KYOGEN

Kyogen Theatre

                                  
 Kyogen is a type of comic drama. Like Noh and kabuki it features only male actors but unlike noh and kabuki the performers don't wear elaborate costumes, make up or masks. Instead they wear kimonos and are accompanied by a chorus. In 2001, kyogen was designated by UNESCO, along with Noh, as one of the Masterpieces of the Oral and Intangible Heritage of Humanity.

Kyogen History

Kyōgen is thought to derive from a form of Chinese entertainment that was brought to Japan around the 8th century. This entertainment form became known as sarugaku and initially encompassed both serious drama and comedy. By the 14th century, these forms ofsarugaku had become known as Noh and kyōgen, respectively.

Kyōgen provided a major influence on the later development of kabuki theater. After the earlier, more ribald forms of kabuki had been outlawed in the mid-17th century, the government permitted the establishment of the new yarō-kabuki (men's kabuki) only on the grounds that it refrain from the previous kabuki forms' lewdness and instead model itself after kyōgen.

Noh had been the official entertainment form of the Edo period, and was therefore subsidized by the government. Kyōgen, performed in conjunction with Noh, also received the patronage of the government and the upper class during this time. Following the Meiji Restoration, however, this support ceased. Without government support, Noh and kyōgen went into decline, as many Japanese citizens gravitated toward the more "modern" Western art forms. In 1879, however, then-former US President Ulysses S. Grant and his wife, while touring Japan, expressed an interest in the traditional art of Noh. They became the first Americans to witness Noh and kyōgen plays and are said to have enjoyed the performance. Their approval is believed to have sparked a revival of interest in these forms.^[1]

In modern Japan, kyōgen is performed both separately and as a part of Noh. When performed as part of a Noh performance, kyōgen can take three forms: a separate (comic) kyōgen play, performed between two Noh plays (inter-Noh), which is known as honkyōgen (本狂言^?, actual kyōgen), as a (non-comic) scene within a Noh play (intra-Noh, between two scenes), which is known as aikyōgen (間狂言^?, in-between kyōgen, kyōgen interval), or as betsukyōgen (別狂言^?, special kyōgen).

In aikyōgen, most often the main Noh actor (shite) leaves the stage and is replaced by a kyōgen actor (狂言方 kyōgen-kata^?), who then explains the play (for the benefit of the audience), though other forms are also possible – the aikyōgen happening at the start, or the kyōgen actor otherwise interacting with the Noh actors. As part of Noh, aikyōgen is not comic – the manner (movements, way of speech) and costume are serious and dramatic. However, the actor is dressed in a kyōgen outfit and uses kyōgen-style language and delivery (rather than Noh language and delivery) – meaning simpler, less archaic language, delivered closer to a speaking voice – and thus can generally be understood by the audience, hence the role in explaining the play. Thus, while the costume and delivery are kyōgen-style (kyōgen in form), the clothing will be more elegant and the delivery less playful than in separate, comic kyōgen. Before and after aikyōgen, the kyōgen actor waits (kneeling in seiza) at the kyogen seat (狂言座 kyōgen-za^?) at the end of the bridge (hashigakari), close to the stage.

The traditions of kyōgen are maintained primarily by family groups, especially the Izumi school and Ōkura school.

 Kyogen developed from the humorous forms of sarugaku, which also produced Noh (See Noh), and has traditionally been performed in the intervals between Noh plays to offer little comic relief as a break from of the seriousness of a Noh drama. As time went in kyogen devolved more fully and was often shown as a complete performance between two noh dramas. Two schools of kyogen are still in existence.

 Books: A Guide to Kyogen by Don Kenny (Hinoki Shoten, 1968). A variety of guidesand booklets are also available from the Japanese National Tourist Office (JNTO) and Tourist Information Centers (TIC).

 

Kyogen Plays 

 Famous kyogen plays includeBakuchi Juo ("The Gambler"), about the Master of Hell playing a dice game with the audience; Niwatori Muko("The Rooster Son-in-Law"), about a mischievous teacher who convincer his student to act like a rooster when he visits his wife's parents for the first time. 

 A popular theme in other plays is the relationship between master and servant. Kuriyaki("Roasting Chestnuts") is about a servant eating all of his master's chestnuts and the excuse he provides for doing so. Kuji Zainin ("Sinner by Lottery") is about a conflict between a master and servant during a festival in Kyoto.

 In Two-in-One Hakama two men show up as guests to a formal party and realize they only have one formal hakama between them. At first they take turns wearing the hakama and go into the house separately. When they are requested to go into together they tear the hakam un half, each wearing half on the front part of their legs. Much of the comedy revolves around their efforts to avoid exposing their backsides. 

 In The Delicious Poison a master leaves his treasured supply of molasses in the care of two servants. Worried the servants might try to consume the molasses the master tells them it is poison so powerful that simply inhaling the fumes blown by a breeze is enough to kill. After the master leaves, a strong wind blows up and the servants breath in the fumes and nothing happens. They then decide to try the molasses and find it so delicious they eat the entire supply and in the process of their feat destroy some other valuable possessions of the master, When the master returns the servants tell him they accidently broke the possessions and felt so bad they tried to commit suicide by consuming the molasses. 

Kyogen Performances

 

 Unlike highly symbolic and spiritual Noh, kyogen draws its inspiration from the real world and features actors who speak in colloquial Japanese. Many plays are satires of weak samurai, dishonest priests or unfulfilled women. Taro Kaha, a servant, is a stock player who appears in many kyogen plays. Sometimes clever, sometimes foolish, he has a knack for getting in trouble. 

 Kyogen focuses on the script with asides to the audience and bantering dialogue and comedic repetition. The language is much less elevated than that of Noh and is easier for ordinary Japanese to understand, The action is more energetic and realistic as opposed to the slow, stylized movements of Noh. 

 Kyogen has experienced a revival partly through the energy of Nomura Mansai, a young fresh-faced performer who has livened up the show with light effects and electronic displays that explain what is going on on stage. Normura is the eldest son of Mansaku Monura who credited with introducing kyogen to overseas audiences.

    Kyogen has also been given a boost by the handsome kyogen actor Motoya Izumi, who had the lead roll in one of the most popular television dramas of 2001. 

Costumes

Outfits are generally kamishimo (Edo period outfit consisting of kataginu top and hakama pants), with the master (if present) generally wearing nagabakama (long, trailing pants).

Actors in kyōgen, unlike those in Noh, typically do not wear masks, unless the role is that of an animal (such as a tanuki or kitsune), or that of a god. Consequently, the masks of kyōgen are less numerous in variety than Noh masks. Both masks and costumes are simpler than those characteristic of Noh. Few props are used, and minimal or no stage sets. As with Noh, a fan is a common accessory.

Language

The language in kyōgen depends on the period, but much of the classic repertoire is in Early Modern Japanese, reasonably analogous to Early Modern English (as in Shakespeare). The language is largely understandable to contemporary Japanese speakers, but sounds archaic, with pervasive use of the gozaru (ござる^?) form rather than the masu (ます^?) form that is now used (see copula: Japanese). For example, when acknowledging a command, Tarō kaja often replies with kashikomatte-gozaru (畏まってござる^?, "Yes sir!"), which in modern Japanese one uses kashikomarimashita (畏まりました^?). Further, some of the words and nuances cannot be understood by modern audience (without notes), as in Shakespeare. This contrasts with Noh, where the language is more difficult and generally not understandable to a contemporary audience.

There are numerous set patterns – stock phrases and associated gestures, such as kashikomatte-gozaru (with a bow) and Kore wa mazu nanto itasō. Iya! Itashiyō ga gozaru. "So first, what to do. Aha! There is a way to do it.", performed while bowing and cocking head (indicating thought), followed by standing up with a start on Iya!. Plays often begin with set phrases such as Kore wa kono atari ni sumai-itasu mono de gozaru. "This is the person who resides in this place." and (if featuring Tarō kaja) often end with Tarō kaja running off the stage yelling Yaru-mai zo, yaru-mai zo! "I won't do it, I won't do it!".

Lines are delivered in a characteristic rhythmic, sing-song voice, and generally quite loudly. Pace, pitch, and volume are all varied for emphasis and effect.

Movements

As with Noh, which is performed on the same stage, and indeed many martial arts (such as kendo and aikido) actors move via suriashi(摺り足^?), sliding their feet, avoiding steps on the easily-vibrated Noh stage. When walking, the body seeks to remain at the same level, without bobbing up or down. Plays also frequently feature stamping feet or otherwise hitting the ground (such as jumping) to take advantage of the stage.

As with Noh, angle of gaze is important, and usually a flat gaze is used (avoiding looking down or up, which create a sad or fierce atmosphere, which is to be avoided). Characters usually face each other when speaking, but turn towards the audience when delivering a lengthy speech.

Arms and legs are kept slightly bent. Unless involved in action, hands are kept on upper thighs, with fingers together and thumb tucked in – they move down to the sides of the knees when bowing.

Music

Kyōgen is performed to the accompaniment of music, especially the flute, drums, and gong. However, the emphasis of kyōgen is on dialogue and action, rather than on music or dance.

Kyogen "Igui" Play