KO-NO-KAI - New Style of Japanese traditional dance - (Japanese Edition)

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Some Noh actors of the time felt that the old values and forms called kata , that is, certain conventional mannerisms in performance, were undermining their individual creativity. For example, Kanze Hisao — , who was still young and quite rebellious at the time, criticized this condition in True theatrical arts have not been achieved in Japan perhaps because there is a lack of continuation of tradition.

In order to achieve that goal, we must learn and absorb plays of Europe and other cultures. We must directly interact with them in order to truly carry on our classics. That would be the real way of bringing the tradition of Noh back to life. As a courageously vocal supporter of rejuvenation of the Noh theater, Kanze was frustrated that actors merely followed kata like a diagram of performance handed down from generation to generation for each classic Noh play. Obedience to this dogma led to the dismissal of any involvement by contemporary playwrights, and worse, to complete neglect of the importance of rehearsals.

He actively collaborated with Takechi starting in thes, when it was still considered sacrilegious for Noh actors to veer away from the time-honored kata. Although their origins were a world apart, Sprachmelodie and utai both consider the human voice as an amalgam of musical instrument and speech device. Takechi was not only conversant in the aesthetic of traditional theater but also competent in applying the theory of psychoanalysis and Surrealism in his discussion about the theater of anti-illusionism in which he found the future of the field.

The playbill of Pierrot Lunaire only introduced fragments of the plot, and much was left to the imagination of the viewer. It reads:. Soon, Harlequin appears and tricks Pierrot; being in his element, Harlequin betrays Columbine. Taunted by Harlequin, Pierrot stabs her to death. Yet, Columbine remains alive for eternity within Pierrot himself. This dreamlike ambiguity of where the subject starts and ends, and who is actually a living being on stage, is analogous to the dramaturgy of a classical Noh play. Highly abstract in form and color, the masks intensified the symbolic nature of the drama.

By dehumanizing his mask designs, Kitadai eliminated realism and its falsehood. In addition, slow choreography created by Takechi in Noh style amplified the physical presence of the actors, while the modern costume designs by Fukushima Hideko orchestrated that effect.

KO-NO-KAI -New style of Japanese traditional dance-

In fact, the visual language used to narrate the story throughout the staging of Pierrot Lunaire was more symbolic than mimetic. In the early postwar years, theater was dominated by shingeki , the new theater of realism popularized in the early s during the period of Westernization promoted by the Meiji government — At the time, the traditional Noh play was considered high art that was only performed occasionally, for elite audiences.

On the other hand, shingeki was a form of popular theater for the general public. Just as a dream unravels hidden human emotions, yet remains incoherent in parts, Pierrot Lunaire was filled with signs that required imaginative interpretation by the audience.

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Rather, it provided an emancipating space for the suppressed subconscious. The sense of being suspended in some amorphous state was heightened by unfamiliar sounds of atonal music. The lyrics, sung by a masked woman, Columbine, added further mystery to the play:. The mezzo-soprano voice of the shingeki actress Hamada achieved the effect of Sprachmelodie , whose purpose was to move away from Western musical convention by assimilating the temporal irregularity, the intonation patterns, and the spontaneity of human utterance.

What influence would it have on the future of playwriting? And how would it save us from the sickness of typical drama? Yet artists and art critics who were involved in avant-garde art offered high applause. Finally, I must address an experimental work which in the most concrete way presents the problem of tradition and creativity.

Some have criticized this as pastiche, grafting trees with bamboo. In the world of Noh and Kabuki, where ancient traditions are preserved in the flesh, no amount of abstract speculation on tradition versus creativity will get very far.

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