Japanese Theatre-Kyogen
The Japanese people are very religious and traditional. Buddhism is the practiced religion in most if not all of Japan. Buddhist followers believe that spirits are all around us and that they must be pleased for the believers to have good health, happiness and good fortune. Within the realm of Japanese Theatre the performances are spiritual, including gods and ritualistic dance and music. They are essentially performed as a prayer.
There are four major Japanese Theatre styles: Noh, Kyogen, Kabuki and Bunraku. My focus on this blog post will be the comedic style of Kyogen.
Kyogen is often referred to as a partner of Noh theatre. Although, they differ in their conventional styling these two forms of theatre are typically shown together. Noh Theatre is serious and spiritual in nature. Kyogen theatre displays the comic, earthly everyday elements of life. A Kyogen performance is shorter in length and has a very light and happy feel. Including this style of theatre within the Noh performance allows a break from the serious metaphysical world that is Noh Theatre.
The traditions of the Japanese culture carry over to their theatre. Theatre actors and crew are determined by birth right. You could only play a major part in a Noh play if you were born into a family of Noh performers. The same is said for the Kyogen and Kabuki theatrical conventions.
Kwanami Kiyotsugu and his son Seami Motokiyo, considered the founders of Noh theatre, called the comic element of plays “Kyogen” or “mad words”.
Traditionally, the Kyogen role in Japanese Theatre included juggling, tumbling and other silly activities. The responsibility of the traditional Kyogen actor was a performance during the intermission of a Noh play which was said to mimic the court jester style of medieval times. Over the years Kyogen Theatre has evolved to include Sarugaku or monkey music which includes drums, dancing and other instruments.
The Kyogen style performances consist of only one act. The cast members of Kyogen, as in most Japanese Theatre are all male. The Kyogen actor may double and play a small role during a Noh play but he would only play a lower class part; such as a janitor, or servant. As they were considered in the everyday world a Kyogen actor’s part on stage must equal that of their status in the Japanese community. On stage these parts can be distinguished by the actor’s socks. The Noh actor will always wear white and the Kyogen actor will wear yellow.
The costumes and masks of Kyogen Theatre are not as elaborate as that of the Noh. The parts played by the actors are common and call for common costumes. The facial expressions of the actors are extremely important to the comic style of Kyogen; this is why you’ll notice the main characters do not wear masks. Masks are used, however, and are typically worn by actors playing gods or animals.
Although there are many differences in the style and conventions of these two forms of Japanese Theatre Kyogen and Noh go well together to create a unique audience experience.
The Japanese people are very religious and traditional. Buddhism is the practiced religion in most if not all of Japan. Buddhist followers believe that spirits are all around us and that they must be pleased for the believers to have good health, happiness and good fortune. Within the realm of Japanese Theatre the performances are spiritual, including gods and ritualistic dance and music. They are essentially performed as a prayer.
There are four major Japanese Theatre styles: Noh, Kyogen, Kabuki and Bunraku. My focus on this blog post will be the comedic style of Kyogen.
Kyogen is often referred to as a partner of Noh theatre. Although, they differ in their conventional styling these two forms of theatre are typically shown together. Noh Theatre is serious and spiritual in nature. Kyogen theatre displays the comic, earthly everyday elements of life. A Kyogen performance is shorter in length and has a very light and happy feel. Including this style of theatre within the Noh performance allows a break from the serious metaphysical world that is Noh Theatre.
The traditions of the Japanese culture carry over to their theatre. Theatre actors and crew are determined by birth right. You could only play a major part in a Noh play if you were born into a family of Noh performers. The same is said for the Kyogen and Kabuki theatrical conventions.
Kwanami Kiyotsugu and his son Seami Motokiyo, considered the founders of Noh theatre, called the comic element of plays “Kyogen” or “mad words”.
Traditionally, the Kyogen role in Japanese Theatre included juggling, tumbling and other silly activities. The responsibility of the traditional Kyogen actor was a performance during the intermission of a Noh play which was said to mimic the court jester style of medieval times. Over the years Kyogen Theatre has evolved to include Sarugaku or monkey music which includes drums, dancing and other instruments.
The Kyogen style performances consist of only one act. The cast members of Kyogen, as in most Japanese Theatre are all male. The Kyogen actor may double and play a small role during a Noh play but he would only play a lower class part; such as a janitor, or servant. As they were considered in the everyday world a Kyogen actor’s part on stage must equal that of their status in the Japanese community. On stage these parts can be distinguished by the actor’s socks. The Noh actor will always wear white and the Kyogen actor will wear yellow.
The costumes and masks of Kyogen Theatre are not as elaborate as that of the Noh. The parts played by the actors are common and call for common costumes. The facial expressions of the actors are extremely important to the comic style of Kyogen; this is why you’ll notice the main characters do not wear masks. Masks are used, however, and are typically worn by actors playing gods or animals.
Although there are many differences in the style and conventions of these two forms of Japanese Theatre Kyogen and Noh go well together to create a unique audience experience.
Works Cited
Arnott, Peter D.. Theatres of Japan. New York: Macmillan, 1969.
Felner, Mira, and Claudia Orenstein. The World of Theatre: Tradition and Innovation. Boston, MA: Allyn & Bacon, 2005.
"Japan - Kyogen." bookmice.net index. 8 Oct. 2009.
"YouTube - Kyogen Theater." YouTube - Broadcast Yourself.. 13 Oct. 2009 < v="ohQSAy-Msd0">.
"Japanese Art." Artlex.com. 9 Oct. 2009.
"Kyogen Theatre." flickr.com. 9 Oct. 2009
Arnott, Peter D.. Theatres of Japan. New York: Macmillan, 1969.
Felner, Mira, and Claudia Orenstein. The World of Theatre: Tradition and Innovation. Boston, MA: Allyn & Bacon, 2005.
"Japan - Kyogen." bookmice.net index. 8 Oct. 2009
"YouTube - Kyogen Theater." YouTube - Broadcast Yourself.. 13 Oct. 2009 < v="ohQSAy-Msd0">.
"Japanese Art." Artlex.com. 9 Oct. 2009
"Kyogen Theatre." flickr.com. 9 Oct. 2009
Melanie,
ReplyDeleteThis is an excellent blog. Bravo.
Geoff