This is something I’ve been involved in recently, translating Japanese into English for Hinoki Noh publishing house. I hope I will be able to translate texts in Italian too, some day! Multilingual subtitles at the Noh theatre would be amazing.
The picture above shows the introductory section spectators can read before the performance begins. After that the audience can follow the action on stage while reading brief descriptions automatically updating on the screen as the play progresses. Pages have black background and white characters, minimizing the annoying effect of bright screens in the semi-darkness of the playhouse.
JPARC – Japanese Performing Arts Resource Center Lecture Series
ARC – Art Research Center, Ritsumeikan University
Symposium and Performance Demonstration
Interactive Interplay: Waki and Ai-Kyōgen Roles in Noh
Date November 17, 2015 15:00-20:00
Place： Ritsumeikan University, Kinugasa Campus. Art Research Center. Multipurpose room.。
This event consists of two parts. The afternoon symposium (in English with discussion in Japanese) will address the importance of waki and ai-kyōgen roles in late-Muromachi period noh with reference to building an interactive text of the play Funa Benkei for the JPARC database. In the evening demonstration (in Japanese), kyōgen and waki actors will discuss their roles in Funa Benkei, and perform portions of the play.
Presentation (in English): ” Important auxiliary characters – the case of Funa Benkei and late Muromachi noh plays” by Dr. Lim Beng Choo, National University of Singapore
Presentation (in English): “The sonic comic: How kyōgen actors create a scenic soundscape” by Dr. Jonah Salz, Ryukoku University
Presentation (in English): “Traditional Japanese Theater Websites and the Aims of the JPARC Website” by Dr. Diego Pellecchia
Round Table Discussion (in Japanese and English) “Purpose, Problems, and Perspectives on Creating Bilingual Interactive Texts, the case of Funa Benkei.” Discussants: Akama Ryō, Diego Pellecchia, Monica Bethe, others
Break (light refreshments will be provided)
Performance demonstration (in Japanese) 18:30-20:00
“Waki and Kyōgen Players in Late Medieval Noh, the case of Funa Benkei.”
On May 12th I’m going to sing in the chorus for the maibayashi (dance and music excerpt) from the Noh Awaji at the Ninomaru Castle Takigi Noh in Matsuyama (Ehime pref.). This time the shite is going to be Higaki Takafumi, while Udaka Michishige is going to lead the chorus.
It is the first time for me to study Awaji, a first category (god Noh) celebratory piece which is not performed as often as other plays from the same groups such as Takasago. In fact the utaibon libretto is only available in the kyūhon ‘old book’ format, with kuzushi-ji cursive characters and hentaigana alternative phonetic writing, making it rather hard to read even for Japanese native speakers. I have recently purchased a lot of these old books, which reminds me that I should soon or later write a post comparing new and old utaibon writing and notation style.
As for Awaji, it follows the typical first category structure: imperial officers are on their way to visit Awaji, thought to be the first island to be created when the godly couple Izanami and Izanagi stirred the primordial sea with a spear. The brine dropping from the spear hardened into islands, thus creating the Japanese archipelago. The officers meet an old man cultivating a rice field attached to a shrine and discuss with him the name Ni-no-miya shrine, an appellation that suggests the two gods Izanami and Izanagi, representing the actions of sowing and reaping. Quoting from ancient poems, the old man chants the fertility of the Japanese soil. Soon the old and mysterious man disappears, only to re-enter in the second half of the play as the male god Izanagi, dancing and bestowing long life and happiness to the land.