EA 170 Week 6a Outline

I. Representation of feminine and masculine in Noh

A. Realistic (Representational) versus Presentational performance

1. Traditionally men play all the roles, no specialization in one gender role

a. Gender instability:

b. layered characters (male and female) Ki no Aritsune's daughter in Izutsu

1) based on cross-dressing medieval shirabyoshi dancers (image)

2. No attempt to hide that male is playing the role

a.  eg. (image)

b. voice is not lowered or raised to indicate gender

1) why not larger mask?

3. Costume:

a. Supports dance movements (image)

1) feminine versus masculine movements

            a) robe worn straight (image):

            b) split pants (hakama) (image, image):

b. Represents certain symbolic elements

1) colors: older woman, younger woman

2) patterns: triangles, karmic wheels1, 2; thunder/lightning

4. Use of masks rather than makeup

a. origin in religious rituals

b. archetypal

c. pragmatic

5. "Psychological" realism

a. creation/projection of emotions through mask (NOT hiding or "masking" emotions)

1) identification of actor and mask (green room):

2) brightening and darkening

3) movement style:

Watch video clips Yashima and Izutsu for comparison of movement styles

Yashima images; synopsis and photo story

movie clip: Yashima 1, 2 (right click the link and "save as" to watch on your own video player, otherwise it might not play full screen)

Izutsu images; synopsis and photo story (right click the link and "save as" to watch on your own video player, otherwise it might not play full screen)

movie clip: Izutsu 1, 2 (general summary), 3 (kata)

 

B. Male Masks (images)

1. Young men (warriors) from the Heike

a. Juroku chujo (16-year old Middle Captain)

b. Chujo (Middle Captain)

 

C. Female Masks (images)

1. Young woman

a. Ko-omote:

b. Magojirô:

c. Masugami:

2. Slightly older woman

a. Zô no onna:

b. Fukai:

1) Kinuta

c. Rôjô Komachi:

d. Ryô no onna:

 3. Supernatural and/or demonic women

a. Deigan:

b. Hashihime

c. Hanya (half-serpent) 1, 2:

d. Shinja (true-serpent):

e. Yamamba

 

II. Intro to Kyôgen (Comic plays performed between Noh plays)

A. Comparison to Noh

1. Authorship/patronage etc.

2. Goal?

3. Opposing visions

a. Noh:

b. Kyôgen:

1) Parody (comparison of masks for young women: image, image)

2) Class differences:

3. Concept of gekokujô (the low overthrows the high)

a. social mobility in late Muromachi period

b. William LaFleur (Karma of Words,  p. 142):  "Kyogen, written by and for people who had gone from a lower position in society to a higher one, celebrated the wit and cunning with which they had made such an advance."

III. Kyôgen Costumes and Performance

video: "This is Kyogen" (right click the link and "save as" to watch on your own video player, otherwise it might not play full screen)

A. Similarities to Noh

1. Men traditionally play all the roles, no specialization in gender

2. "Presentational" rather than realistic/representational (although more realistic than Noh)

3. Character “types” rather than individuals: master, servant, tricky mountain priest, shrewish wife, hen-pecked husband, foolish lower-ranking samurai lord (images)

B. Differences

1. Use of masks:

a. What is used for middle aged women?

C. Visual Representation of Wife Character in Kyôgen (image)

a. Male actor:

b. Facial expressions:

c. Gestures:

d. Costume:

1) hair (binan bôshi tucked into her belt, onna bôshi):

2) clothing (nuihaku straight robe):

e. Acting:

1) Noh:

2) Kyôgen: