Kyushu-kai 26th

April 9 (Mon.), 2018 Performance begins at 18:00, and ends at 20:05 At National Noh Theatre MAP Flute Solo Music “So Kagura” Yukihiro Isso (noh flute) Short Noh Chant “Mekari”」 Nobuaki Hashioka (noh actor) Kyogen Play “Yokoza (Cow and her Owner)” Jyuro Zenchiku (kyogen actor) Noh Play “Utoh ” (Birds in Hell) Ryo Araki (noh actor)

The theme of both the Kyogen and the Noh pieces performed today are centered around animals and the close relationship the Japanese people have had with animals for a long time.

　 Kyogen: “Yokoza” (A cow and her owner)
　　
A man appears onstage with a cow and proudly announces that he’s recently bought this nice cow. Another man enters and mentions he is desperately looking for his dear cow, Yokoza, he has lost. The two men come across each other and the second man sees that this is indeed Yokoza, his lost cow! The original owner, “A” asks the present owner, “B” to return the cow to him, but “B” refuses because he paid a good price for her.
Finally, they decide to conduct a test to determine who will get to keep the cow: If the cow responds to “A” after he calls out her name, “Yokoza” three times, then the two men agree that the cow goes back to “A” because that would be proof, indeed, that he owns her and should get her back. If, however, the cow does not respond to at least one of his 3 calls, then not only does the cow go to “B”, but “A” will also agree to become “B’s” servant! Thus, the test begins…
　
Noh: “Utoh” (Birds in Hell)
　
The story of this Noh piece is about the ghost of a man who once hunted and sold birds by trade. To find a birds’ nest in the bush, the hunter would imitate the sound of the parent bird calls to their young, (which sounds like, “Utoh,”the title of this play). In retribution for having cruelly tricked and killed so many birds, he was sent to hell following his death, and is now being tormented by them.
　
1. First, the hunter’s child (child actor) and his wife (tsure actor) appear on the stage and sit on the right side of the stage. (In the latter half of the play, we find out that this place is the hunter’s house in Aomori.)
2. A priest appears (waki actor) appears and says he is on his way to Tateyama in Toyamafor self-training. This mountain is a famous sacred place, and also resembles hell with its rising, putrid gases from its many hot springs.
3. When the priest arrives in Tateyama, a strange old man (shite actor) appears and tells the priest that he is actually a ghost, having passed away last year. He begs the priest to visit his family, who lives in Soto-no-hama in Aomori, to give them a message. The priest doubts his family will believe the message is from him unless he offers some proof. The old man then tears off the left sleeve of his coat and gives it to the priest to offer as proof of his identity.
4. After a long journey on foot, the priest finally arrives at the hunter’s house and talks to his wife. She is very surprised, and when she sees the torn off sleeve that the priest has brought to her, she is convinced it is from her husband’s coat that she still owns.
5. They hold a funeral for the hunter and offer his spirit his bamboo hat as protection fromthe falling, poisonous tears of the birds in hell.
6. During the funeral, the ghost of the hunter appears before his family and the priest. He tells his wife he now understands that the birds he had hunted must have loved their children as much as he loves his own child. His misery is now compounded by knowing that his beloved child will have to take over his father’s lowly hunting business.
7. In the center of the stage, the ghost remorsefully recalls his days of killing birds.
8. To only the sounds of instrumental music (without the chorus), the hunter stands up, raises his cane and shakes it to demonstrate how he used to cruelly catch and kill birds during his life.
9. After casting the cane aside, he puts on his bamboo hat to protect himself from the torment of the birds, but it doesn’t help. He comes to the realization that in hell, he can never be freed from suffering. In the end, he asks the priest to pray for some relief for him, then suddenly disappears.
Note: In keeping with the tradition of the Noh theatre, it is not customary to applaud at anytime during or even after a performance. We ask that you please refrain from applauding. Thank you!
　
　
　

　

NOH and KYOGEN

Noh and Kyogen are Japanese classical performing arts originated in 14th century. Over the past six hundred years, they have been refined into a sophisticated art form, however, continued to be performed with their original texts and direction.
On the surface Noh appears to be delicate, but the inner strength and control needed by Noh and Kyogen performers are masculine in nature, thus they are traditionally done by male (today's mother role of "UTOH" is performed by female actress). Female and super natural roles are portrayed with the aid of masks. It should be noted that the actors' voices never change for female characters like in Kabuki. In Kyogen, non-excessive woman's roles utilize costumes but no masks.
Noh consists of the combination of three elements. First is the dialogue and singing of the actors. The story and atmosphere expressed by the chorus and orchestra follows next. Last is dance and its instrumental accompaniment which is often highlighted by flute.
Some forms of Noh have dramatic story, but in many plays the atmosphere and mood of events are the focus. On the other hand, Kyogen plays are usually comedies that do not have chorus or orchestra. The story line is carried by the dialogue.
The text of Kyogen is easily followed by Japanese speaker, however, Noh uses elevated and ancient forms of Japanese language. So it is very difficult to understand. The text of Noh has a poetic nature and its total effect is much more important than the individual lines and words. Noh is best appreciated when it is thought to be an artistic presentation of dance and music.
Noh stage has no lighting, sets or curtains. Props are kept at a minimum as well. This simplicity of staging is a refinement of Noh's earliest forms.
Noh demands extreme skill and dedication for performers. In today's performance, the physical and mental control of the actors are combined with virtuosity of the musicians.