Interesting performance today at the Kongō Nōgakudō: the young Iemoto of the Hōshō school, Hōshō Kazufusa (27) and the future Iemoto of the Kongō school, Kongō Tatsunori (25) performed in the same event that brings together the current/future leaders of their respective stylistic schools. Hōshō Kazufusa performed Makiginu (sōkagura version), and it was very interesting for me to observe the Hōshō-style staging of a play I am rather familiar with, since I took part in it as tsure in 2010, and compare it with the Kongō rendition. Kongō Tatsunori performed Kokaji (hakutō version), a variation for which the Kongō is renown, featuring the stunning white and gold costume, white wig, and ō-tobide golden mask.
The event celebrates a long lasting relationship between the Hōshō and the Kongō school, but also acknowledges the efforts and achievements of two young protagonists of the contemporary Noh scene. The event will take place again in Tokyo at the Hōshō Nōgakudō on November 8th.
This year’s INI International Noh Institute – Keiunkai Taikai, in celebration of 50 years of stage life of Master Actor Udaka Michishige, has come to a close. It is difficult to draw all the impressions on such a special event in one single post. There are so many aspects and viewpoints it would be necessary to include and, in the attempt to include everything (and everyone) I would end up not doing justice to all of them. I will maintain the very personal take that has been the line of this blog so far.
On the occasion of this Kai I could for the first time take part of the full production of a Noh play, Makiginu, in the role of the tsure. As in a dream, my memories of the performance are blurred and spotty. I stand behind the omaku curtain, in the kagami no ma mirror room, I can appreciate the quality of the lights coming from the stage, through the five colours of the curtain. The lights, and the cries of the hayashi call for my entrance. Although that of the tsure is a subsidiary role, its rather long initial chant substantially contributes to set the mood of the play. I felt invested of this responsibility while treading on the hashigakari for the first time. Slowly pivoting on my feet to face the matsubame pine on the backdrop of the stage, the beats of the drums give room to my chant, as I begin my long trip to Mikumano…
Taking part of a full Noh is a privilege that only a very few foreigners had in the century-old Noh tradition. Infinite gratefulness and deep respect go to those who are teaching me this way: Master-Actor Udaka Michishige, Shihan Rebecca Ogamo-Teele and Monique Arnaud, whose relentless efforts to transmit Noh theatre to foreigners is, I believe, the greatest, unconditional expression of love for the art of Noh.
The program will also include a variety of chant and dance excerpts. Foreign and Japanese students of Udaka Michishige will perform on stage. Information material will be available in English and Japanese.
Place:Kongo Noh Theatre, Kyoto. Subway Karasuma line: get off at Karasuma-Imadegawa (K06), South Exit 6, walk South 300m and find the theatre on the right.
Time: 12 June 2010 (Sat) 1:00pm – 5:30pm.
Fee: Free of charge. The audience is free to come and go quietly.
A reception will follow from 6:30pm (fee: 1000 yen). Come share your impressions on Noh theatre and to talk to the teacher and the performers! Meet us at ‘Tenshokan’（天正館）2nd Fl., Mukadeya-cho 380, Shinmachidori Nishiki-koji-agaru Subway Karasuma-Shijo, Exit 24, walk West, then North at Shijo-Shinmachi (about 5 minutes). Click here for a directions from the Kongo Theatre to Tenshokan.
Tomorrow I am embarking on a new journey to Japan. After I began to practice Noh theatre I went back to Japan almost every spring in order to undertake training with Udaka Michishige in Kyoto. For someone like me, coming from a non-Japanese studies background, it is rather hard to find opportunities to go to Japan and study there. So far I always managed with travel grants and research funding. This year will be my first experience as ‘official’ exchange student at Ritsumeikan University in Kyoto. Among the choices were Waseda and Keio – with all due respect, the exchange programme committee was a bit surprised to see that my first choice was Rits. However Kyoto is the city I love and the headquarters of Udaka-sensei’s International Noh Institute. I am going to stay there until September, entering then my 4th and final PhD year at Royal Holloway.
This time in Kyoto is going to be very special. On 12 June 2010 I will take my first role as actor in a full Noh theatre performance, Makiginu, as companion of the main actor, or shite-tsure. The shite role will be taken by Monique Arnaud, advanced student of Udaka Michishige and licensed instructor of Noh (shihan). While this tsure is a rather static role, its function is primarily centred on the chant. As he opens the performance singing a rather long chant section, his responsibility is setting the mood of the play. I will post more information about this event as my training progresses.
The other reason that makes this performance particularly special for me is being on stage with Monique Arnaud, who has taught me Noh theatre while I was living in Italy. If I have a chance to be performing on a Noh stage today, I owe it to Monique-sensei. I will write more about her later on.