The Noh Plays of Japan Read Free Page A

nowadays the nobles and gentlemen have become so critical that they will only look with approbation on what is good and will not give attention to anything bad.
    Their honorable eyes have become so keen that they notice the least defect, so that even a masterpiece that is as pearls many times polished or flowers choicely culled will not win the applause of our gentlemen today.
    At the same time, good actors are becoming few and the Art is gradually sinking towards its decline. For this reason, if very strenuous study is not made, it is bound to disappear altogether.
    When summoned to play before the noble gentlemen, we are expected to give the regular "words of good-wish" and to divide our performance into the three parts, Introduction, Development and Climax, so that the pre-arranged order cannot be varied...But on less formal occasions, when, for example, one is playing not at a Sh ō gunal banquet but on a common, everyday (yo no tsune) stage, it is obviously unnecessary to limit oneself to the set forms of "happy wish."
    One's style should be easy and full of graceful y Å« gen, and the piece * selected should be suitable to the audience. A ballad ( koutai) or dance-song (kuse-mai) of the day will be best. One should have in one's repertory a stock of such pieces and be ready to vary them according to the character of one's audience.
    In the words and gestures (of a farce, ky ō gen) there should be nothing low. The jokes and repartee should be such as suit the august ears of the nobles and gentry. On no account must vulgar words or gestures be introduced, however funny they may be. This advice must be carefully observed.
    Introduction, Development and Climax must also be strictly adhered to when dancing at the Palace. If the chanting proceeds from an "introductory-mood," the dancing must belong to the same mood...When one is suddenly summoned to perform at a riotous banquet, one must take into consideration the state of the noble gentlemen's spirits.
    IMITATION (Monomane).
    In imitation there should be a tinge of the "unlike." For if imitation be pressed too far it impinges on reality and ceases to give an impression of likeness. If one aims only at the beautiful, the "flower" is sure to appear. For example, in acting the part of an old man, the master actor tries to reproduce in his dance only the refinement and venerability of an old gentleman. * If the actor is old himself, he need not think about producing an impression of old age...
    The appearance of old age will often be best given by making all movements a little late, so that they come just after the musical beat. If the actor bears this in mind, he may be as lively and energetic as he pleases. For in old age the limbs are heavy and the ears slow; there is the will to move but not the corresponding capacity.
    It is in such methods as this that true imitation lies...Youthful movements made by an old person are, indeed, delightful; they are like flowers blossoming on an old tree.
    If, because the actor has noticed that old men walk with bent knees and back and have shrunken frames, he simply imitates these characteristics, he may achieve an appearance of decrepitude, but it will be at the expense of the "flower." And if the "flower" be lacking there will be no beauty in his impersonation.
    Women should be impersonated by a young actor.... It is very difficult to play the part of a Princess or lady-in-waiting, for little opportunity presents itself of studying their august behavior and appearance. Great pains must be taken to see that robes and cloaks are worn in the correct way. These things do not depend on the actor's fancy but must be carefully ascertained.
    The appearance of ordinary ladies such as one is used to see about one is easy to imitate...In acting the part of a dancing-girl, mad-woman or the like, whether he carry the fan or some fancy thing (a flowering branch, for instance) the actor must carry it loosely; his skirts must trail low so as to