Just Say Noh!

Noh Theater is as unique an art form as it is a cultural treasure of Japan known the world over. This musical drama best known for it's exquisite beauty, rich costumes, and array of masks are steeped in symbolism that conjures an era long past to the 13th Century predating Kabuki. We at American Mishima have been fortunate enough to have seen a few Noh Theater performances here in the City of Los Angeles, but these opportunities are rare. It was by chance that we were fortunate enough to attend the Japan Foundation's recent lecture on Noh this last March 13th at their Wilshire Blvd location. The lecture would be for the most part conducted in Japanese by famed Noh Performer Tatsushige Udaka and translated by his wife & Noh Performer Haruna Tanaka. In his lecture, Mr. Udaka shared his vast knowledge of Noh's place in Japanese history and its cultural significance. In this lecture attendee's were given a rare opportunity to pass around sample swatches of the material that is most widely used in Noh Costumes as well as closeup views to the elaborate costumes that span over 100 years in age.

 

Mr. Udaka talked at length as to the usage of the famous Noh Masks which later made for an entertaining question and answer session in which we had to ask about the actors personal association with their characters. Most particular of interest was that of the famed "Oni" (Demon) mask made famous by the 1964 film Onibaba in which a jealous mother poses as a demon to scare her wayward daughter into submission.

What struck us was his explanation that unlike here in the West, the demon mask represents the state of the heart and not an actual demon. This is not to discount actual belief in such entities but rather to further exemplify the expression of pure jealousy. Traditionally, the demon mask represents the jealous rage of a beautiful woman whose heart reveals her ugliness. When asked about tales of possession, Mr. Udaka recalled one famous story of a Noh Performer who once became so entranced by the demon mask that he cut his own face off to better fit the undersized mask. Such tales are the rare exception but for us it was an opportunity to get the actor's perspective on the lore of the fearsome mask. 

While it wasn't our intention to scare anyone with our provocative  questions, we did walk away with a better grasp of how Noh Performers embody such expression through musical chants and rhythmic movements. This is accomplished through their dance as such demonstrated by Mr. Udaka who demonstrated four sample play pieces including the famous "Death of a Samurai" all without masks and with him doing the accompanying chants normally reserved for the musicians that provide the music during a Noh Performance. He danced with such precise single Zen like focus achieving the conveyed implications of the drama which dramatically unfolded like the gilded folding fans used for props, one could see the intensity of the play's lasting impressions of this ancient theater that where only the dancer is on stage. As best explained by Mr. Udaka: "The best I can compare Noh to is that of the modern day experience many people have had searching for the television remote. You will focus on nothing else until you find that remote. That is what it is like to be a Noh Performer."

We at American Mishima would like thank Mr. Tatsushige Udaka and his wife Haruna Tanaka as well as the Japan Foundation for making this event possible. 

 

To find out about future events sponsored by the Japan Foundation, 

Please visit their website at 

Japan Foundation Los Angeles

新刊 New Book on Noh Published

If you have ever seen a Noh Theater performance, once can not be captivated by the range of expression this unique six century old art form can convey. I was fortunate enough to see such a performance in Little Tokyo by the Kanze School of Kyoto starring Shizuka Mikata in 2008. As a person who grew up in the Goth Music Culturem I found myself attracted to dark overtones and imagery of this art. (Imagine that! Something more Goth than Goth and six hundred years older to boot?) If you have always wanted to know more about Noh there is now a new book out by Michishige Udaka who is both a lead Noh actor and producer. This book promises to give deep insights into the world of Noh with all its drama and infinate expression. This book contains many photos by Shuichi Yamagata that reveals the nuances and drama of Noh that has been handed down to us from generations of performers and craftsman. A must for anyone who loves this unique ancient Japanese Artform & Cultural Treasure!

The Secrets of Noh Masks
Michishige Udaka
Kodansha Int’l
ISBN : 978-4-7700-3095-5 / 4-7700-3095-9

Kabuki – Backstage to Hanamichi

One can never underestimate the power and majesty opera can have on one’s senses. As clearly demonstrated with last year’s visually stunning Noh Theater performance at the Aratani Theater in Little Tokyo - Los Angeles, language barriers or lack of spoken language proves to be no barrier at all when it comes to Kabuki. Performances here in the United States are rare and not to be missed and last night was no exception. The Shochiku Company came to the renowned Aratani Theater in Little Tokyo to perform two sold out performances of this most rare and exquisite art.

In 2005 I had the unique pleasure of seeing the Shochiku Company’s performance of The Grand Kabuki featuring national treasure actor Nakamura Ganjiro III in a performance of Chikamatsu-za’s The Love Suicides. There, I had seen something that had exceeded my own expectations as demonstrated during the show’s tearful finale. But last night’s presentation was quite different. Now after seeing The Grand Kabuki you have to wonder, well how can you top that? Honestly, there is no way you can make such comparisons. All one can do is behold and allow onself to be captivated by the magic that is Kabuki.

As true to it’s advertising, the event was truly a behind the scenes look at how Kabuki is put together. Now I have seen many films from Japan showing the makeup process but never have we seen anything on the other elements involved. We were treated to an introductory lecture from the lead actor Matanosuke Nakamura who explained how the various instruments are played and how they are used to provide to the overall imagery. Such as for example the sound of snow falling with the use of a large Taiko drum or the use of flute and shamiesen. This presented a greater understanding to Kabuki that had I seen this lecture would have made the 2005 tour even deeper for me. What we bore witness to in 2009 was far different from the 2005 tour and yet equally entertaining.
But it didn’t stop there. We were treated to a live on stage demonstration of how makeup is applied complete with all it's symbolism explained in intricate detail. The wardrobe demonstration provided us with a glimpse of how the actors embody the soul of their characters. It was truly fascinating to see so many key elements come together before our very eyes and there were still there were performances to behold.

When I watched the Grand Kabuki in 2005 I was treated to a comedy and a tragedy. This year’s presentation offered us something completely different yet equally dramatic. The first performance was Sagi Musume (Heron Maiden) that was first performed in 1782. This was a solo performance of a maiden who dances on a frozen pond in what was billed as “A play of unrequited love.” This involved the actor demonstrating the various female poses and gestures while the effects of snow petals fell from the ceiling while the Taiko drum dazzled our auditory senses. The actor would go through several costume changes on stage characterized as transformations of torments and pleads of pity. It was visually stunning as it was dramatic.

I was truly mesmerized by Sagi Musume but the show did not end there. As with the earlier Kabuki there would be a fifteen minute intermission followed by another lecture this time involving the mechanics of the stage hands and how contribute both on stage as well as behind the scenes.
 
The performance that followed was Shakkyo (The Stone Bridge). This was the famous Lion Dance I had seen in documentaries about Kabuki which reminded me of Noh Theater in its elaborate character design. This dance based on an ancient Buddhist fable featured both male and female lions with their large elaborate colored wigs. White for male and red for female. This featured shishi (soul stirring) and Keburi (swinging of long hair) – One can honestly say SUGOII NE'!
 
I can not say when we will be fortunate enough to see another Kabuki performance here in Little Tokyo but what I can say is if you get the rare opportunity to see a Kabuki performance outside of Japan, Do not miss it! It was an incredible night out and good to see so many people dressed in elaborate kimono especially the few Americans in Kimono at this very special sold out performance. I love seeing other Americans who appreciate Japanese culture as much as I do. It was good to even run into a fellow Shinkendoka James Huang at the performance as well as meet Miyuki Sohara -the director of the new Geisha Documentary HANNARI. I would like to thank the JACCC, The Consul General of Japan, and the Shochiku company for both enlightening us as well as culturally enriching us with this most rare and beautiful art.

Domo Arigatou' Gozaimasu!
*L*