Renewed review resolution

Wow, it has been awhile since I last posted. Yet I have been writing my own detailed notes on shows I have seen in Kyoto and Osaka and Tokyo regularly. My interests of late: contemporary spoken drama, re-vivals of "classic" modern theatre (Kara Juro, Betsuyaku Minoru), and traditional theatre. Now, especially interested in how Noh and Kyogen have expanded their use of workshops, lecture-demonstrations and all sorts of "docking" to interact with new spectators and other genres. I will try to post at least once a week beginning April 1st--not a joke! Let's see if my new year (the year starts in April in Japan, at least for teachers and workers) resolution will last.

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Bassara Kyogen: 3 generations of Shigeyamas

Bassara Kyogen, Takutaku Livehouse, Kyoto Dec 16 2008-12-16 This is a an “upsidedown” or “sarcastic” kyogen produced by Sennojo Shigeyama, senior terrible of the kyogen world in the middle of his 80s. Three generations of his peculiarly-placed family performed a solo experiment. A one-time only gig, it brought out old family friends (Miho) and researchers (Gondo, me), and newbies. The place was full, standing room only—120 people? All ages, mostly middleaged fans of the Shigeyamas, but some young people too. Selling calendars and books,a s with other Shigeyama shows. Doji opened with a solo dance (!), to Miles Davis’ Spanish Fly, loud on the speakers. He was alone, against a wall, lonely, wondering what it was all about. Gradually he rose, moved out in butoh-like lunges, to the diagonals. Then discovering something, joyously reaching out into the corners of the stage. Turning his back, he reached behind him to tug something, released, he folded his arms across his chest, feminine. Move

An urgent appeal (駆け込み訴えKakekomi utae) by Dazai Osamu

--> 　 How close is too close? An urgent appeal ( 駆け込み訴え Kakekomi utae) by Dazai Osamu Adapted, acted and directed by Kodama Ta 　 chi 児玉泰地（役者でない） No actors https://www.facebook.com/events/283142869026661/ On April 8 2019 at the small Cafe Figaro near the University of the Arts in northeast Kyoto, a former student of mine Kodama Taichi performed a new play from his one-person series, “No actors.” I had seen a video of his earlier, absurdist actor’s nightmare play and liked its physicality and precision. I looked forward to his live performance, one that had already toured four cities and is on its way to Tokyo in the Fall. I hastily read Dazai Osamu’s short story (helpfully online in translation) before the performance. With the one drink served as part of the reasonable 1500 yen admission price, I had a ginger ale. As the dozen or so spectators entered the chandeliered, mirrored café with beautiful porcelain cups and saucers lined up, I was surpris

Intercultural musical experiments: inherent failures?

Why can’t Western instruments and noh work together? Why do Western-trained actors have trouble sharing the stage with Japanese noh-kyogen actors? And why oh why do producers seeking publicity, frisson, and doling civic funds equitably seek to marry the two in under-rehearsed, one-time experiments? Three reasons spring to mind: 1/ On a basic level of dramaturgy, the two are self-contained and other-rejecting. Noh’s frontal declamation style and stylized expression of emotion demands focus; Western “cheating” diagonals and detailed facial expression pulls focus from the stage picture to the individual portrait. Vocal energy and melodic chant, coiled taut and loosened strategically through MA pauses and accents in conjunction with drum/flute accompaniment are potently precise; Western vocal energy is emotionally, not musically based. It follows the flow of breath swept up in the surge of passion and concrete logic of debate. The trained actor’s voice itself is the instrument, needing no

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