Workshop
I: Classical Theater of Japan
Presenters:
Leonard Pronko, Professor of Theatre, Pomona College
Carol Sorgenfrei, Professor of Theater, University of California, Los Angeles
Coordinator:
Friday, February 3Sawa Kurotani, Assistant Professor of Anthropology, University of Redlands.
8:15am Shuttle leaves hotel
8:30am Arrival, Breakfast and Introduction (Orton Palm Room)
9:00am-Noon
Session 1: History of Nô (also spelled noh) and Kyôgen
Theater -- Carol Sorgenfrei (Orton Palm Room)
This session provides a broad overview of the development of nô as a theater form under the patronage of ruling classes from the early Medieval period (Kamakura and Muromachi), and later, during Edo and Modern periods, when added innovation in both form and content took place and the current form of nô theater was established. The session opens with a discussion of the origins of Japanese performance in myth and religion, and of the social conditions forming the cultural milieu that gave birth to nô and kyôgen, the comic interludes that are intimately tied to nô. These allied forms will be analyzed by careful attention to the nô plays Atsumori and Dôjôji and the kyôgen play Busu (Sweet Poison). Special attention is given to the analysis of the influential theoretical texts written by Zeami, one of the founding figures of nô theater. Among the world’s most important early texts on the philosophy of performance, these are read widely among scholars of theater history. The cultural influence in the formative stages of nô of both Zen Buddhism and Shinto can be gleaned through the reading of a sample of nô and kyôgen plays.
Noon Lunch (Orton Palm Room)
1:00-4:00pm Session 2: History of Kabuki and Bunraku -- Leonard Pronko (Orton Palm Room)
Developed in Early Modern period (Azuchi-Momoyama and Edo Periods), Kabuki and Bunraku appealed to commoners and merchant class, in a stark contrast to nô theater, which appealed more to the ruling warrior class. The first hour will address the early history of kabuki and its aesthetics, with particular attention on the contributions of the Danjurô line of actors, including a study (and video) of Saint Narukami. The second hour will continue with a discussion of the bunraku puppet theatre, its development and particularly its texts and their important contributions to kabuki. We will use Chikamatsu Monzaemon’s Love Suicides at Sonezaki and the “Terakoya” (The Village School) scene from Takeda Izumo’s Sugawara and the Secrets of Calligraphy. The final hour will be devoted to developments in nineteenth century kabuki, the influence of nô, and the evolution of kizewamono, with examples from both Tsuruya Namboku and Kawatake Mokuami.
4:10pm Shuttle leaves campus
5:45pm Shuttle leaves hotel
6:00pm Buffet Dinner on campus (Casa Loma Room)
7:00pm Keynote Address by Leonard Pronko, “From Dinner Theatre to
Theatrical Feasts”
(Casa Loma Room)
Saturday, February 4
IMPORTANT:
- Afternoon session will involve some physical exercise, in which you can participate to the extent you feel comfortable. Please dress comfortably or bring a change of clothes for the afternoon workshop.
- We will complete travel reimbursement paperwork today. Please bring your receipt(s) with you to the workshop
8:15am Shuttle leaves hotel
8:30-8:45am Arrival and breakfast
8:45-11:45am Session 3: Comparative Study of Nô and Kabuki Theaters
and Contemporary Influences of Nô and Kabuki -- Carol Sorgenfrei
(Hunsaker Och Tamale/Bulldog)
This session is devoted to the comparative analysis of nô and kabuki, and also of the influences which nô and kabuki have had on contemporary theater. The session will provide the analytical vocabulary to participants, with a particular emphasis on comparative method and the significance of hybridity and fusion in the development of many theater forms. This general introduction includes the comparative analysis of the aesthetics of nô and kabuki and how these aesthetic principals relate to and differ from typically Euro-American aesthetic principals. Some issues considered include architectural and stage design, costume design, use of make-ups and masks, acting style, dance and music, stories and themes. Finally, the most significant part of the session will cover the fusion between traditional and contemporary theaters. We find the creative instances of fusion between classical and contemporary Japanese theaters and the collaboration between traditionally trained nô and kabuki actors and directors and actors in contemporary theater, as well as those whose creative misunderstandings have led to innovative art. Among many important contemporary fusion artists, we will consider or at least briefly view the work of Ariane Mnouchkine, Suzuki Tadashi, Robert Wilson, Ping Chong, Zvika Serper, Yuriko Doi and the two presenters themselves: Leonard C. Pronko and Carol Fisher Sorgenfrei.
Noon Lunch (Hunsaker Och Tamale/Bulldog)
1:00-1:20pm Travel Reimbursement Paperwork
1:30-4:00pm Session 4: Understanding Kabuki through Physical Movement --
Leonard Pronko
(University Hall)
This session will be spent on physical exercises based on Kabuki Dance, developed by the great teacher of classical Japanese dance (also known as kabuki dance), Hanayagi Chiyo. We will learn some styles of men’s walk, women’s walk, some stamping exercises, and a short segment from a classical dance, Fuji Musume or Ame no Gorô. This session will also view several videos to study movement patterns.
4:10pm Shuttle leaves campus
Evening - free
Sunday, February 5
8:15am Shuttle leaves hotel
8:30-8:45am Arrival and Breakfast
8:45-11:15am Session 5: Concluding Discussion -- Sawa Kurotani (Hunsaker Och Tamale/Bulldog)
11:30am Shuttle leaves campus
