Courtly Women of Japan & Noh Theater

1. Courtly Women of Japan & Noh Theater

2. Historical Perspective • The works of Japanese court women writers comprise a range of exceptional women’s literature unmatched anywhere in the medieval world. • Why? • Women wrote in Japanese vernacular script. • Women were important ways for men to gain power at court (traditional use of daughters to create relationships between men, clans, etc.)

3. Genre Hierarchy • Buddhist scriptures & Confucian texts (such as the Book of Songs) • Chinese genre of history • Chinese genre of poetry • Waka (Japanese classical poetry)* • Monogatari (tales or prose fiction)* Women wrote in the 4th and 5th categories.

4. Script & Genre Hierarchy • The 3 highest status genres were written in the ‘man’s hand’ - otoko-de (Chinese prose). These texts were written on large sheets of new, thick paper, and were signed by the authors. • The bottom 2 were in kana, the vernacular syllabary, or the ‘woman’s hand’ (onna-de). These texts were written on small pieces of paper, often recycled wastepaper or on the backs of used documents, and were unsigned.

5. The Pillow Book • Author: Sei Shonagon • Culture: Japanese • Genre: occasional writing [meanderings of the brush, zuihitsu] • Embodies aristocratic values: “enjoyment of beauty as a primal experience” [importance of aesthetics]

6. Sei Shonagon • Served as a lady-in-waiting to the Japanese royal court (empress); well-educated in Chinese literature. • An aristocrat, she reflects the values of her class. • She emphasizes mood, fugitive experience, & momentary sensory impressions. Her realistic depiction often shades into comedy because of her quick wit, much valued at court. • Her voice: realism expressed through exquisite lyricism.

7. Cult of Beauty & Style • Judgments of quality and standards of taste were the approximate level of a moral code. • Rules of refinement prescribe a restrained cultivation of feeling, a responsiveness to the emotional environment, along with a physical grace and a genuine appreciation of shape, proportion, color, and tone. • She with her highly trained eye can make very subtle distinctions.

8. The Nature of Reality? • She seems confident that appearance matches reality. • She is often praised for her insight into human conduct. Think of the portraits she paints of those around her.

9. Noh Plays • Grew from court music, popular entertainment, and religion! • Are a fusion of the arts [drama, music, dance] • Illustrate Buddhist doctrine that human salvation is achieved through prayer and penance • Shinto temple architecture is reflected in Noh stage

10. Noh Characters • Shite- “Doer”; central figure; usually an aristocrat, a court lady, or a powerful spirit; dominates the performance; dances the big dance; generally masked • Waki- supporting role; most often a priest who initiates the play’s action (not the antagonist) • Tsure- attendant, courtier, maid • Kokata- Noble child • Tomo- Other minor roles • Kyogen- Comic actors, villagers, common people

11. Conventions of Noh Plays • Same stage every time, with specific stations (See diagram next slide) • Bare stage • Few props • Bridge (pathway) • Mask ( worn by Shite) • Specific character types • Music for mood (orchestra) • Specific walks, etc. • Chorus • All men

13. Order of Performance • 1)   Orchestra enters • 2)   Chorus enters • 3)   Waki crosses bridge, travelling song; Waki goes to Waki pillar • 4)   Shite enters; song stating theme of play • 5)   Waki converses with Shite; asks Shite to tell tale • 6)   Shite tells tale; story & dance • 7)   Kyogen or lower character recaps story • 8)  Shite returns in new costume, often with new identity; tempo increases; performance peaks in dance