Monday, February 22, 2010

Noh theater - Funabenkei

For our analysis of Japanese Noh theater, I chose to examine a performance apparently entitled 'Funabenkei'. If anyone can read japanese characters, this 能楽 [船弁慶] 抜粋 (後シテ)
第五回 若者能 公演記録 (2009.1.10喜多六平太記念能楽堂) may say something worthwhile.



The performance is arranged on a traditional stage, with the performers, called Hayashi either seated or kneeling on the floor. The instrumental performers, including one aerophone and three distinct membranophones, take their place behind the main actor or actors, and a chorus of vocalists are relegated to a side section of the theater floor.

The performance begins with a very disjunct combination of vocal melody from the actor, three separate drum beats, and a series of vocalizations shouted from the drum performers, called Kakegoe . The drums, identified as the Ko-tsuzumi (small drum), Otsuzumi (hip drum), and a small version of the Taiko drum, play a rhythm that feels non-pulsatile due to multiple layers of repeated patterns that are disconnected from most of the melody.

Another melody is played (separately from the vocal melody) by the Nohkan flute. This additional melody is used to signal a transition in the performance after the vocal melody stops and the actor singing it begins a more dance- based performance. The chorus vocalizes throughout the dance performance (called kotoba), and lends the overall performance a more quasi-pulsatile structure. Also in the performance are two actors with smaller roles, one of which plays a small idiophone, done briefly to characterize some action or exchange between the two characters in the play.

The disjunct melody and layered rhythmic patterns supports the idea that Noh theater is conveying an otherworldly or ethereal peformance.

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