a. Brazell, TJT pp. 24-43, 115-25

"General Characteristics" pp. 24-43

In this section Brazell generalizes about some qualities that all forms of traditional Japanese theater share. Although she does not spend much time comparing Japanese theater to "Western" theater, as you are reading you might consider the ways that Japanese theater is different from modern Western "realistic" theater.

1. pp. 24-27 Can you explain what Brazell means by "the text speaks itself"? Can you see any examples of this happening in the plays we read for today?

2. pp. 27- 29 What are some examples of how the stage is used "flexibly" in Noh and Kyogen? What is it about the Noh stage that allows for this flexibility? How is time used "cinematically"?

3. pp. 29-31 Is realism generally important in Japanese theater? What is considered most important? Why might this emphasis have led to stylization of movement patterns? Why might a traditional Japanese actor be better compared to a muscian than to a Western actor?

4. pp. 31-33 Make sure you know the following terms: kôken, kyôgen kata, kurogo. What role do they play? Why are the mechanics of production not hidden in much of Japanese theater?

5. pp. 33-35 Is originality prized in Japanese theater? How does allusion work in Noh? In Kyôgen? Why is Japanese theater characterized as "presentational" rather than "representational"?

6. pp. 35-39 What three types of actors participate in a Noh play? What musicians? 

"Elements of Performance" pp. 115-25

In this section Brazell discusses the main performance elements of Noh and Kyogen.

1. How do Noh and Kyogen performers train?

2. How does the music support the performance? What are kakegoe and how are they used by the drummers?

3. What role does the chorus play?

4. How are costumes and masks used in Noh? When are masks used in Kyogen? What symbolic function can costumes have?

5. What are the two kinds of props and how are they used?

6. What are the three kinds of chanting? The three basic modes of dance? If there is very little role for "creativity" in Noh, what creates the creative tension?

7. How are Noh plays categorized? Kyogen plays?

8. What are a few of the difficulties which face a translator of Noh and Kyogen?

LINK TO WEEK 2 DISCUSSION QUESTIONS DUE BEFORE SECTION

 

---