Kyogen with Mansai Nomura: Life’s Comic Crossroads
Mansai Nomura, an esteemed Kyogen actor and designated preserver of Intangible Cultural Heritage in Japan, eloquently describes Kyogen’s stage as a crossroad where the threads of comedy and the tapestry of life come together.
Sense of Wander: ★★★★☆
This spring, Mansai Nomura revisits Taiwan, presenting Kyogen with Mansai Nomura, inviting audiences to delve into the enchanting world of this centuries-old Japanese performing arts tradition.
KAOHSIUNG, Taiwan — With its witty banter, relatable themes drawn from daily life, and exaggerated physical movements, Kyogen holds a special place in the hearts of audiences. Its close ties to everyday life and its ability to resonate deeply with the public have transformed it into one of Japan’s most beloved traditional performing arts, boasting a history of over 600 years.
While I’ve had the pleasure of watching Kyogen come to life as brief interludes between Noh plays, I’ve never had the chance to witness a performance solely dedicated to the art of Kyogen.
Kyogen, a form of comedic theatre, differs from Rakugo, also known as Japan’s “sit-down comedy.” Rakugo is a solo comedic storytelling art, with the performer seated on stage narrating tales with wit and charm, whereas Kyogen showcases humorous dialogues and exaggerated physical performances involving multiple characters.
This spring, the much-anticipated return of distinguished Kyogen master Mansai Nomura (野村萬斎) to Taiwan after a 5-year hiatus has enthusiasts of traditional Japanese performing arts buzzing with excitement. His exclusive show at the National Kaohsiung Center for the Arts, also known as Weiwuyin, promises a fascinating blend of classic favourites and new repertoire. As an avid aficionado of traditional Japanese culture, I couldn't resist the opportunity to experience this firsthand.
It was late when I found about the show and, to my dismay, all the tickets were sold out by then. Nonetheless, I managed to secure a ticket in the end. On the day of the performance, I woke up before dawn and travelled over 320 kilometres just to see Mansai Nomura’s live Kyogen play. Was it worth it, you ask? Without a doubt, a big YES.
Before the performance begins, Mansai Nomura dedicates about half an hour to greet the audience in Taiwan. During this time, he offers an insightful introduction to the fundamentals of Kyogen, decoding the symbolism of the matsu (Japanese for “pine tree”) depicted on the backdrop of the stage, which resembles a Noh stage. He also provides valuable tips on appreciating the art of Kyogen.
Introducing Kyogen, Mansai Nomura eloquently describes its stage as a crossroad where the threads of comedy and tapestry of life come together.
Classic Kyogen: Exploring the Complexities of Human Desire
“Busu,” which translates to “wolfsbane” in Japanese is a Kyogen classic brimming with wit, depicting the playful banter between a stern master and his mischievous servants. The story unfolds as the master prepares for a journey, leaving his faithful servants — Taro and Jiro — behind to tend to the house. With stern instructions ringing in their ears, the servants are warned to steer clear of a container holding the deadly poison known as wolfsbane.
As soon as the master departed, Taro — unable to resist his curiosity and despite Jiro’s warnings — opened the container and took a peek inside. To his delight, he discovered that it was filled with delicious honeyed sugar. Before they knew it, they had devoured all the sweets. Desperate for a solution, they concocted a series of excuse to explain their sugar-induced indulgence upon the master’s return. And let me tell you, the scene where Taro and Jiro attempt to explain and rectify their mistake is simply uproarious — the audience couldn’t contain their laughter, barely staying seated in their chairs.
According to Nomura, Taro represents desire, while Jiro embodies reason. In the end, much like in a Kyogen play, desire almost always prevails. This dynamic is what makes Kyogen so enjoyable to watch. Additionally, the Kyogen actors’ use of suriashi, or sliding their feet without lifting to navigate the easily vibrated Noh stage, adds a comedic dimension to the performance.
In this classic Kyogen play, the physical comedy and whimsical interactions between the servants steal the spotlight. It’s crucial to note that the physicality of the Kyogen actors on stage — encompassing their body movements and voices — has been meticulously honed to an almost inorganic precision, as described by Nomura in his recent publication titled Kyogen Cyborg. Nevertheless, this programmed precision remains essential to the genuine expression of Kyogen.
The two servants, Taro and Jiro, steal the spotlights in the classic Kyogen play “Busu.” Image courtesy of Mansaku-no-kai Kyogen Company.
New Kyogen: Shedding Light on Today’s Challenges
“Ayu” is the new play brought to us by Nomura Mansai. It all starts with Saisuke, a humble fisherman residing by the banks of the Tedori River in Hakusan City. Saisuke possesses a remarkable gift: the ability to discern a person’s personality and future with a single glance at their face — a skill known as physiognomy. One fateful day, Saisuke crosses paths with Kokichi, a young man on the run from his village after a quarrel with the chieftain’s son.
Saisuke extends a kind offer of sweetfish (ayu in Japanese) to Kokichi, inviting him to consider living by the river. However, Kokichi, portrayed by Mansai Nomura himself, reflects the aspirations of many young men today as he harbours ambitions of making a name for himself in the city. What is fascinating in this play is the portrayal of the six sweetfish by Kyogen actors, seamlessly bringing to life their journey from swimming in the river to being caught, grilled, and even consumed. Their animated movements and intricate costumes add to the spectacle.
With Saisuke’s guidance, Kokichi secures a job heating up baths at an inn in the city. Through diligence and determination, he ascends the ranks from a mere footwear keeper to the esteemed position of manager, eventually marrying into the family and assuming ownership of the inn.
One day, Saisuke visits to ask for a personal favour but is mercilessly rejected without even being offered a bowl of soup. As Saisuke had foreseen, Kokichi has grown into a ruthless individual. However, it soon becomes clear that this was all but a pipe dream that Kokichi had after enjoying a satisfying meal of sweetfish. Wait, was what happened — seeming so real — truly a dream?
Before Kokichi and the audience could comprehend what really happened, in a mesmerising twist, the back screen of the stage dissolves, revealing the backstage. The familiar sounds of Taiwan’s bustling streets — motorcycles roaring and car honking — fill the air. Then, we witness Kokichi, seemingly lost, breaking through this “wall,” sprinting toward the backstage exit that leads outside the playhouse. This unexpected ending, conceived by Mansai Nomura on the morning of the performance, blurs the boundary between reality and dream, leaving us to ponder whether Kokichi’s dream will continue beyond the stage.
In a new Kyogen production, “Ayu,” Mansai Nomura acts as Kokichi, a young man aspiring to pursue his dreams in the city instead of remaining in the countryside. Image courtesy of Mansaku-no-kai Kyogen Company.
Commissioned by Japan’s National Noh Theatre in 2017, “Ayu” makes its international debut on this tour. Employing a unique stage vocabulary, it unveils a fresh dimension of Kyogen performance. Contemporary in its themes, “Ayu” tackles the challenges and dilemmas many young people face today: whether to remain in their hometowns or to pursue their dreams in the bustling capital.
When Kokichi awakens from his pipe dream, he cries out: “I want money.” “I want to dream.” Although there’s no clear answer as to which path is best for those experiencing similar dilemmas, “Ayu” serves as a thought-provoking exploration for those facing such challenges.
It’s intriguing to witness how Kyogen, a traditional art form cherished as intangible cultural heritage by UNESCO, is transcending the boundaries of the stage to engage with the lives of the younger generation, evoking profound questions and reflections.
As Mansai Nomura has articulated, Kyogen’s stage, characterised by its simplicity with a wooden platform and two bridge-like entrances, serves as a meeting point where characters cross paths. It is within this intersection that life unfolds and stories come to fruition. But I believe Kyogen is actually more than that. In the rich tapestry of Japan’s theatrical heritage, Kyogen intertwines the threads of tradition and contemporaneity, offering a dynamic reflection of the evolving cultural and social landscape around us.
Luckily, I managed to get the final set of postcards by Mansaku-no-kai Kyogen Company before they sold out.
Reference:
Nomura, M. (2022). Kyogen Cyborg (L. H. Sheng, Trans.). Zhebian Books. (Original work published 2001)
Program notes for “Kyogen with Mansai NOMURA”. March 9-10, 2024, National Kaohsiung Centre for the Arts (Weiwuying), Kaohsiung.
Kyogen with Mansai NOMURA graced the stage at the Weiwuying Playhouse, part of the National Kaohsiung Centre for the Arts, from March 9 to 10, 2024.