Following the rumours that came out last fall, the Kanze Association has officially announced that the Kanze Noh Theatre will move from its current location in Shōtō, Shibuya to a new building in Ginza, Nōgaku Times (Feb. 2014) reports. The move will be completed in 2016, with the theatre opening in fall. The traditional wooden stage will be rebuilt in the new location, and the hall will be provided with the same number of seats of the current theatre, which will continue to host shows until March 2015. Kanze-kai performances will take place at the Umewaka Nōgakuin kaikan in Nakano until the moving operations are complete.
The rationale behind this huge operation stated in the article appear to be the ageing of the current early 1970s building. Moreover, the Kanze Association appears to be prepping up for the 2020 Tokyo Olympics, which will function as a huge attention catalyst for Japan, and a chance to promote traditional arts internationally. However, an article appearing on Gendai Bijinesu(Oct, 6th 2013) hinted at the unstable economic situation of the Kanze Association (i.e. the Noh establishment at large). It seems that, whatever difficulties Kanze is undergoing, they decided to face the crisis with an important investment rather than with austerity, a choice that is up to the expectations for a Noh school often considered to be representative of the Noh tradition in Japan and abroad, and that might well pay off in the long run.
According to the business magazine Gendai Bijinesu (Kodansha) the Kanze Nōgakudō in Shōtō, Shibuya, one of Tokyo’s most exclusive residential areas, may be soon put up for sale. In the article reporting the news, the land on which the theatre is now built, measuring 840 tsubo (approx. 2,777 square meters) is stated to be worth over 30 billion yen (approx. 30 million US dollars). Fujisawa Shōwa, owner of Yodobashi Camera, who lives in the neighbourhood, has been identified as a potential buyer. According to an unspecified major real estate company, the Kanze-kai (that is, the company that owns and manages most of the Kanze school property) is considering selling the theatre. Of course – I would add – selling does not mean shutting down the business, but simply relocate elsewhere while cashing what is an extremely valuable piece of land in the heart of Tokyo.
How to interpret the potential sale of the Kanze Nōgakudō? Could it be justified with a need to renovate the venue? Or is it yet another sign of the crisis that is tightening its grip on the Noh establishment? The post-Lehman financial shock is only an additional factor to a more specific, economic but also cultural (can we separate the two?) crisis that Noh is undergoing since the early 1990s. The Noh audience is ageing, therefore naturally reducing, a trend that might lead to its biological extinction within some 20 years, unless critical measures are taken. According to the Gendai Bijinesu article, the Kanze-kai has shown a loss amounting to 10 million yen between the 2009-2011 fiscal years. However, the manager of the Kanze Nōgakudō has explained that, after the 2011 Tōhoku earthquake, the construction of a safer building has been discussed, and that money is not really the issue. What we should be more concerned with is the ageing of the Noh audience, and the consequent need to make efforts to attract a new generation of young spectators.
This is certainly true, and it would impact on the economic condition of Noh the large majority of Noh actors, who are in need of financial support in order to continue to perform their art. Of the three great performance traditions of Japan, Noh is the only one which, after having lost its aristocratic patrons with the advent of the Meiji restoration, is struggling to survive while maintaining its economic independence, counting primarily on amateur practitioners who learn directly from professional performers (and pay directly to them). Kabuki is managed (owned?) by Shōchiku, a huge movie and theatre production company, and is supported by corporate sponsorship. Bunraku has lost the battle, and is now surviving thanks to public subsidy. Noh still lingers in a limbo between feudalism and capitalism. Meanwhile actors who can’t make ends meet sell their costumes, masks and books, while Wanya-shoten and Hinoki-shoten, publishers of Noh books, close shops in Tokyo and Kyoto. Does Noh need a new economic model in order to get out of this darkness?