Show notes
Amy asks Poulton to explain the difference between reading Noh plays and seeing a Noh performance. Poulton goes into great detail on the subject, including why and how the same Noh play covered in a few pages of text becomes a one-and-a-half hour play when performed. He quotes from Arthur Waley's The Noh Plays of Japan to explain the concept of length and time.He further introduces Kan'ami and Zeami, father and son, who elevated the art of Noh to what it has become and discusses the Tokugawa Shogunate's influence on Noh and gagaku (court music). Poulton notes that the flute, drum, and howling in Noh are designed to help take the audience into a different time and space. This is especially important to plays that focus on stories of ghosts, demons, and natural spirits (such as those of trees and plants).Noh performances are known for their ability to induce drowsiness and even sleep among the audience. Poulton explains how this induced hypnotic state can effectively transport the audience to a liminal awareness between reality and dreams."There is a transcendental boredom to Noh. We have to slow down our consciousnesses to get into the space of the performance. Time and space expand into infinity and eternity and this is how we can contact those things." —Cody PoultonNext Poulton expands on the structure of Noh plays and the use of dreams as devices in two well-known performances: "Hagoromo," an encounter of a human being and a supernatural creature, and "Yamamba" the mountain crone (See BOA Podcast 14: Yamamba: Japanese Mountain Witch with Rebecca Copeland and Linda Erlich). He explains the role of Noh masks and costumes. He further comments on "Funabenke" a demon play.Amy mentions "Takasago" and its continued reference in modern-day Japan. Poulton responds that Noh often has a liturgical purpose, a way of blessing or commemorating an event similar to a requiem, and gives three modern examples of Japanese tragedies linked to Noh plays. He sum up his comments with:When bad things happen, we go back to ceremony, to ritual, to try to give shape to our feelings, and Noh is a beautiful device for doing that.Next is a discussion about the author Izumi Kyōka and how he came from a long line of Noh musicians and artists. Kyoka himself wrote plays about the supernatural and became a model of the counterculture of the 1960s in Japan. His uncle, Matsumoto Kintaro, was a famous Noh actor of the Meiji period. Poulton mentions the plays "Uta andon" and "Ama.""Saigyozakura" (Saigyo's Cherry Tree) is a play about the poet's trip to a temple to get away from the crowds at cherry-viewing time in search of a quiet and peaceful place to view the trees. But the cherry tree he finds at the temple chastises Saigyo for being a party pooper, telling him that people partying under the blossoms are celebrating his and the other trees' beauty. Poulton uses this as an example of how flowers and trees come to life and talk back to the humans via Noh plays.Lastly, Amy asks Poulton to recommend some books for those wanting to learn more about the Japanese performing arts:History of Japanese Theatre (Cambridge University Press, 2016), edited by Jonah SalzTraditional Japanese Theater (Columbia University Press), edited by Karen BrazellJapanese No Dramas (Penguin Classics, 1993) by Royall TylerKabuki Plays on Stage (4 Vols) (University of Hawaii Press, 2002-3) by James R. Brandon and Samuel L. LeiterBackstage at the Bunraku (Weatherhill, 1985) by Barbara C. AdachiThe Columbia Anthology of Modern Japanese Drama (Columbia University Press, 2017), co-edited by M Cody Poulton with Thomas Rimer, Mitsuya Mori, et al.Anthology of Japanese Short Stories (Oxford University Press, 2010), edited by Theadore W Goosen, which includes the story "Portrait of an Old Geisha" by Okamoto Kanoko (trans. Cody Poulton)About Cody Poulton:Cody Poulton taught Japanese literature, theater, and culture in the Department of Pacific and Asian Studies at the University of Victoria, Canada, for thirty-two years before retiring in 2021. Active as a translator of Japanese fiction and drama, he is author of Spirits of Another Sort: The Plays of Izumi Kyōka (2001) and A Beggar's Art: Scripting Modernity in Japan, 1900-1930. He is also co-editor, with Mitsuya Mori and J. Thomas Rimer, of The Columbia Anthology of Modern Japanese Drama and a contributing editor to History of Japanese Theatre. He is editor and chief translator of Citizens of Tokyo: Six Plays by Oriza Hirata (2019) and co-editor, with Barbara Geilhorn, Peter Eckersall, and Andreas Regelsberger, of Okada Toshiki and Japanese Theatre (2021).The Books on Asia Podcast is sponsored by Stone Bridge Press. Check out their books on Japan at www.stonebridge.com. Read a BOA review of their publication Yamamba: In Search of the Japanese Mountain Witch (edited by Rebecca Copeland and Linda C Ehrlich).Your podcast host is Amy Chavez, author of Amy’s Guide to Best Behavior in Japan, and The Widow, the Priest and the Octopus Hunter: Discovering a Lost Way of Life on a Secluded Japanese Island.Don’t miss out on upcoming episodes with Asia's best authors and translators by subscribing to the Books on Asia podcast.
The Books on Asia Podcast is co-produced with Plum Rain Press. Amy Chavez is author of Amy's Guide to Best Behavior in Japan and The Widow, the Priest, and the Octopus Hunter: Discovering a Lost Way of Life on a Secluded Japanese Island. Check out theBooks on Asia website for book reviews and podcast episodes. Subscribe to the BOA podcast from your favorite podcast service.