese Theatre Transcultural: German and Italian Perspectives

Next week I will talk at the International Symposium Japanese Theatre Transcultural: German and Italian Perspectives 27 – 29 November 2009. Universität Trier, Germany. Here is the abstract of my paper, entitled ‘The International Noh Institute of Milan: Transmission of Ethics and Ethics of Transmission in the transnational Context’.

The paper explores the intersection of aesthetics and ethics in Noh practice. Noel Pinnington (2006) has discussed the primacy of the concept of michi as ‘path through life’ in the writings of Zeami and Konparu Zenchiku, where spiritual and ethical virtues are a necessary condition for aesthetic achievement. Today Noh is taught in various contexts outside Japan, reflecting different agendas of teachers and trainees. How are the ethical aspects of Noh considered in contemporary non-Japanese teaching environments? What are the implications of introducing the ethics embedded in Noh practice outside its original context? Taking on Levinas’s ‘ethics of responsibility’, the paper will use theories of ‘legitimate peripheral participation’ (Lave & Wenger 1992) to explore the community of learners and the teaching methodology of the International Noh Institute.

The end of it all

If there is something Noh teaches, and is really good at it, is to fight against expectations. What is an expectation? The logic conclusion of a process based on the probability of this occurrence to happen – this is mathematics. The possible conclusion of a process based on our hopes for this occurrence to happen – this is humanity.

In both cases, the focus of our thought is the aim of the path we are following, rather than the path itself. We struggle to keep the balance on the line we are stepping on – look down or on the sides and you only risk to fall. Hence, treading this path becomes an individual, autonomous process, excluding whatever happens around us. Reaching the end of the path is our only interest. There is a tendency to build up expectations on the target of our mission and its achievement becomes the symbol of what we are doing, but not seeing now, blinded by the light of the end of the tunnel. Humans are self-referential entities, with a tendency to consume, rather than live an experience. How to escape the projection of ourself in onto the world? How to be ‘otherwise than being’ (Levinas)?