• Noh: 自然居士、正尊  (Jinen Koji, Shozon)

7/21/19 (Sun), Tokyo Umewaka Noh

Today’s offerings were both genzai Noh plays dealing with real-world events rather than ghosts. They date respectively from the beginning and end of the active period of Noh drama, the first by Noh’s esteemed founder Kan’ami and the second by the much later Yajiro Nagatoshi. They present a striking contrast, symbolizing how elegance and dance gave way to an emphasis on action in Noh’s evolution.

Jinen Koji: A koji (lay preacher) is giving a sermon when an orphan girl brings a kimono to dedicate to her parents. It turns out that she has acquired the kimono by selling herself to slave traders, who quickly come and take her away. The preacher leaps into action, catching the bad guys on the shore of Lake Biwa just before their boat is to depart. He returns the kimono and demands that they release the girl. They threaten him, but he refuses to leave the girl’s side. As the presence of a holy man would complicate things, they agree to free the girl but, as a means of humiliating him, insist that he dance for them first. He performs several dances before finally retrieving the girl.

An uncomplicated story by Kan’ami offering three distinctive dances, including a narrative piece and a dance with a waist drum. These are presented simply as entertainment rather than expressions of character, making the piece rather less interesting. Still, the notably robust movement by the priest stands out, and the girl’s heartbreaking story with the slave traders points to an unsavory part of Japan’s past (explored more incisively in Sansho the Bailiff). It’s a bit off-putting to hear these guys announce themselves to the audience so baldly (“We are human traffickers from the East”), but I guess that goes with the Noh territory. A very audience-friendly piece, and no complaints about the quality and variety of the dances, especially as performed here.

Shozon: The warrior Shozon has been sent by the supreme ruler Yoritomo to assassinate the latter’s brother Yoshitsune in Kyoto. He is caught by Yoshitsune’s guard Benkei and brought before the general, but insists that he is there only as a pilgrim. As proof, he improvises an oath swearing before the gods not to kill the general. Yoshitsune doesn’t believe a word but is impressed at Shozon’s creative skills. He gives him sake and has Shizuka Gozen perform a dance for him. He then allows Shozon to leave. Benkei, suspicious, discovers that Shozon is in fact preparing to attack, and an animated battle ensues between the two sides, with numerous soldiers and even Shizuka joining in. Shozon’s side is thoroughly defeated, and Shozon himself is whisked offstage to an unknown fate.

Nagatoshi’s dynamic piece is one of the later Noh dramas that seemed to be moving the art in a more populist direction before it was taken up by the aristocracy. There’s less concern for literary prettiness than the story and characterizations. The spontaneous composition of the oath recalls Benkei’s similar moment in Ataka, written by Nagatoshi’s father Kojiro Nobumitsu, and the vivid battle scene also reflects the greater movement and large casts (here nine actors) pioneered by the father. The swordfight was particularly vivid; one soldier had a startling moment where, slashed by a sword, he bends backward and holds the position for 2-3 seconds before dropping flat to the floor. Another soldier performs a somersault, which in Noh terms is quite dramatic. In terms of sheer action, this piece offers a bit of everything, a great show for first-timers.