Kyoto performance reviews

Dangers of repeat informants: recycling what we know about noh (This is the beginning of a publication perhaps; I welcome feedback).  I have been ruminating on the dangers of going to the well too often when it comes to Japanese theatre research on noh performance in particular. Those "tried and true" actors who are able/willing to be interviewed, teach, and tour overseas for conferences or workshops are few and far between. Significantly, just three of them--Kongo school Udaka Michishige, Kita school Takabayashi Kouji, and Kita school Matsui Akira have been responsible for many of the articles, and dissertations, interviews, and international collaborations for over four decades. Why are these three Kansai-based performers (2 outside where iemoto and most performances take place, Tokyo), 2 first-generation actors who are relative outsiders to the main line of tradition, taken as "the gospel" of noh performance practice over multiple generations of scholars? Their p

Kata as convenient shortcuts to Japanese traditional performance culture  http://www.miyagawacho.jp/pdf/kyoodori_leaflet_2019.pdf The highly-codified dance forms, Kata, found throughout Japanese traditional dance and theatre, and even some modern theatre, are shortcuts. They are highly refined and defined, capable of infinite varieties of combinations, at a wide range of levels of energies and paces. They are pre-fabricated material ready to be enlisted to quickly and beautiful put up new creations, lego blocks of beauty and power. This was evident in the annual dances of teenage maiko and middle-age geisha in the Miyagawa-cho Kyo odori held April first in rainy, sakura-strewn Kyoto. The small strip of teahouses just east of the Kawabata Avenue south of Shijo in Kyoto is home to the Miyagawa-cho, one of the “Five Geisha Districts” that includes its more famous neighbor Gion. http://miyako-odori.jp/english/  The Miyako Odori is a pillar of Kyoto’s spring tourist sea