Let us explore Japanese Theatre -- Nogaku [能楽] Form !

[Aepsilons]

The dual-faceted Nogaku is comprised of two mutually complementary yet multifarious theatrical genres - Noh and Kyogen. Nohgaku has been proclaimed "Masterpiece of the Oral and Intangible Heritage of Humanity " by UNESCO in 2001.

Inspired by historic dramas and tales from traditional literature, the symbolic and aesthetically refined Noh is a dance-based performance marked with reserve and suggestion.

Kyogen, on the other hand, is a spoken comedy which realistically depicts the shortcomings of common people. Both are performed in the same space, with Kyogen being an interlude to Noh performances. This harmonious combination of both symbolism and realism embodies the essence of human nature.

 

[Aepsilons]

Nogaku art form , in historical print:

 

[Parul]

Rashomon," Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the series "Pictures of No Performances (Nogaku Zue)", 1898.
[Source: Art Insitute of Chicago]

 

[Aepsilons]

A favorite Noh performance of mine, the dance of the Sun Godess, Omikami Amaterasu:

 

[Parul]

"Old man from Takasago", Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the series "One Hundred Nō Dramas" (Nogaku hyakuban), 1898-1903.
[Source: Ritsumeikan University]

Scene from the Noh play "Matsukaze", Tsukioka Kôgyo (1869–1927) - ca. 1910.
[Source: The Metropolitan Museum of Art, New York]

"Noh", Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the series "One Hundred Nō Dramas" (Nogaku hyakuban), 1898-1903.
[Source: Japan Art Open Database]

By Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the Series "Noh Ga Taikan" (A Great Collection of Noh Pictures), 1927.
-- "In this beautiful series Kogyo departed from his normally plain white backgrounds and designed a group of prints with softly colored backgrounds and richly colored, dynamic figures. Many images are detailed with touches of metallic pigment, capturing the elegance of the sumptuous Noh costumes." (source: Fuji Art)

"Illustration of Noh Dance Scene", Tsukioka Kôgyo (1869–1927) - ca.1920.
[Source: The Metropolitan Museum of Art, New York]

By Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the series "One Hundred Nō Dramas" (Nogaku hyakuban), 1898-1903.
[Source: Japan Art Open Database]

"Actor in a No play", Tsukioka Kogyo (1869-1927) - 1900s.
[Source: Smithsonian's Freer and Sackler Galleries]

"Illustration of Noh Theater: Scene from Okina", Tsukioka Kôgyo (1869–1927) - 1898.
- Pigments on mulberry paper.
[Source: The Walters Art Museum]

 

[Parul]

"Nogaku zue", Tsukioka Kōgyo (Sakamaki Kōgyo) (1869-1927) - 1898.
[Source: The Walters Art Museum]

Kikujido", Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the series "One Hundred Nō Dramas" (Nogaku hyakuban), 1898-1903.
[Source: Japan Art Open Database]

By Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the series "One Hundred Nō Dramas" (Nogaku hyakuban), 1898-1903.
[source: Fuji Arts]

"Scene from a Nō play", Tsukioka Kôgyo (1869–1927) - ca. 1910.
[source: Japan Art Open Database]

"Tsuchigumo (Spider Monster)", Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the series "One Hundred Nō Dramas" (Nogaku hyakuban), 1898-1903.

[Source: Japan Art Open Database]

"Rashomon," Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the series "Pictures of No Performances (Nogaku Zue)", 1898.
[Source: Art Insitute of Chicago]

 

[Aepsilons]

 

[Parul]

"Tatsuta", Tsukioka Kōgyo (Sakamaki Kōgyo, 1869-1927) - from the series "One Hundred Nō Dramas" (Nogaku hyakuban), 1898-1903.
[Source: Ritsumeikan University]

Tatsuta - a goddess invoking the change from spirit into matter, and the changeless into time. "Tatsuta" is considered a rather unusual No play for two reasons. Remember that No plays are very structured and have strict instructions regarding the theme, the performance and the like. First, No plays with deities as central characters are traditionally set in the Spring. This one is set in Autumn. Possibly because of the subject matter since Autumn is the season of change, dramatic change towards sleep/death (and hence the material and limits in time). And second, in No plays "gods" (unlike spirits that have a "secondary" status) are male and not female. Again, maybe this exception is due to the subject matter centring on transformation, an ability generally associated with women.

 

[LittleFish]

Their masks are too scaring......I'd rather choose Kabuki or something static

 

[Aepsilons]

Their masks are too scaring......I'd rather choose Kabuki or something static

The traditional performing arts of Japan--the various Gaku, Noh, Bunraku and Kabuki--are built on a set of contrasts between understatement and exaggeration; between distance and immediacy. Both setting and performance exploit such negatives as stillness, distance, absence and separation, but these occur against a background of opulence ranging from the elaborate Noh costumes to the technical magic of the Kabuki stage, and the lifelike movements of the Bunraku puppets. Although contrasts predominate, mergings also occur in these theatre forms. Multiple evocations of the sacred appear in even the most secular texts. One theatre genre evokes the others just as all the arts in Japan interpenetrate one another to a high degree. A constant feature of the Japanese theatre is the consistent, if paradoxical, presence of the not-there which infuses the text and action to create a rich fabric of suggested meaning. It is this fact that connects Japanese classical theatre to modern experimental theatre in the West.

 

[AZADPAKISTAN2009]

interesting share

 

[Aepsilons]

Tatsuta - a goddess invoking the change from spirit into matter, and the changeless into time. "Tatsuta" is considered a rather unusual No play for two reasons. Remember that No plays are very structured and have strict instructions regarding the theme, the performance and the like. First, No plays with deities as central characters are traditionally set in the Spring. This one is set in Autumn. Possibly because of the subject matter since Autumn is the season of change, dramatic change towards sleep/death (and hence the material and limits in time). And second, in No plays "gods" (unlike spirits that have a "secondary" status) are male and not female. Again, maybe this exception is due to the subject matter centring on transformation, an ability generally associated with women.

Here is an example of Tatsuta:

In this play, the Sun goddess Amaterasu, performs a sacred dance where she she is envoked to intervene. Notice that the character on the left, the one sitting, is the representation of Nihon, or Japan. In the end of the dance, or close to the end, when the Sun goddess completes her ritual, the sitting character that represents Nihon will move, and starts to dance. This illustrates the 'Rising' of Nihon, who is enshrouded by the Rising Sun, represents the oneness of the Nation with the Sun Goddess.

A very beautiful, and deeply spiritual, patriotic performance , actually.


Enjoy:

 

[Hailstorm]

Very good of Japan. I will be visiting Japan soon.

 

[Aepsilons]

Enjoy!