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
an occasional document of theatrical life in Kyoto and the virtual world at the beginning of the 21st century