Hannah Eales        Access English Studies

Title: History Of The Theatre

Word Count: 1117

Tutor: Pat Thorns

Abstract

In an age of digital cinema, exquisite computer animation and giant talking robots, it is a small wonder that theatre has even survived this far.  And yet it consistently receives high reviews, people still flock to the curtained stage in eager anticipation to see centuries-old stories performed before them.  But is there a place in modern society for one of the most ancient, revered and deeply traditional forms of Japanese Theatre?  This essay will look at the origins, content and possible modern connotations of Noh Theatre.

Noh, meaning “talent” or “skill”, began in the 14th Century in Japan.  It is very much unlike western theatre in that the actors use expressive movements and physical appearance to imply the meaning of their story, rather than act it out.  To the untrained eye, it would seem that not much actually happens in a Noh play, but well-informed observers of Noh theatre who are knowledgeable about the story’s plot would appreciate the performance and the understated references to Japan’s cultural history.  Traditionally, Noh was performed on “auspicious occasions by professional actors for the warrior class-as, in a sense, a prayer for peace, longevity and prosperity for the social elite”.  

There are five different types of plays performed in Noh theatre.  The first is called kami (“God play”) and centres around a sacred story of a Shinto shrine.  The second, shura mono, or “fighting play”, revolves around warriors.  The third type, katsura mono (“wig play”) involves a female protagonist.  The fourth type is actually split into two.  The first is called gendai mono, which means “present day play” and, whilst most plays in Noh theatre focus on the supernatural, gendai mono plays are more realistic with a contemporary feel.  The second is called kyojo mono or “madwoman play”.  The central theme of kyojo mono is that the central character becomes insane after the loss of a lover or child.  Finally, the fifth type of play in Noh theatre is called kiri or kichiku, which means “final” or “demon”, and revolves around devils, strange beasts and supernatural beings.

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There is a typical program in Noh theatre.  It begins with the okina, a kind of dance that would summon peace and prosperity.  Following on from the okina, three out of the five types of play would be performed and, traditionally, if the fifth type of play (kiri or kichiku) were to be performed in the program then it would have be the final piece.  During the interludes between each play comedy sketches called kyogen would be performed.

There are both major and minor acting roles in Noh theatre, and actors would train and rehearse independently for these ...

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