Kyogen and Noh Developed Together

We talked to Mansaku Nomura, Izumi-ryu Kyogen performer. His father is a certified holder of Important Intangible Cultural Asset, Manzo Nomura the 6th. He stood on stage for the very first time when he was 3, and was named the 2nd Mansaku when he was 19. He has undergone strict training, allowing no compromise. In 1990, he was presented with a Medal with Purple Ribbon, and in 2007, he was designated a certified holder of Important Intangible Cultural Asset just like his father. Mansaku Nomura lives in the world of Nohgaku. Nohgaku is a combination of Noh and Kyogen, however during the Edo period, it was referred to as ”Sarugaku”. The audience sits surrounding the protruding stage, and enjoy Noh and Kyogen programs in turn: the subtle and profound style of Noh, and the ”comical” Kyogen. Kyogen is said to ”comically express human nature” and is an art that lays importance on expressing human behavior in an entertaining way with movement and dialogue. ”Noh and Kyogen have to do with opposing themes, but they developed together. There are Kyogen programs that are quite serious,” we were told.

The Souls that were Conveyed in Performances Abroad

Mansaku told us about an interesting experience he had during a performance in the U.S. The program was ”Tsukimi Zatou”. A blind man encounters a youth, and they enjoy a moment together drinking ”sake” and dancing under the moonlight, seeming to have developed a mutual understanding. However, an instant later, the youth undergoes a complete change and starts to bully the blind man, leaving a bad aftertaste.
”There is a scene where the blind man begs the youth to dance. And he is delighted, though he cannot actually see. There was laughter from the American audience during this scene. Then later, I could sense that the audience was fully captivated during the latter half where the youth transforms and shows an evil side of himself.” ”Why did you choose this program?” Nakata asked.
”Yes, that’s a good question, as I was anxious whether an audience abroad would understand the content of the story. Now, we use English subtitles for the performance, which means that it has to be interpreted in to modern words. Even for the Japanese, it makes it easier to understand, compared to seeing the stage in traditional Japanese. It also makes it easier to perform the more difficult pieces.”
Audiences abroad laugh louder, and truly seem to enjoy the performances.

An Form of Art that Entertains

”The Japanese are said to be expressionless and do not laugh out loud very often, even in movie theaters. Kyogen is an art of laughter, but is it appropriate to laugh out loud?” Nakata asked about something that had been bothering him.
”Of course it is. You may be intimidated by the word classical, but of course it is very proper to laugh.” Mansaku Nomura reassured him. ”Just like Noh, we wanted to elevate the artistic position of Kyogen. Our generation has always pursued this theme, and I believe we’ve succeeded to an extent.”
It’s essential to entertain the audience.”
It may not make you laugh out loud, but the nature of Kyogen that developed with Noh is that it brings you. You might say it touches you with happiness.”

Experiencing Kyogen

Nakata learns the basic styles from Mansaku Nomura. Nakata’s first impression was the beauty of the posture. He commented, ”I think it would be ideal if you teach this in elementary schools.” ”That is true. The words too. Kyogen could be used to teach correct Japanese,” Mansaku Nomura said.
Mansaku will be working on a new program, ”Shokudoraku”, which is a performance where the eyes, mouth, nose, stomach and heart, all pop out of the body, claiming that they were the reasons that people are able to appreciate food. Obviously it is funny. It is heartwarming and educating, perhaps recommended for children. Kyogen as a traditional art presents infinite possibilities.

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Performing Human Drama

In comparison to Noh where music and dancing is its main feature, Kyogen’s main feature is its lyrical phrases. Also with Noh, gods and ghosts appear as ”shitekata　main character) ” performers. In Kyogen on the other hand, Daimyo (Lord) and Tarokaja (servant) appear, the majority of the plays ending with a punch line. In other words Kyogen are performances regarding human drama. They are short stories about blunders people make and cliches in daily life acted out comically. Noh and Kyogen have a strong connection, whereas Kyogen performers appear on Noh stages. By having inserts of comical Kyogen within Noh tragedy, it emphasizes the expression of both. The current Shigeyama Sengoro is the 13th generation, their name dating back almost 400 years. Their name was a highly appraised top ranking Kyogen name, have been warranted by the Shogunate government recommended by Ii Naosuke, the Chief minister and had been patronized by the Hikone han.

Kyogen Loved by All

Shigeyama Sengoroke is famous for the ”Otofu Kyogen”. So what exactly is this? Originally Noh and Kyogen were not allowed performance other than on Noh stage. However, even under strict rules, the 10th generation often displayed his Kyogen at weddings and other ceremonious events, which were mocked where people said ”Shigeyama Kyogen is like a tofu stand.” In Kyoto back then, when people hadn’t prepared and had no clue to what to serve for dinner, they would say ”Oh well, never mind, we might as well just have tofu.” and tofu had no appreciation. Shigeyama Kyogen was bad-mouthed, ”Cheap Kyogen that would be performed anywhere.” However the 10th generation used to reply, ”Say as much as you please. Being called tofu is completely fine. Tofu is loved by everyone. By different garnishing, it can become posh or normal.” He started to call his Kyogen ”Tofu Kyogen” himself. His spirit lives on to this day, keeping the motto, displaying Kyogen loved by all. Nakata was able to talk with Shigeyama Sengoro and his father, Living National Treasure Shigeyama Sensaku. Shigeyama Sensaku still performs on stage, though he is over 90 years old. Shigeyama Sengoro appeared on stage for the first time at 4 and ever since, has been performing Kyogen until the present. His clear tone of voice reflects their history. ”I do not need a microphone if the audience is about 850 people,” he says with confidence.

Bringing Life into the Program

This day, we were fortunate to see their program, ”Boh Shibari”. A feudal lord upon leaving his house ties two of his servants onto a boh (a pole) suspicious that they will drink sake while he is away. It is a slapstick style comedy where in the end, the servants cooperate and drink up the sake. Masakuni Shigeyama, Shigeru Shigeyama and Ippei Shigeyama’s energetic humorous performance makes the audience laugh out loud. Their phrases are of old language, such as ”Yai yai!” or ”Yoinarino, yoinarino,” which matches well with their actions. The performances of Shigeyama Sengoroke are held in various places, such as Tokyo, Nara, Osaka. There is no reason why you should not try this out. Why not watch ”Otofu Kyogen” and shake with laughter.

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Kyogen Passed Down among Citizens

Sagiryu Kyogen is a precious traditional performing art which was only passed down here in Yamaguchi, with only two performers remaining who possess the techniques.
Originally, Sagiryu was one of the three major schools of Kyogen along with Okuraryu and Izumiryu. Okuraryu and Izumiryu both have “Iemoto”, a hereditary leader of a school of art, and professional performers who belong to the schools. For example, Mansai Nomura, a popular actor seen on television belongs to Izumiryu.
However, Sagiryu could not establish an “Iemoto”, and disappeared from the professional world. But here in Yamaguchi, it is passed down in the form of civilian succession. Sagiryu was introduced to Yamaguchi in Meiji 19 when a Kyogen performer of the Mori (Choshu) clan, Shosaku Shunichi, was invited to perform in a Shinto ritual Noh at Noda Shrine. Later, Shosaku moved his residence across from Honkokuji Temple in Dojomonzen, Yamaguchi where he took many apprentices.

Passing Down to Future Generations

Sagiryu flourished in Yamaguchi having several dozens of direct apprentices. But after the direct apprentices died out, it declined rapidly. Those who grieved the decline formed “Preservation Association of Yamaguchi Sagiryu Kyogen” in 1954, to train students. It must have been painstaking to preserve a school without a presiding “Iemoto”, but the work paid off as Sagiryu was registered as the first Intangible Cultural Property of Yamaguchi Prefecture. For the record, Sagiryu sects – Soke Niemon and Bunke Denemon – the script and direction differ between the sects. Soke Niemon sect of Sagiryu was introduced to the Sado region. Yamaguchi is the only place where Sagiryu that descended from Bunke Denemon is preserved.
At present, two performers, Eiji Kobayashi who has a soft and natural yet dignified performing style, and Bunmei Yonemoto who admires Kobayashi’s style and has devoted over 20 years of study, are registered as retainers of traditional performing art. There are also about 20 students who are passionately in training.
Nakata was given a chance to see Sagiryu Kyogen. Everything about Sagiryu Kyogen, such as the costumes, have a deep meaning. The Preservation Association holds regularly scheduled performances every year. The precious performing art left only here is surely something to be appreciated.

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