ASIAN THEATRE

THEATRE IN JAPAN

While medieval religious cycles were in Europe halfway around the world a
different theatre experience was happening in Japan. Noh theatre was perfected
so well that most of its plays are still performed as they were over 500 years ago.
To understand Noh theatre we need to look at the political and culture context
out of which it developed.


During the sixth century the Buddhist religion arrived in Japan from India and
China. It came with a written language and many nonnative arts and crafts. Later
and emperor gained power over Japan and took owner ship of the land. In the
twelfth century he lost all his political power. Then a shogun took over the country
and gained power. This military dictator ruled until 1867, when American
intervention led the return of the emperor. In 1338 the Ashikaga family gained
control of Japan and retained it for two hundred fifty years. One of its goals was
to eliminate foreign cultural influences and develop native art forms this was
good for Noh.

NOH THEATRE

The most significant moment in Noh theatre began around 1375. Zeami, greatest
of Noh dramatist wrote about 50 of the 200 plays that still make up the active
Noh repertory. He also defined Nohs goals and conventions. Nohs plays
typically have as protagonist ghost, demons, or obsessed humans beings whose
souls cant find rest Noh dramas are classified into five types.

God plays
Warrior plays
Women plays
Madness plays
Demon plays

Noh scripts are short and do not emphasize storytelling. The dialogue serves
primarily to outline the circumstances that lead up to, and culminate in, a dance.
Noh is a musical dance-drama that evokes a state and mood. Most of the lines
are sung or intoned even brief spoken passages are recited in a stylized manner.
Ordinary speech is used only when a player comes on to stage between the
parts.

Performers are divided into three groups: actors, chorus, and musicians. The
actors are trained since their childhood and are expected to devote twenty more
years to perfecting their craft. There is two types of actors ones who are
peasants, commoners, and narrators, and actors who play the main roles.

The chorus is composed of six to ten members. They each play a specific
amount in each play. They sit at one side of the stage throughout and sing or
recite the shites lines. There is also two stage attendance whom the audience
are supposed to ignore one to assist the musicians, the other to assist the actors
in changing or adjusting the costumes or mask and to bring or remove stage
props as needed. All of the performers and assistance are male.

OTHER TRADITIONAL
JAPANESE THEATRE
FORMS

Bunraku is a form of theatre in which a puppet represents the characters. This
came to be in the seventeenth century the puppets went through many changes.
Originally they were only heads with drapery representing the body/ Later hands
and feet were added and they were movable as well as their eyes, eyebrows,
and even jointed and movable fingers. Eventually they were doubled in size to
their present height three or four feet. Only three handlers are visible to the
audience they each control a section of the puppet. There is also a narrator who
tells the story. There is also music that accompanies the puppets through the
story.

Kabuki, the most popular of traditional forms, also appeared in the seventeenth
century. More open to change than other forms, it has also borrowed many of its
plays and conventions from Noh and Bunraku but has adapted to its own needs.
At first it was performed on a stage resembling the ones used for Noh. It has
changed over time.as it is framed by a proscenium opening about ninety feet
wide but only twenty feet tall. It is in an auditorium.

Unlike Noh, kabuki uses a lot of scenery, although settings are not meant to be
fully illusionistic. These plays are relatively realistic as many things are done in
front of the audience. Alternations to the sets, adjustments to costumes are made
in full view of the audience by stage attendants. This is a convention and the are
supposed to be treated as they are invisible to the audience.

Kabuki plays are divided up into several acts made up of loosely connected
episodes to emphasize the emotional incidents. Song and narration are important
to Kabuki. Those plays that are adapted from Noh or Bunraku retain many of
their conventions. Therefore, in some plays a narrator or chorus in needed to
perform some of the passages.

Kabuki acting is a combination of stylized speaking and dancing. This is one of
the things that actors do. All the actors that are in a play are all male. They do not
wear mask, but some do wear patterned makeup. Although Kabuki is highly
conventionalized it includes many elements that resemble exaggerated forms.
This is used in Western theatre most notable lighting, stories and scenery,

Chinese Theatre-The Chinese performances can be traced back to 1767 BC.
However in the present day it is commonly known as Chinese Opera. Many
things have come from the past like traditionally the platform is in a square
shape. Chinese Opera performers continue to wear costumes and makeup. This
is only one part as the movement of the actors is huge for the play. These things
have made a huge impact. One important thing is that Western theatre was
admired by China during the 20th century. Many things have affected Chinese
theatre like the rule of a dictator this controlled China Beijing Opera and forbid
plays. These plays did not come back until the 1980s along with the rejection f
Cultural war.


Other Asian Countries. Wayang Kulit is a form of theatre that are paper cut
outs that create shadow puppets. These puppets tell a story to the audience.
They have also incorporated music and sound to help enhance the experience
for the play.