Noh: Sanemori (実盛),Momijigari (紅葉狩)

  • Noh: Sanemori (実盛),Momijigari (紅葉狩)

11/2/25 (Sun)

Sanemori: I’ve seen the more expansive version of this Heike tale in both Bunraku and Kabuki, but Zeami’s Noh version is not done as often, being one of those shows that only a certain level of actor is allowed to play.

A monk in Shinohara notes that a certain man has been listening to his sermons every day. He approaches the man and realizes that he is the only one who can see him. The man tells him the story of Sanemori, a warrior who was killed in the Battle of Shinohara, then hints that he is in fact that very warrior before slipping off. He returns in full battle gear, wearing a rich brocaded kimono, and tells his story. He describes how he had special permission to use the kimono, usually available only to generals, because he wanted to return to the battle in his home province in splendor. The reciters relate further that after he was killed and decapitated, the enemy discovered when they washed his head that the black dye came off to show his naturally gray hair, revealing him to be an old man. He had dyed it to ensure that his enemy took him seriously, but this is taken as a sign of vanity, an attachment that he must discard in order to achieve salvation. Sanemori, “a decayed and withered branch,” asks the monk to pray for his soul.

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Noh: Kocho, Tenko (胡蝶, 天鼓)

  • NOH: 胡蝶, 天鼓 (Kocho, Tenko)

9/21/25 (Sun), Umewaka

Kocho: This winter piece is rather unseasonal in these still humid days, but it’s always a pleasure to watch. A butterfly laments to a monk that she has never seen a plum, which blossoms in the late winter, since butterflies don’t live that long. The monk recites a sutra for her, and the power of prayer allows her miraculously to enjoy the flower.

You’d have to look hard to find any profound theme in this, but it’s a light and lovely show. Continue reading

Noh: Hajitomi (半蔀)、Koya Monogurui (高野物狂)

  • Noh: 半蔀 (Hajitomi)、高野物狂 (Koya Monogurui)

7/13/25 (Sun), Tokyo

I hadn’t seen either of these pieces, so I figured it was a good chance to catch something new. I accidentally bought four tickets rather than two and couldn’t find anyone interested in joining us, including a friend living a two-minute walk from the theater. I guess I’ll look on it as a donation to the Yarai Noh Theater group. 

Hajitomi: This is based on the famous “Yugao” chapter of the Tales of Genji. I read Arthur Waley’s moving translation of this chapter the night before as preparation. The title of the show refers to the lattice shutters that the women were slyly peeking through when Genji spotted them. The show is not a reworking of that story, using the character of Yugao instead for its own purposes. Continue reading

Noh: Kagekiyo (景清)

  • NOH: 景清 (Kagekiyo)

12/18/24 (Wed)

The great warrior Kagekiyo, devastated after the Heike loss, has blinded himself in despair and lives a desolate life as a recluse in a remote hut in Hyuga Province (today’s Miyazaki Prefecture). His worried daughter, refusing to believe rumors of his death, has set out with her retainer to find him. Continue reading

Noh: Aritoshi, Funa Benkei (蟻通, 船弁慶)

  • Noh: 蟻通, 船弁慶 (Aritoshi, Funa Benkei)

3/27/24 (Sun), Tokyo

The two shows today represent, perhaps unintentionally, the oldest and newest strands of Noh, the first written in the art’s infancy and the other toward its final flowering. In addition to the virtues of the separate pieces, the comparison of the two was instructive.

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Noh: Genji Kuyo (源氏供養)

  • Noh: 源氏供養 (Genji Kuyo)

5/19/24 (Sun)

Genji Kuyo (Commemorative Prayer for Genji) assumes an awareness of the 11th-century Tale of Genji, the classic story of the imagined romantic life of a randy former prince. The Noh play is based on the idea that fiction, being an invention of the mind, is a violation of Buddhist strictures against falsehoods and must be atoned for. The text alludes to a Tang Chinese poet’s musings on the sin of “wild words and flowery language” (狂言綺語). The anonymous drama has been around since at least 1464, when Genji would have been over 400 years old or as far as Shakespeare is from the present day.

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Noh: Soshi Arai (草子洗い)

  • NOH: 草子洗い (Soshi Arai)

3/17/24 (Sun), Tokyo

While this work is traditionally attributed to Noh’s founder Zeami, the light narrative style and large cast make it feel like a much later piece. It centers on the famed poet Ono Komachi, but here she is young and vibrant as opposed to the withered old woman longing for her youth in the other of Noh’s seven Komachi works. The piece impossibly brings together some of the Six Great Poets from different eras, making the fantasy element clear.

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Bunraku: The Sake Shop, The Returning Palanquin (酒屋、戻駕)

  • Bunraku: 酒屋、戻駕 (The Sake Shop, The Returning Palanquin)

2/11/24 (Sun), Tokyo

Bunraku has been homeless in Tokyo since the closure of the National Theater last October, leaving it to wander among venues. Today’s venue, a 1,249-seat theater, is way too big for puppets (the NT had around 800 seats), but I’ll take what I can get. They chose an audience-friendly three-part program of classics at just two hours or so each, a smart change from the usual two-part show of 4-5 hours each. This was the day’s second pairing. Continue reading

Noh: Basho, Mochizuki (芭蕉、望月)

  • Noh: 芭蕉、望月 (Basho, Mochizuki)

9/30/23 (Sat), National Noh Theater (Tokyo)

Basho: A dialogue-heavy show by Zenchiku with an unusually beautiful text. A monk in rural China meets a woman who, overhearing him read from the Lotus Sutra, wants to discuss Buddhist precepts. He doesn’t allow her in his hut at first since women are normally prohibited, but gives in when she notes that they live in the same city and draw water from the same river, suggesting a karmic connection.

She turns out to be the spirit of a plantain tree (basho), a plant with large and particularly delicate leaves. They discuss how even non-sentient objects such as trees (“even women and heartless plants,” according to one translation) can attain salvation. Continue reading

Japan’s fumbling National Theater grasps for relevance

  • January 4, 2024

Mainichi Shimbun, one of Japan’s largest dailies, recently published my article on the government’s scandalous mismanagement of the nation’s soon-to-be-rebuilt National Theater, dedicated to Kabuki and other traditional performing arts. The theater’s travails have been widely noted in the Japanese press, but there has been little analysis of why the troubles have arisen or how to resolve them. I offer my view below.

https://mainichi.jp/english/articles/20231228/p2a/00m/0op/003000c

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