http://db2.the-noh.com/edic/ en Copyright 2010 Tue, 09 Mar 2010 19:24:32 +0900 http://www.sixapart.com/movabletype/ http://blogs.law.harvard.edu/tech/rss A stingy person that never wants to pays. Nanigashi, who appears in Bonsan, is asked by an acquaintance for a Bonsai tree, but refuses. The man criticizes Nanigashi, saying, “You are truly stingy. You have many Bonsai, and it wouldn’t be hard to give me just one. How very unfortunate.”]]> http://db2.the-noh.com/edic/2010/03/shiwaihito.html http://db2.the-noh.com/edic/2010/03/shiwaihito.html S Kyōgen Roles Tue, 09 Mar 2010 19:24:32 +0900 A style of ending a kyōgen performance, short for oikomidome. One character says “please forgive us, please forgive us” while exiting, while another says “not yet, not yet” while chasing after the first. It is seen in many kyōgen plays as a way of ending the play. There are variations such as hon-oikomi and kata-oikomi, and the dialogue and movements can become complicated depending on the characters and scenarios.]]> http://db2.the-noh.com/edic/2010/03/oikomi.html http://db2.the-noh.com/edic/2010/03/oikomi.html O Kyōgen Performance Tue, 09 Mar 2010 19:23:58 +0900 A character in kyōgen. Living a ascetic life in the mountains and said to possess supernatural powers, the yamabushi, or “mountain monks” were a symbol of awe for the people of the middle ages in which kyōgen was born. The yamabushi, who studied Buddhism, were also revered as members of the educated class. However in kyōgen, regardless of status or profession, everyone can experience either luck or misfortune, which becomes a comedic element of the plays. Kagyū, Koshi Inori and Fukurō Yamabushi are examples of yamabushi-mono, and examples of so-called shukke-mono include Shūron, Natorigawa and Satsuma no Kami.]]> http://db2.the-noh.com/edic/2010/03/yamabushi.html http://db2.the-noh.com/edic/2010/03/yamabushi.html Y Kyōgen Roles Tue, 02 Mar 2010 14:21:57 +0900 "Sōryo"]]> http://db2.the-noh.com/edic/2010/03/soryo_2.html http://db2.the-noh.com/edic/2010/03/soryo_2.html S Tue, 02 Mar 2010 14:20:11 +0900 A character in kyōgen. Living a ascetic life in the mountains and said to possess supernatural powers, the yamabushi, or “mountain monks” were a symbol of awe for the people of the middle ages in which kyōgen was born. The yamabushi, who studied Buddhism, were also revered as members of the educated class. However in kyōgen, regardless of status or profession, everyone can experience either luck or misfortune, which becomes a comedic element of the plays. Kagyū, Koshi Inori and Fukurō Yamabushi are examples of yamabushi-mono, and examples of so-called shukke-mono include Shūron, Natorigawa and Satsuma no Kami.]]> http://db2.the-noh.com/edic/2010/03/soryo.html http://db2.the-noh.com/edic/2010/03/soryo.html S Kyōgen Roles Tue, 02 Mar 2010 14:18:58 +0900 The supporting actor to the shite (main actor) in kyōgen. When there are more than one ado, they are known as the first, second and third ado, or the shu (“main”) and ko (“small”) ado. The guests or participants in a renga reading or many similar characters appearing at once are known as a tachishu, or “standing crowd,” and the head of this crowd the tachigashira or “standing head.” Also, when more than one ai appear in Noh, the main ai is known as the omoai, and the followers the adoai. Ado is said to derive from adoutsu, which means “to respond,” or from adomou, which means “to lead.”]]> http://db2.the-noh.com/edic/2010/02/ado.html http://db2.the-noh.com/edic/2010/02/ado.html A Basic Knowledge Kyōgen Roles Tue, 23 Feb 2010 18:49:16 +0900 "Daimyō" ]]> http://db2.the-noh.com/edic/2010/02/daimyo_1.html http://db2.the-noh.com/edic/2010/02/daimyo_1.html D Tue, 23 Feb 2010 18:47:52 +0900 A character in kyōgen. While daimyō refers to someone with power, land and subjects, certain daimyō that appear in kyōgen are apprentices, close to common people. The servant Taro Kaja is often clever, and the roles of the daimyo and Taro Kaja often reverse. That is how subtle the kyōgen role of the daimyō is. The daimyō wears an eboshi, a kimono known as a dannoshime with suou sleeves and pants and carries a fan. Plays featuring a daimyō are known as daimyō-mono, and include plays such as Hagidaimyō, Fuzumō and Awataguchi. ]]> http://db2.the-noh.com/edic/2010/02/daimyo.html http://db2.the-noh.com/edic/2010/02/daimyo.html D Kyōgen Roles Tue, 23 Feb 2010 18:46:55 +0900 A character in kyōgen plays. Jirō Kaja does not refer to a specific person, but rather to the protégé of the head apprentice, Tarō Kaja. Jirō Kanja appears together with Tarō Kaja, depicting the world of kyōgen on stage. The audience can always identify with his words and actions, and he has been loved throughout history together with Tarō Kaja. Jirō Kaja’s protégé is Saburō Kaja, with the three often appearing together. ]]> http://db2.the-noh.com/edic/2010/02/jiro_kaja_1.html http://db2.the-noh.com/edic/2010/02/jiro_kaja_1.html J Kyōgen Roles Tue, 16 Feb 2010 17:34:42 +0900 "Jirō Kaja"]]> http://db2.the-noh.com/edic/2010/02/jiro_kaja.html http://db2.the-noh.com/edic/2010/02/jiro_kaja.html J Tue, 16 Feb 2010 17:33:53 +0900 "Tarō Kaja"]]> http://db2.the-noh.com/edic/2010/02/taro_kaja_1.html http://db2.the-noh.com/edic/2010/02/taro_kaja_1.html T Tue, 16 Feb 2010 17:32:35 +0900 A famous character in kyōgen plays. Tarō Kaja does not refer to a specific person, but rather to a head apprentice. In many kyōgen plays, the daily events of Tarō Kaja form the play’s story, and the presence of Tarō Kaja means a kyōgen play. Tarō Kaja appears with different personalities depending on the type of play and performer, but the audience can always identify with his words and actions, and he has been loved throughout history. His protégé Jirō Kaja and occasionally Saburō Kaja also appear in certain plays.]]> http://db2.the-noh.com/edic/2010/02/taro_kaja.html http://db2.the-noh.com/edic/2010/02/taro_kaja.html T Kyōgen Roles Tue, 16 Feb 2010 17:28:29 +0900 One classification of Noh. Genzai Noh refers to plays that deal with events in the real world. In contrast to Genzai Noh, there is Mugen Noh, in the form or dreams or illusions seen by the waki, but Genzai Noh has existed since before the establishment of Mugen Noh, and deals with stories of life, art, passion and war, similar to modern Genzai Noh There are many famous Genzai Noh plays, such as Yuya (Yutani), Shunkan, and Ataka, and many plays that influenced the art of later generations such as Kabuki and literature.]]> http://db2.the-noh.com/edic/2010/02/genzai_noh.html http://db2.the-noh.com/edic/2010/02/genzai_noh.html G Plays Tue, 09 Feb 2010 16:21:17 +0900 One classification of Noh. Mugen Noh refers to an entire play made up of a dream or illusion seen by the waki. In many stories, the shite (main actor) is a god, ghost or spirit or other unreal being that recalls the past to the waki visiting the place where the shite’s spirit resides. Mugen Noh includes the most distinct theatrical elements of Noh, and the category includes representative Noh plays such as Takasago, Izutsu and Matsukaze. The Noh master Zeami wrote many wonderful Mugen Noh plays, and he is credited as having established the form. Noh plays that deal with events in the real world are known as Genzai Noh, or “current Noh.”]]> http://db2.the-noh.com/edic/2010/02/mugen_noh.html http://db2.the-noh.com/edic/2010/02/mugen_noh.html M Plays Tue, 09 Feb 2010 16:20:38 +0900 Dengaku, or “field drama” comes from when hayashi or songs were performed during the planting of fields in ancient times. It used to be a ritual performed by the common people to pray to the gods of the field for a rich harvest and developed into an art form by the middle half of the Heian era. Also from the Kamakura era through the Muromachi era, dengaku odori, or “dengaku dance” was popular as a performance art to dedicate shrines and temples, and this was also known as dengaku. Dengaku odori is a vibrant instrumental dance, in which both sangaku acrobatics coming from China in the Nara era and comedic arts are performed, and there are thought to have been many different plays. Through the middle part of the Kamakura era, dengaku and sarugaku were deeply related and competed in performing Noh, with both having a great effect on the other. From the second half of the Muromachi era, dengaku went into decline with the flourishing of Japanese sarugaku, but still exists today as a folk art.]]> http://db2.the-noh.com/edic/2010/02/dengaku.html http://db2.the-noh.com/edic/2010/02/dengaku.html D History Tue, 02 Feb 2010 15:53:38 +0900