New challenge accepted: Hagoromo 羽衣

Hirasawa Yumiko in the Noh Hagoromo (Photo: Fabio Massimo Fioravanti)

In 2016 we celebrated Udaka Michishige’s 70th birthday with a Taikai, a large performance event in which I danced the shimai excerpt from the Noh Kurama Tengu. This coming summer (2017) we are not going to hold a public event, but a closed-door practice session in early August. I am going to take the main role in the play Hagoromo, performed in its full format, with costume and mask. My teacher assigned me this role knowing that I have been wanting to perform a female role after a long series of warriors, gods, tengus, etc. (the only exception would be the tsure (secondary) role of goddess I have occasionally performed in other practice sessions – see, for example, this old post).

Hagoromo is a relatively short one-act play, following the Aristotelian unities of time, space, and action. The action takes place on Miho bay (currently Shizuoka Pref.) just before dawn, when the fishermen’s boats return to the shore after night fishing. There, a tennin (a celestial maiden living in the ‘palace on the moon’) who has descended on earth in order to admire the beauty of the scenery, has taken off her ‘robe of feathers’ (the hagoromo) before bathing into the sea. The fisherman Hakuryō has found the hagoromo hanging on a pine branch and decides to take it back to his village. The tennin demands that the robe is returned to her: without it, she cannot fly back to the moon. Hakuryō says that he will give the robe back if she performs one of her famous dances, but without the robe the tennin cannot dance. Hakuryō insinuates that if he gives the robe back in advance, she will leave without dancing. However, the tennin reminds the fisherman that lie and deceit belong to the world of the humans: deities don’t lie. Ashamed of his distrust, Hakuryō finally gives back the robe. The tennin dances, admiring the beauty of Miho bay. Finally, she sends blessings and gifts, before flying back to the moon as the dawn breaks.

Despite its apparent simplicity, Hagoromo is a demanding play. The focus of the action is the shite, who sings or dances almost without interruption since its entrance. It will be my first time to perform the graceful jo-no-mai slow tempo dance. It will also be my first time to perform in kinagashi, that is, with a kimono-style costume instead of the large ōkuchi trousers used for male roles or, sometimes, for goddesses. The type of costume influences how one performs. In this case, the kinagashi style will considerably restrict the length of the steps I will be able to take.

Hagoromo will be an interesting challenge. This summer I will perform Hagoromo in a kenkyūkai (practice session), but I wonder if my teacher is not thinking about having me perform this noh on the Kongo Noh stage sometimes soon…

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