Noh and Kyogen society
Kyōgen (狂言, "mad words" or "wild speech") is a form of traditional Japanese comic theater. It developed alongside Nō, was performed along with Nō as an intermission of sorts between Nō acts on the same stage, and retains close links to Nō in the modern day; therefore, it is sometimes designated Noh-kyōgen. Its contents are nevertheless not at all similar to the formal, symbolic, and solemn Nō theater; kyōgen is a comic form, and its primary goal is to make its audience laugh.
Kyōgen together with Nō is part of Nōgaku theatre. Kyōgen is sometimes compared to the Italian comic form of commedia dell'arte, which developed around the same period (14th century) and likewise features stock characters. It also has parallels with the Greek satyr play, a short, comical play performed between tragedies.
Kyōgen (狂言, "mad words" or "wild speech") is a form of traditional Japanese comic theater. It developed alongside Nō, was performed along with Nō as an intermission of sorts between Nō acts on the same stage, and retains close links to Nō in the modern day; therefore, it is sometimes designated Noh-kyōgen. Its contents are nevertheless not at all similar to the formal, symbolic, and solemn Nō theater; kyōgen is a comic form, and its primary goal is to make its audience laugh.
Kyōgen together with Nō is part of Nōgaku theatre. Kyōgen is sometimes compared to the Italian comic form of commedia dell'arte, which developed around the same period (14th century) and likewise features stock characters. It also has parallels with the Greek satyr play, a short, comical play performed between tragedies.
Kyōgen is thought to derive from a form of Chinese entertainment that was brought to Japan around the 8th century. This entertainment form became known as sarugaku and initially encompassed both serious drama and comedy. By the 14th century, these forms of sarugaku had become known as Noh and kyōgen, respectively.
Kyōgen provided a major influence on the later development of kabuki theater. After the earlier, more ribald forms of kabuki had been outlawed in the mid-17th century, the government permitted the establishment of the new yarō-kabuki (men's kabuki) only on the grounds that it refrain from the previous kabuki forms' lewdness and instead model itself after kyōgen.
Noh had been the official entertainment form of the Edo period, and was therefore subsidized by the government. Kyōgen, performed in conjunction with Noh, also received the patronage of the government and the upper class during this time. Following the Meiji Restoration, however, this support ceased. Without government support, Noh and kyōgen went into decline, as many Japanese citizens gravitated toward the more "modern" Western art forms. In 1879, however, then-former US President Ulysses S. Grant and his wife, while touring Japan, expressed an interest in the traditional art of Noh. They became the first Americans to witness Noh and kyōgen plays and are said to have enjoyed the performance. Their approval is believed to have sparked a revival of interest in these forms.
In modern Japan, kyōgen is performed both separately and as a part of Noh. When performed as part of a Noh performance, kyōgen can take three forms: a separate (comic) kyōgen play, performed between two Noh plays (inter-Noh), which is known as honkyōgen (本狂言, actual kyōgen), as a (non-comic) scene within a Noh play (intra-Noh, between two scenes), which is known as aikyōgen (間狂言, in-between kyōgen, kyōgen interval), or as betsukyōgen (別狂言, special kyōgen).
In aikyōgen, most often the main Noh actor (shite) leaves the stage and is replaced by a kyōgen actor (狂言方 kyōgen-kata), who then explains the play (for the benefit of the audience), though other forms are also possible – the aikyōgen happening at the start, or the kyōgen actor otherwise interacting with the Noh actors. As part of Noh, aikyōgen is not comic – the manner (movements, way of speech) and costume are serious and dramatic. However, the actor is dressed in a kyōgen outfit and uses kyōgen-style language and delivery (rather than Noh language and delivery) – meaning simpler, less archaic language, delivered closer to a speaking voice – and thus can generally be understood by the audience, hence the role in explaining the play. Thus, while the costume and delivery are kyōgen-style (kyōgen in form), the clothing will be more elegant and the delivery less playful than in separate, comic kyōgen. Before and after aikyōgen, the kyōgen actor waits (kneeling in seiza) at the kyogen seat (狂言座 kyōgen-za) at the end of the bridge (hashigakari), close to the stage.
The traditions of kyōgen are maintained primarily by family groups, especially the Izumi school and Ōkura school.
Kyōgen (狂言, "mad words" or "wild speech") is a form of traditional Japanese comic theater. It developed alongside Nō, was performed along with Nō as an intermission of sorts between Nō acts on the same stage, and retains close links to Nō in the modern day; therefore, it is sometimes designated Noh-kyōgen. Its contents are nevertheless not at all similar to the formal, symbolic, and solemn Nō theater; kyōgen is a comic form, and its primary goal is to make its audience laugh.
Kyōgen together with Nō is part of Nōgaku theatre. Kyōgen is sometimes compared to the Italian comic form of commedia dell'arte, which developed around the same period (14th century) and likewise features stock characters. It also has parallels with the Greek satyr play, a short, comical play performed between tragedies.
Noh (能 Nō), derived from the Sino-Japanese word for "skill" or "talent", is a major form of classical Japanese musical drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Traditionally, a Noh program includes five Noh plays with comedic kyōgen plays in between; an abbreviated program of two Noh plays and one kyōgen piece has become common in Noh presentations today. An okina (翁) play may be presented in the very beginning especially at New Year, holidays, and other special occasions.
WOMCADOLE ( Wonka Dore ) is a Japanese four-piece rock band that operates mainly in Kansai. It was formed in 2011 and was elected for the 2013 Flash Riot 2013 Final.
They vigorously release demo sound source, do live activities in the country, and release the first national circulation board "Watshinohanashi" which becomes long-awaited in August 2015.
Due to the withdrawal of the members in December 2015, sudden banding suspension. On July 1st, 2016, they welcomed bakuno Kurono to bassist and resumed band activities. It becomes the present system. They complete the venue limited Sg "Wander / toy soldiers" with the live activity resume.
On January 11, 2017, the 2nd mini-album "15cm Whereabouts" was released. Selected as a "Tawale comment" recommended by TOWER RECORDS. On September 5th, 2017, the first single "Aokiharuge" released with the band sound falling into the band's most vivid youth.
On March 21st 2018, their 1st FULL Album "Tonight at midnight, to that direction" was released. The 13 new songs including the demo songs "After the Rain" and "Before Dawn" and the Sg title "To Aokiharu" are heavy, black, night and sober.
And it is also the most romantic work in WOMCADOLE history, led by "Moon" which brought in Natsume Soseki and Higuchi Ichiyo wit.
In November 2019, the 2nd Single "writer" was released.
Traditional show