Summary
Highlights
The video introduces Noh, a distinct and lasting Japanese theatrical style, tracing its origins, flourishing in the 14th century, exploring its staging, and introducing Kyogen, the farcical scenes between Noh plays. It also mentions Zeami Motokiyo's Atsumori.
The mythical origin of Japanese theatre involves the sun goddess Amaterasu and the goddess Amano-Uzumeno. Non-mythical origins stem from Shintoism's sacred dance (Kagura) and the introduction of Buddhism in the 6th century CE, bringing new forms of dance and ritual.
Noh's direct predecessors are Dengaku (field music) with comedy, juggling, and dance, and Sarugaku (monkey music) which included animal acts, nudity, and dance theater with a chorus. Buddhist temples later adopted a cleaned-up version, Sarugaku Noh, as a teaching tool.
Kiyotsugu Kan'ami combined Sarugaku Noh with classical Japanese stories and Buddhist themes. His son, Zeami Motokiyo, perfected the form, wrote theory, and authored about a hundred Noh plays, 21 of which are still part of the canon.
Noh plays are short but can take 30 minutes to 2 hours to perform, with full court entertainment lasting up to eight hours. Each play has two scenes and often features a ghost, demon, or tormented human. They are sung or chanted and end with a dance. There are five types: Kami Mono (sacred, Shinto), Shura Mono (warriors), Katsura Mono (ladies), various grab-bag plays (Gendai Mono - naturalistic, Kyojo Mono - mad women), and Kichiku Mono (demon plays).
Noh dramas are philosophical and static, influenced by Shinto and Buddhist ideas. They prioritize conveying a mood over action. Essential characters include the Shite (main, masked), Tsure (companion), and Waki (witness/antagonist). The Shite may play multiple roles or be disguised.
Kyogen are comedy scenes staged between Noh plays or acts, providing a change of pace. They include parodies of Noh and scenes of everyday life with stock characters, always performed carefully and never vulgar.
The Noh stage features a roofed Hon-Butai, a painted pine tree, and jars for acoustics. The Hashigakari bridge is for entrances and exits. Actors wear elaborate costumes and use hand props like fans. A three or four-person orchestra (Hayashi) and a chorus (6-10 people) are also present. Noh acting is highly gestural and codified, with actors training from age seven. There are five mask types for the Shite: old, male, female, god, or monster.
Zeami's philosophy of acting emphasizes three techniques: Monomane (identifying with the character), Yugen (elegance and impermanence), and Hana (spontaneity). Noh was primarily court entertainment, and unlike other cultures, Japanese actors during Noh's peak were revered and sometimes joined the nobility.
Atsumori, a tragic Noh play by Zeami, tells the story of Rensho (formerly Kumagai), a monk who killed the young warrior Atsumori and now prays for his soul. In the play, Rensho encounters Atsumori's ghost, and a deep, philosophical interaction unfolds, highlighting Buddhist themes of detachment and rebirth.
Noh's philosophical orientation, slow pacing, and melancholy tone distinguish it from other theatrical forms. It is a living art form, with traditions passed down since Zeami's time, and is considered an essential part of Japanese culture today despite past struggles.