I know very little of Yayoi Hirano’s work but I found this interesting clip on YouTube which, in its brevity and simplicity, reveals the most basic issues of exportation of traditional Japanese theatre to the West, and hints at some of the most common reasons for contemporary artists who seek refuge from traditional regimentation elsewhere.

I am unsure of the quality of the work here shown, but I would like to invite anyone in the Noh to check her description of the O-Kasshiki mask toward the end of the clip.