Nathan Algren (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
shiroi_tiger) wrote in ![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
fandomhigh2010-02-15 06:04 am
shiroi_tiger) wrote in fandomhigh2010-02-15 06:04 am
Entry tags:
Japanese Etiquette & Tradition, 2/15/10, Period 5
Really, the students ought to just get used to filing into the Danger Shop for class, at this rate.
Today's setup looked suspiciously like a Japanese village from at least a hundred and thirty years ago, with a lantern-lit stage set up below a small hillside, which served very nicely, if you were observant, as raised seating.
"I hope you all enjoyed the festival last week," Algren said as the students filed in, "and that Valentine's didn't leave too many of you lonely and embittered."
What? He was allowed to talk about embitterment. It was something that he did well.
"This week, instead of a midterm, I thought I might do something else that you all might enjoy. This week, we'll be covering Japanese theater."
Try not to look too excited, class. The performing arts were a subject that were near and dear to Algren's heart, after all. Somewhat. Not really. He was a lousy actor.
"Japan has several different forms of theater," he said, slowly pacing back and forth across the stage. "Three of them, Noh, Kabuki, and Bunraku, are the most prominent traditional forms known in Japan today. Noh theater, most easily recognized by its use of song, dance, masks, and very slow, deliberate movements, is the oldest of these three art forms, dating back to the fifteenth century." Yes, before even Algren's time. "Noh performances are thickly steeped in symbolism. The linguistics used in the dialogue are ancient. The music is provided by a chorus of chanters, with a rhythmic accompaniment. The slow progression of the plot, as well as the snail's pace that the actors move in, demonstrate the Japanese art of walking, making a minimalist statement through conservation of energy. These plays almost always focus on the spirit world, on those Kami that we discussed on our visit to the shrines. The costumes are thick and heavy, and the masks that the actors wear are intended to clearly portray the nature of the character, be they divine or demonic, good or evil. And falling asleep during a Noh performance isn't necessarily a bad thing. It just means you're meditating, really."
And everybody knew that Noh meditation was good meditation, right?
"Bunraku theater is Japan's puppet theater. Dating back to the seventeenth century, these plays often follow a somber theme as well, often leading one character on the road to a 'beautiful suicide.' The puppets that are used in this form of theater are exponentially more sophisticated than those you might see in a European or North American puppet show. These puppets are life-sized, and it takes three men, clad in black and fully visible on the stage alongside their puppet, to make the character move. One puppeteer is in charge of the feet, another will control its shoulders and one of its hands, and the third gets the most complex task, manipulating the character's other hand, its head, and its face . These puppets are so complex that it takes a puppeteer ten years to fully master how to control these motions. The puppet's hands are capable of opening and closing, and they can even roll their eyes. The story is told by a narrator, and, as in the other forms of theater, there is also musical accompaniment."
His hands went to his hips, and he crossed back over the stage the way he'd come from.
"Kabuki is the form of theater that most people nowadays think of when they picture the Japanese performing arts. It also dates back to the seventeenth century, but unlike the other two forms of theater, Kabuki is built on spectacle. Political statements were told in the form of fairy tales, presented in an array of dance and music. There were often complex mechanics built into the stage, to better facilitate dramatic entrances and exists, so that the actors could simulate superhuman feats and spectacular acrobatics. Kabuki is the form of theater known for its make-up. You'll know a villain by his indigo color scheme, and a hero by the scarlet he wears. And the actors in a kabuki performance are traditionally all male. Yes, even the ones playing female roles."
Algren, now standing at the Danger Shop's controls, flashed the class a grin before hitting a few buttons.
"Because I don't want any of you falling asleep today, meditation or no, it will be a Kabuki performance that you'll be watching. Keep an eye out for the things that I've mentioned, or just sit back and enjoy the experience. Kabuki often leaves a lasting impression, after all."
[OCDon the way up! Those links up there lead to YouTube clips of each of the different theatre styles, for the curious.]
Today's setup looked suspiciously like a Japanese village from at least a hundred and thirty years ago, with a lantern-lit stage set up below a small hillside, which served very nicely, if you were observant, as raised seating.
"I hope you all enjoyed the festival last week," Algren said as the students filed in, "and that Valentine's didn't leave too many of you lonely and embittered."
What? He was allowed to talk about embitterment. It was something that he did well.
"This week, instead of a midterm, I thought I might do something else that you all might enjoy. This week, we'll be covering Japanese theater."
Try not to look too excited, class. The performing arts were a subject that were near and dear to Algren's heart, after all. Somewhat. Not really. He was a lousy actor.
"Japan has several different forms of theater," he said, slowly pacing back and forth across the stage. "Three of them, Noh, Kabuki, and Bunraku, are the most prominent traditional forms known in Japan today. Noh theater, most easily recognized by its use of song, dance, masks, and very slow, deliberate movements, is the oldest of these three art forms, dating back to the fifteenth century." Yes, before even Algren's time. "Noh performances are thickly steeped in symbolism. The linguistics used in the dialogue are ancient. The music is provided by a chorus of chanters, with a rhythmic accompaniment. The slow progression of the plot, as well as the snail's pace that the actors move in, demonstrate the Japanese art of walking, making a minimalist statement through conservation of energy. These plays almost always focus on the spirit world, on those Kami that we discussed on our visit to the shrines. The costumes are thick and heavy, and the masks that the actors wear are intended to clearly portray the nature of the character, be they divine or demonic, good or evil. And falling asleep during a Noh performance isn't necessarily a bad thing. It just means you're meditating, really."
And everybody knew that Noh meditation was good meditation, right?
"Bunraku theater is Japan's puppet theater. Dating back to the seventeenth century, these plays often follow a somber theme as well, often leading one character on the road to a 'beautiful suicide.' The puppets that are used in this form of theater are exponentially more sophisticated than those you might see in a European or North American puppet show. These puppets are life-sized, and it takes three men, clad in black and fully visible on the stage alongside their puppet, to make the character move. One puppeteer is in charge of the feet, another will control its shoulders and one of its hands, and the third gets the most complex task, manipulating the character's other hand, its head, and its face . These puppets are so complex that it takes a puppeteer ten years to fully master how to control these motions. The puppet's hands are capable of opening and closing, and they can even roll their eyes. The story is told by a narrator, and, as in the other forms of theater, there is also musical accompaniment."
His hands went to his hips, and he crossed back over the stage the way he'd come from.
"Kabuki is the form of theater that most people nowadays think of when they picture the Japanese performing arts. It also dates back to the seventeenth century, but unlike the other two forms of theater, Kabuki is built on spectacle. Political statements were told in the form of fairy tales, presented in an array of dance and music. There were often complex mechanics built into the stage, to better facilitate dramatic entrances and exists, so that the actors could simulate superhuman feats and spectacular acrobatics. Kabuki is the form of theater known for its make-up. You'll know a villain by his indigo color scheme, and a hero by the scarlet he wears. And the actors in a kabuki performance are traditionally all male. Yes, even the ones playing female roles."
Algren, now standing at the Danger Shop's controls, flashed the class a grin before hitting a few buttons.
"Because I don't want any of you falling asleep today, meditation or no, it will be a Kabuki performance that you'll be watching. Keep an eye out for the things that I've mentioned, or just sit back and enjoy the experience. Kabuki often leaves a lasting impression, after all."
[OCD