{"id":6063,"date":"2020-08-17T19:10:25","date_gmt":"2020-08-17T10:10:25","guid":{"rendered":"https:\/\/localhost:10443\/en\/?p=6063"},"modified":"2020-08-18T15:01:57","modified_gmt":"2020-08-18T06:01:57","slug":"kyogen-artist-nomura-mansai-we-will-withstand-the-covid-19-crisis-part-ii","status":"publish","type":"post","link":"https:\/\/tsumugu.yomiuri.co.jp\/en\/feature\/kyogen-artist-nomura-mansai-we-will-withstand-the-covid-19-crisis-part-ii\/","title":{"rendered":"Kyogen artist Nomura Mansai: \u201cWe will withstand the COVID-19 crisis\u201d (Part II)"},"content":{"rendered":"\n<h6 class=\"wp-block-heading\">By Kazuki Matsuura \/ TSUMUGU Project<\/h6>\n\n\n\n<p class=\"wp-block-paragraph\">(Continued from <a href=\"https:\/\/tsumugu.yomiuri.co.jp\/en\/learn\/kyogen-artist-nomura-mansai-we-will-survive-the-covid-19-crisis-part-i\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Part I (\u65b0\u3057\u3044\u30bf\u30d6\u3067\u958b\u304f)\">Part I<\/a>)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The answer to that question lay in the ongoing special event. It was put on \u201cfor people to see the worthiness of <em>nohgaku<\/em>.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kiyokazu Kanze, the grand master of the Kanze school of <em>noh<\/em> and other masters from various schools gathered from all over Japan to give their performances.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThere has never been a lineup of <em>noh\/kyogen<\/em> programs like this before&#8230; I\u2019d say, there never was, and there never will be another event like this one. Different schools have different styles, different tastes. This time, the various schools have sent in their top performers to show what each of them does best.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cA huge <em>nohgaku<\/em> event was put on in 1964 on the occasion of the last Tokyo Olympics. The initial scheme for 2020 was to reproduce that event, but I believe the event we\u2019ve put on is more than the last one. I think we we were able to make the audience see why <em>nohgaku<\/em> survived and why it will keep on.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe skills we\u2019ve been cultivating for nearly 700 years, the refined dramaturgy, costumes and masks made based on our high level of aesthetic awareness, and the music, our power to create an atmosphere on stage, etc,. were all there.\u201d  <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"790\" src=\"\/en\/wp-content\/uploads\/2020\/08\/75f16c54d66b50acd45753204572b2bb-1.jpg\" alt=\"\" class=\"wp-image-6096\"\/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The event ran until Aug. 7. The programs varied from day to day, featuring well known plays including <em>Okina<\/em> (<em>noh<\/em>), <em>Shakkyo<\/em> (<em>noh<\/em>) and <em>Suehirogari<\/em> (<em>kyogen<\/em>). <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nomura himself was the <em>shite<\/em> (principal actor) in <em>Kusabira<\/em> (Mushrooms). In the act, a man is bewildered because the more he picks mushrooms growing in his garden, the more they grow. He asks a priest to pray them away, but it backfires, and they keep growing at an even faster pace. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe story says oppression is not the way, but cohabitation or coexistence is. The notion of what we call \u2018diversity\u2019 today already existed in the <em>nohgaku<\/em> theater in medieval Japan. Typically, those who use force are made to suffer in <em>nohgaku<\/em> plays. When oppression was around, <em>noh<\/em> and <em>kyogen<\/em> represented the reaction against it.\u201d  <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In <em>nohgaku<\/em>, \u201ceverything is handmade,\u201d the artist went on to say.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThe performers go on a square-shaped, roughly 33-square-meter stage and get their acts together without relying on stage lights or fancy settings. <em>Nohgaku<\/em>, or for that matter stage art, is created by living human beings. On stage, living beings represent human deeds. In the audience, living beings witness what\u2019s going on on stage. The theater is a way for people to communicate and where people gather to feel the catharsis of living.\u201d  <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWe were forced to hibernate from April to June. Now, the flowers are beginning to bud, and gradually, the flowers will bloom. That we will take the necessary steps to cope with the pandemic is a matter of course. We have to be careful, but we also need to do something to make the flowers bloom. To make the flowers bloom on stage is to make the flowers bloom in the audience. When the flowers bloom in you, that energy radiates. That energy is what I&#8217;d like to share with the audience. Reason is no match for the power of the performing arts.\u201d <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"790\" src=\"\/en\/wp-content\/uploads\/2020\/08\/76515b444d5b7a85c2e14cd705f9ddce.jpg\" alt=\"\" class=\"wp-image-6095\"\/><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Seeking the essence by comparison<\/h6>\n\n\n\n<p class=\"wp-block-paragraph\">Asked to compare the Western theater with that of Japan, Nomura said: \u201cThey say the theater won\u2019t perish, but some say the Greek tradition has. They say the drama or script is still there, but dramaturgy has been lost. Take for example, Shakespeare. The script may always be the same, but the performance changes with every production. In <em>nohgaku<\/em>, the performance never changes. Well, it does make certain changes to reflect the conditions of the time, but we continue to follow a certain style or tradition passed down from our predecessors. I think that is why <em>nohgaku<\/em> is said to be unique and the oldest stage art in the world.\u201d <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nomura is also active in the modern theater. As artistic director of the Setagaya Public Theatre in Tokyo, \u201cI often end up asking the stage director to work on a modern reinterpretation of something traditional. In other words, I ask the modern theater to reinterpret with its own artistic sensitivities and physical expression what the <em>nohgaku<\/em> performers cannot. On the other hand, my personal challenge is to bring the style, techniques and ideas of <em>nohgaku<\/em> into the modern theater, including Shakespeare.\u201d <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cI\u2019ve been in modern dramas including movies and was given the opportunity to study Shakespeare\u2019s theater in Britain. I\u2019ve been constantly thinking about how <em>nohgaku<\/em> differs. Knowing the difference, leads to understanding your own essence. You\u2019ll never know what the essence is or what\u2019s important until you try out something new.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cLiving the modern life as you look back on history in a society where tradition is aptly compared with something new and modern \u2014 something that may not be long-lasting, but is trying hard to at every given moment \u2014 that, I think, is one ideal way of life.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"text-align:right\">(<a href=\"https:\/\/tsumugu.yomiuri.co.jp\/en\/learn\/kyogen-artist-nomura-mansai-we-will-survive-the-covid-19-crisis-part-i\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Go back to Part I (\u65b0\u3057\u3044\u30bf\u30d6\u3067\u958b\u304f)\">Go back to Part I<\/a>)<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1280\" height=\"790\" src=\"\/en\/wp-content\/uploads\/2020\/08\/34de962b459a29897d9ef15103f537a4-2.jpg\" alt=\"\" class=\"wp-image-6092\"\/><\/figure>\n\n\n\n<h6 class=\"wp-block-heading\">Nomura Mansai:<\/h6>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Izumi school kyogen artist and artistic director of the Setagaya Public Theatre (Tokyo). Nomura also takes the stage in modern theaters, and from time to time makes appearances in TV dramas and movies. In 2001, the versatile actor won the prize for best actor at both the Blue Ribbon Awards and the Japan Academy Film Prize for his leading role as Abe no Seimei in the movie Onmyoji. In 1994-95, he was given the opportunity to study the theater in Britain under the Program of Overseas Study for Upcoming Artists sponsored by the Agency for Cultural Affairs. As a kyogen actor, he made his debut in 1970 in the play Utsubozaru (The Monkey Skin Quiver). First-born son of Izumi school kyogen artist Nomura Mansaku II, a certified &#8216;Living National Treasure&#8217; (a title given to preservers of important intangible cultural properties in Japan). Born in Tokyo in 1966.  <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>By Kazuki Matsuura \/ TSUMUGU Project (Continued from Part I) The answer to that question lay in the ongoing sp [&hellip;]<\/p>\n","protected":false},"author":22,"featured_media":6110,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[407],"tags":[332,159,158,341,342,343],"class_list":["post-6063","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-feature","tag-covid-19","tag-kyogen","tag-noh","tag-nohgaku","tag-nomura_mansai","tag-nomura_mansai_interview"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Kyogen artist Nomura Mansai: \u201cWe will withstand the COVID-19 crisis\u201d (Part II) | \u7d21\u3050\u30d7\u30ed\u30b8\u30a7\u30af\u30c8<\/title>\n<meta name=\"description\" content=\"Nomura is also active in the modern theater. As artistic director of the Setagaya Public Theatre in Tokyo, \u201cI often end up asking the stage director to work on a modern reinterpretation of something traditional. In other words, I ask the modern theater to reinterpret with its own artistic sensitivities and physical expression what the nohgaku performers cannot. 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As artistic director of the Setagaya Public Theatre in Tokyo, \u201cI often end up asking the stage director to work on a modern reinterpretation of something traditional. In other words, I ask the modern theater to reinterpret with its own artistic sensitivities and physical expression what the nohgaku performers cannot. 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