Japanese kabuki play, Shunkan

Japanese kabuki play, Shunkan, all in youtube

Shunkan in Kabuki

This work, written by Chikamatsu Monzaemon, is based on part of the Heike monogatari (tales of Heike [the Taira clan]).
Currently the only scene performed is the one about the warrior Shunkan and others who were exiled to Kikaigashima (Kikai island) for the crime of plotting a rebellion against the Taira Kiyomori, so this work is commonly called "Shunkan."
A shamensen (ship bearing pardons) has arrived from miyako (the capital) to take back 3 exiles: Shunkan, Tamba no Shosho Naritsune, and Heihangan Yasuyori. Shunkan, informed that his wife, left behind in miyako, has been killed, offers his place on the ship to the female diver, Chidori, who is married to Naritsune. This is forbidden by the messenger, Seno Taro. In despair, Shunkan kills Seno. For this crime, Shunkan must remain on the island. Shunkan, left alone on the island, watches the ship until it is out of sight.

You can see the Noh play with the same story, in Kikaighashima

Japanese noh play, Shakkyo (Stone bridge)

Japanese noh play, Shakkyo (Stone bridge). It's in two parts, one and two
Here is the summary

STORY PAPER : Shakkyō (Stone Bridge)
Shakkyō

Monk Jakushō (also known as Ōe no Sadamoto before he renounced the world) is traveling around China and India visiting the places associated with Buddha. One day he arrives at a stone bridge in Mount Shōryōzen in China (located in the present Shanxi Province). A woodcutter boy appears. The boy exchanges words with Jakushō and tells him that the land beyond the bridge is the Pure Land belonging to Monju Bosatsu (Manjusri Bodhisattva) and that crossing this long, narrow bridge arching over a deep gorge is not easy for humans (indicating the difficulty of Buddhist ascetic training). The boy predicts that the monk will see a miracle if he stays at the bridge, and then he disappears.

From the other side of the bridge there comes to the waiting Jakushō, a lion (or lions), messenger of Manjusri Bodhisattva. The lion plays with gorgeous, fragrant peony flowers. After dancing a lion dance, the lion returns to his designated position, which is the carrier of Manjusri Bodhisattva.

Shakkyō is a kirinoh, or the last piece performed in the entire Noh program. This piece describes auspiciousness and includes a unique Shishimai, or lion dance. The lion dance is considered an advanced skill which requires special forms, movements, and expressiveness. Therefore Shakkyō is classified into one of the hiraki-mono. Hiraki-mono is a kind of an initiation ceremony in the Noh world, which demonstrates that the performer has reached a specific level of learning in his or her Noh training. Parts of staging differ by schools; while the other schools position the boy as mae-shite (the first half lead part) while the Hosho school positions him as tsure (the companion of shite). Also, the Hosho school omits ai-kyogen (interlude). Under modern theatrical circumstances it often happens that only the second half of this piece is performed (han-noh). Renjishi or the lion dance by two lions is also a popular way of staging in many schools.

The highlight of this piece is the extraordinary gorgeousness of the dance. It will fill the audience with brightness and briskness. Since even novices to the Noh art can straightforwardly enjoy this piece, it was performed to entertain distinguished guests from overseas.

Γιαπωνέζικο θέατρο Νο, Kokaji (The swordsmith) and Kuzu

Γιαπωνέζικο θέατρο Νο, Kokaji (The swordsmith) and Kuzu. Βρίσκεται ολόκληρο στο youtube

Summaries

KOKAJI:
An envoy of 11th century emperor Ichijo informs the swordsmith Kokaji Munechika that the emperor requests him to make a sword in accordance with a dream he has had. As Munechika has no assistant with the proper skills, he goes to the Inari Shrine to pray. There, a boy comes to him and, urging Munechika to fulfill the request tells him that he will provide all the help he will need. Munechika returns to his home and prepares for the ceremonial forging of the sword. With his prayers, the deity Inari appears in its form as a fox and helps Munechika to complete the emperor’s request and present the sword to the envoy. 

 At the command of Emperor Ichijo (980-1011), who received an oracle in a dream, Tachibana no Michinari visits and orders Sanjō no Kokaji Munechika, a renowned swordsmith, to forge a sword. Munechika insists that he cannot forge the sword because he does not have a partner swordsmith, who is as skilful as Munechika is. Michinari however refuses to accept his request. Munechika, who is caught between a rock and a hard place, visits Inari Shrine where he prays and requests the assistance of the guardian deity of his clan. At the shrine, a mysterious boy calls to him. The boy encourages Munechika by talking about the dignity of a sword in a Chinese legend and the story of Yamato Takeru-no-mikoto. He promises to become Munechika’s smithing partner and disappears in Mount Inari.

When Munechika goes home, dresses himself for smithing and prays on his platform, there appears before him the deity of Inari who transforms into the spirit of a fox. The deity announces that he will work as the partner of Munechika. The boy who appeared a moment earlier was the transformed Inari deity himself. Munechika, who gained the deity as the smithing partner, successfully forges a sword. Finally, the noted sword ‘Kogitsune-maru’ which is engraved with two names – “Kokaji Munechika” on the face and “Kogitsune (Little Fox)” on the back of the blade as a proof that the deity apprenticed himself to Munechika – is completed. After offering the sword to the imperial messenger, the deity rides on a cloud to return to the peak of Mount Inari.

“Kokaji” is a popular piece whose story develops quickly, is quite variegated, and includes climaxes in both halves of the drama. The scene where the mysterious boy, who appears in the first half, talks about the spiritual power of great swords, particularly the episode in which Yamato Takeru-no-mikoto who is surrounded by fire slashes grass with his sword Kusanagi to return flames around him and stood down enemies, includes amusing changes of narration and movements. In the latter half, the scenes where the deity becomes the forging partner and Munechika and the deity forge a sword to the climax produce the charms of the piece.

The sharp movements and invigorating chants never allow the audience to become bored. You can straightforwardly enjoy the performers’ smart skills and the power of chorus. Probably due to its highly entertaining nature, the story is transformed into dramas for kabuki and bunraku (Japanese traditional puppet theater) and provides pleasure to a wider variety of audiences.

KUZU:
The play, set in 7C AD, depicts a scene of the fight for the emperor's throne between Ooama-no-ouji (the name given to Tenmu-tenno before winning the battle and becoming the 40th emperor of Japan) and his cousin - Ootomo-no-ouji (Kobun-tenno, 39th emperor of Japan). Prince Ooama has fled the palace and is being pursued by Ootomo-no-ouji. Ooama has found refuge in the mountainous region of Kuzu, located in Yoshino. There he meets an old man, who is actually the incarnation of Zao-gongen (the main deity, worshipped in Shugendo). With the old man's help, Ooama is able to escape his pursuers. Finally a celestial maiden appears and dances for the benefit of the prince. Zao-gongen also appears and blesses the land and its people with peace and harmony.

Γιαπωνέζικο Θέατρο Νο, Hagaromo

Γιαπωνέζικο Θέατρο Νο, Hagaromo, όλο στο youtube

summary

Hagoromo (celestial feather robe)

One spring morning, a fisherman named Hakuryō, sets out to go fishing with his companions and finds a beautiful robe hung on a pine branch at Miho-no-Matsubara.

When he attempts to take it home as a family heirloom, a celestial maiden appears and asks him to return the robe to her. At first, Hakuryō refuses to return it. However, he is moved by the celestial maiden, who laments that she cannot go home to heaven without it. He therefore decides to give her the feather robe in return for seeing her perform a celestial dance.

As the celestial maiden in the feather robe performs the dance, which describes the Palace of the Moon, she praises the beauty of Miho-no-Matsubara in spring. She eventually disappears in the haze, beyond the peak of Mount Fuji.

This noh drama is based on the well-known legend of the celestial feather robe. In the folk tale, the celestial maiden is compelled to become the wife of the man who hides her feather robe. However, in this noh drama, the generous fisherman, Hakuryō, soon returns the robe to her.

Hakuryō suspects that if he gives the feather robe back to her, she will fly back to the heaven without performing the dance. But the maiden responds that such doubts belongs to the earth but there is no deceit in the celestial world. Honest Hakuryō is impressed by her words and returns the robe to her.

The dance of the celestial maiden is the pillar of this drama and is called Suruga-mai in Azuma-asobi in later years. Zeami's book shows that he considered the dance of the celestial maiden as special. In later generations, the celestial dance is recognized as the archetype of dances; however, the form has been dramatically changed since then.

A calm spring sea, white sand beach, lush green pine trees, exquisite dance of a celestial maiden, and Mount Fuji at the horizon. Both the performers and audience are filled with happiness whether performing or watching this noh drama.