Going to debuts of the "graduation piece" of slithering demonwoman Dojoji by Kongo school's Dec 11th (Udaka Norishige) and Kanze Shite program Dec 17th (Kawamura Kotarou), I was struck by how my enjoyment was coupled with and somewhat tempered by my memories of the performers. Although I have a particularly broad and long relationship with Kyoto noh and kyogen performers, perhaps every long-term fan has similar layered spectator feelings that have been little written about. Marvin Carlson hinted at a Shakespearean version with Haunted Stages, and noh stories, but as to strata of fandom? And what are we watching? The great warrior Yoshitsune looking back at HIS life, and the moment of bravery retrieving a fallen bow. Or a love-crazed maiden disguised as shirabyoshi dancer revealing her demon-snake while priests recall the story of the priest burned to a crisp beneath the bell by a grudge-filled snake. We are reminded of our relationships over time with the performers whi...
an occasional document of theatrical life in Kyoto and the virtual world at the beginning of the 21st century