Asian Theatre Supplemental Notes
Asian Theatre Supplemental Notes
Asian Theatre Supplemental Notes
There is no single Asian theatre. There are a number of theatrical forms in Asia-- Sanskrit drama in
India; Beijing Opera in China; Kabuki, Bunraku (traditional Japanese puppet theatre) and Noh drama in
Japan. Although they share several common characteristics, each theatrical form is different.
Indian Sanskrit drama dates back to the eighth century BCE, long before the birth of classical Greek
tragedy. These works are some of the earliest theatrical texts.
2. More visual and sensual than literary or intellectual. A Kabuki script is seen by the Japanese as a
production vehicle, not a literary text. The plays are seldom read, even in Japan.
3. Loosely plotted. There is a strong emphasis on storytelling, but the plotting techniques of
Western drama-- escalating incidents, plot reversals, climaxes --are absent.
4. Highly stylized. The formalized acting techniques are typically passed from father to son.
5. Deeply traditional. Scripts and concepts which were developed three or four hundred years ago
are still presented to a modern audience with minimal changes.
Japan.
Kabuki was invented by a Kyoto shrine maiden, Izumo Okuni, around 1600 and reached its peak during
Japan's shogun-dominated Edo era: 1616 to 1853.
2. Domestic plays-- sewamono [trouble things] --deal with the affairs of townspeople from the
playwright's era.
3. Dance-dramas-- shosagoto [pose things] --which are very popular, often deal with the world of
spirits and animals.
17th Centry Kabuki Theatre Opening of Act Two of Yoshitsune Senbon Zakura,
a Japanese Kabuki drama.
The hanamichi, or "flower way," is an entrance ramp which runs from stage right to the rear of the
auditorium.
The Noh drama is a mysterious, tragic, usually supernatural, ceremonial music-dance-drama. There are
about 240 Noh texts. All were written about 500 years ago by the members of one family. All Noh
dramas focus on a single character, the shite who is interrograted, prompted and challanged by
the waki. The Noh is not "the drama of mass entertainment." Many, including the Japanese, find these
small cast, slow paced, static plays bewildering. Most Western audiences echo George Bernard Shaw's
comment: "Noh drama is no drama." See the synopsis of Sotoba Komachi by Kan'ami on page 411.
Starting in the middle of the twentieth century, non realistic playwrights, directors and designers began
using elements of Eastern theatre in their presentations.