What do you know about Noh?

21 Sep 2007 Category: Arts & Crafts, Features, Japan

What do you know about Noh?

Ancient Japanese theatre performances explained by Komparu Noh director, Yasuaki Komparu. Here, he is holding an antique Okina mask which could be dated back to the 12th century. Photo by Meg Kaizu.

Noh? What is this ancient Japanese form of musical drama all about? PingMag tells you everything you ever wanted to know about Noh but were afraid to ask – since we were allowed to visit well-known actor Yasuaki Komparu, who is also president of the Komparu Noh Association, during one of his lessons in Tokyo, and learned all about this rich theatrical tradition.

Written by Meg Kaizu

A scene from the play Izutsu (”The Well Cradle”) with actor Komparu on stage. Photo by Seiichiro Tsujii.

First, what is Noh and when did it start in Japan?

600 years ago, playwright Zeami Motokiyo and his father Kanami established Noh theatre, incorporating both theatre and folk traditions. Noh included elements of both the Sarugaku comic theatre and Dengaku, the harvest celebrations still practised in some parts of Japan today, with Taue-odori, the dance with comemmorates rice-planting. Sarugaku, which literally means “monkey music” was a form of comic theatre that originated in China [as *sangaku"] and was imported to Japan, where it enjoyed great popularity from the 11th to the 14th century. Sarugaku included drumming, dancing, juggling and acrobatics – a bit like a modern-day circus. During the Kamakura era from the 12th to the 14th century, the Japanese government had yet to regulate the Noh theatre, there wasn’t much difference between Noh and the lively Sarugaku. However, Zeami began writing acting manuals for Noh actors, and the Noh style became more more standardized. Later, Zeami’s daughter married into the prestigious Komparu family, which continues to Noh tradition today.

Then later during the Edo period, spanning roughly from the 17th to to mid 19th century, Noh troupes were subsidied by the Tokugawa government, and the artform flurished as a favorite passtime for the samurai upper classes. Commoners were also able to see Noh performance at certain times, such as the on-matsuri dance festival and the takigi-Noh (”bonfire Noh”) festival in Nara. In Kyoto, then the capital of Japan, an emporer would sometimes order a secret command performance of Noh, even though it was considered lowly form of entertainment for the samurai class. In post-war Japan, Noh became more acceesible to the general public.

Stage preparations of actor Komparu for the play “Okina.” Photo by Seiichiro Tsujii

So, this is all about tradition then…

Probably Europeans can relate to the Japanese traditions more than Americans – as European people have valued bloodlines a lot, and the family: So, if your father was a merchant, you were going to be a merchant too. There was a class system you were simply born into. Nowadays. we still have a strong sense of responsibility and obligation to pass on the Noh tradition that our family has helped keep alive.

How did Noh become such an important part of Japanese art?

Noh developed as a classical art between Zeami’s time, in the 14th century, and the 16th century. A knowledge of Noh theatre was standard among the educated classes. Today, the Japanese can appreciate Noh as a traditional and classical art: Its beautiful costumes, masks and other accessories are quite appealing to people. Of course Noh also has an important place in Japanese literature.

Can you explain a bit for us the movements of Noh actors when they dance, please? Are there spiritual components of that?

It is true that in the course of its development, Noh mixed and absorbed religious elements from both Shinto and Buddhism during the Muromachi era, approximately from 1336 to 1573. However, Noh can be understood by songs, lines and movement, which are abstract and don’t have specific meanings. Dance and movements in Noh often don’t symbolize any particular things, but they do represent the atmosphere of the story and the atmosphere of the characters’ feelings. Thus, I try to express these feelings with simple movements.


Yasuaki Komparu decided to have these child actors in the show because the story required young parts… Photo by Meg Kaizu

…while the kids practice, their mother watches sitting next to Komparu. Photo by Meg Kaizu

During the practice, Mr. Komparu is singing and using a wooden frame and sticks as a percussive instrument. Photo by Meg Kaizu

How did these simple movements develop?

We don’t know. Researchers have been looking into the origins…

Why is it so abstract?

We don’t know why it became so simple and stylized, either. Audiences can understand the stories through the words and songs. They observe the actors’ abstract movements and grasp the story. In those movements, there are some representational steps here and there. Overall, the movements of Noh actors create the atmosphere and among those abstract movements, representational movements start to work.

Let’s get to the basics: How did you learn Noh and what kind of training did you have?

We don’t need a textbook to learn Noh: Once I was chosen to act in Noh theatre, I learned how to speak, sing and dance from my parents. After taking lessons for ten years, I was able to dance naturally. It’s the same with learning your native tounge before kindergarten. By then, you have learned all the necessary vocabulary, pronunciation and grammar at home.

Do you have a certain dance style on a stage?

Many traditional actors and musicians including me don’t like overly acted Noh productions. Noh avoids theater and dance forms that are overdone. I believe that it’s best to speak, sing and move the body without thinking too much.

Do you feel spiritual when acting?

No, personally I don’t feel spiritual. I think it depends on the actor.

Yasuaki Komparu in the play “Momijigari” (”Hunting for Autumnal Leaves”) Photo by Seiichiro Tsujii

I think tradition is difficult to learn because it has established rules and customs. Does this apply to Noh performance as well?

It depends. Personally I’m not good at completely free art. There is a book called Escape from Freedom by German psychologist Erich Fromm. I haven’t read it but it’d be interesting to discuss this topic in terms of artistic performance.

What’s the thing with the Noh masks?

We have an Okina mask [see main picture above], which is said to be carved by Shotoku Taishi; but that is probably just a myth. However, it could date as far back as the Kamakura era. The cloth we wrap the mask in is said to be a piece of fabric from feudal ruler Toyotomi Hideyoshi.

How do you regard the future of Noh in terms of modern influences?

Some of my students want to create contemporary performances incorporating guitar or piano and I don’t oppose it. They explore these new things with their own sense of responsibility about tradition. As for me, I am a craftsman and want to maintain the tradition. I’m more interested in polishing my skills than exploring new forms. It doesn’t need to change.


A scene from the play Kakitsubata, also with Yasuaki Komparu. Photo by Seiichiro Tsujii

This is a scene from the play “Kiyotsune,” again with Mr. Komparu. Photo by Seiichiro Tsujii

…in every aspect?

Although I’m open to my students collaborating with new media, I’m careful about them using the shamisen or shakuhachi in their performances because that would imply that those traditional instruments have been part of the same tradition, which is not true.

So you aren’t opposed to any changes at all with Noh?

Changes are inevitable for anything, but there is a tradition in Noh that has been passed on for many many years. Actually, recently there has been a kind of Noh Renaissance movement, in which people want to go back to the beginning of Noh. I don’t think it’s necessary because Noh as a whole has created its tradition already.

But as any tradition, it must be surely difficult to pass it on…

The difficulty is the same as with any other art form. Actually, we still do have many young actors and audiences. Noh is sponsored by the Japanese government, so I don’t fear it will disappear.


Ancient tradition in the midst of the Ginza skyscrapers: the annual Komparu Festival in the Komparu Street. Photo by Seiichiro Tsujii

Yasuaki Komparu, performing in the Ginza streets during the festival. Photo by Seiichiro Tsujii

Let’s get practical: Is Noh something everybody can try?

Of course, anyone regardless of gender and nationality can learn it. However, the numer of people interested in Noh acting is decreasing. In the past, it used to be only available to the samurai. And it wasn’t until after WWII that Noh was only performed by male actors. Now, we have also professional actresses. Actually, there is even one white professional actor too.

Now for some concrete information: Where in Japan can we take lessons?

There are Noh schools all over Japan. Also, you can also sign up with a Noh actor near your area. For example, we offer classes at our Komparu association. On our website we also post the schedule of our upcoming shows. Moreover, the Department of Music at the Tokyo National University of Fine Arts and Music offers some courses and so does the Noh-Gaku Association and the National Theatre of Japan.

Where can I see a show? Isn’t that something quite special and expensive…??

People tend to think Noh is expensive but that’s not true. Only at special anniversary events tickets tend to get expensive. But the entry fee for a regular performance is around 5,000 yen, and there are student discounts. We tend not to advertise it too much because of its simple nature. It’s the bushi spirit in Noh.

A performance during the Komparu Festival in Ginza, taken this August. Photo by Seiichiro Tsujii

For starters: Where can people outside of Japan have a look at Noh?

Easiest way for overseas people to watch it would be on YouTube, of course. Also, NHK has some DVDs. Speaking of which: I show DVDs to my students when I teach. I use my own or other actors’ theatre performances for my students to refer to before they act in a show.

What was your experience of performing Noh overseas so far?

Think of it this way: There are many miles between Noh and foreigners, and on the other hand there are 600 years between Noh and contemporary Japanese. Meaning, there aren’t big differences between foreign and Japanese audiences in that sense – anyone can enjoy its different aspects. For first-time audiences, I recommend watching several times to understand the meaning of the story.

Lastly, please give us a bit more info about Tokyo’s annual Komparu Festival in August…

The Komparu Festival has become a tradition every summer in Ginza: It has been going on for twenty-three years, organised by the Komparu association and the residents of the Komparu district. As part of the festival, we perform Noh in the street as a prayer to a god. The festival originated from On-matsuri, the dance festival, and Takigi-Noh, the bonfire Noh performance, in Nara. It is said that a god is decends to the earth only for one day. In Nara you can see On-matsuri twice every year, in spring and in fall. The festival revolves around the Komparu Inari, a religious artifact which is given to the Komparu family by Hideyoshi Toyotomi, the great leader who unified Japan in the 16th century. During the Edo period, the Inari was moved to Ginza. Actually, the location of this religious artifact has since changed, but will still continue to hold this traditional ceremony in the same place.

Thank you, Yasuaki Komparu of the Komparu Noh association in Tokyo, for giving us an extraordinary insight in the rich tradition in Japan!

56 Comments

  1. Would be great to see more of live Noh outside Japan. Seems to be very rich and could be a fresh breath into our scenic arts.

    Posted by: Aroldo on September 21st, 2007 at 11:25 pm

  2. ‘Koyogari’ in the photo caption should read ‘Momijigari’.

    Posted by: Alan on September 22nd, 2007 at 1:36 am

  3. So beautiful! I wish I could watch it someday!

    Posted by: Akai on September 22nd, 2007 at 5:36 am

  4. 1-Photo”Stage pureparations—-” is not “Kiyotsune”.It is “Okina”stage.
    2-”Foreigner Noh professional” is not Komparu-school person.He or she is another Noh-school professional person.

    Posted by: Yasuaki Komparu-wrong-2 on September 22nd, 2007 at 7:33 am

  5. Yukio Mishima is a militarist.I do not like him.I have not said about Mishima.

    Posted by: from where comes Mishima? on September 22nd, 2007 at 7:48 am

  6. guys - do you approve your comments first now????

    Posted by: xoxo on September 22nd, 2007 at 1:06 pm

  7. xoxo -no, we don’t approve comments. Did you have problems? If so, let me know and I’ll look into it.

    We do have an automatic filter that cuts out the spam, like most blogs. And we will delete anything that is obviously offensive, like meaningless links to porn etc. But you are free to write anything you want, of course. Ed.

    Posted by: Ed. on September 22nd, 2007 at 1:44 pm

  8. I have not said to Ping Mag about Mishima at Septembre 2007. Mishima loved to watch Noh. I do not love him. Septembre 2007 I did not comment about Mishima.Mishima wrote”Modern Noh”.I have not reed “Modern Noh”. Longlive pease!

    Posted by: Yasuaki Komparu on September 22nd, 2007 at 3:43 pm

  9. Thank you!M.Alan!Koyogari wrong, Momijigari OK.

    Posted by: Yasuaki Komparu on September 22nd, 2007 at 3:56 pm

  10. i can love you

    Posted by: ernest stephen on September 22nd, 2007 at 4:48 pm

  11. i can joine you

    Posted by: ernest stephen on September 22nd, 2007 at 4:50 pm

  12. Noh is fantastic art.. Next month I intend to enjoy some

    Posted by: yaschan on September 22nd, 2007 at 11:41 pm

  13. Great work!

    Posted by: HDR Japan on September 23rd, 2007 at 8:53 pm

  14. Noh is basically a slumbering version of Kabuki. Yes, purists will see it otherwise, but it’s a bit like watching paint dry. For the daredevils who are planning to visit a performance, make sure you do not sign up to endure any more than an hour at a time! Noh is great and all, but arts need to grow up, contemporize, and so forth.

    Posted by: ErickP on September 23rd, 2007 at 11:56 pm

  15. to M.yaschan:My nickname is Yasu-chan when I was a child time.

    Posted by: Yasuaki Komparu on September 24th, 2007 at 5:25 am

  16. Our shool HP is “Noh Komparu ryuu Komparu Emmaikai he youkoso”.
    onli Jabanese language,I am sorry.

    Posted by: Yasuaki Komparu on September 24th, 2007 at 5:46 am

  17. wow~ that awsome!

    Posted by: JLIM on September 24th, 2007 at 2:34 pm

  18. If you’re in Italy and are interested in Noh Theatre my dojo is starting a Noh Theatre course held by Monique Arnaud.

    http://www.rasenbudozen.com/noh.html

    Regards,
    Marcello

    Posted by: Marcello on September 26th, 2007 at 10:28 pm

  19. Mr.Marcello:Konnnichiha!I can not speak English.My daughter have been in Urubino?Uluvino? 30years ago,20month.Nou she is a translater of Italiano.

    Posted by: Yasuaki Komparu on October 11th, 2007 at 1:01 am

  20. Mr.Marceiio:click my bloe-color name,may be can watch my blog,Japanese language.

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