Japanese Theatre

• A living theatre -- despite how long it has survived. 
• Traditional theatre practices - Bunraku, Noh, Kabuki, Kyogen 
• Inspiration can arise. Traditional to non-traditional and vice versa. 
• Throughout Japanese history, most practices entailed solely one sex (traditional). 
• 14th century, full fledged theatre developed in Japan - time for recognition. Prior to this there was music, dance, literature, poetry that was thriving. 
• General characteristics (More traditional) 
• Text speaks itself. It is not ordinary dialogue. 
• Chorus. It's poetry or metered prose; sung, chanted, patterned intonation. Voicing the text that has been written. Fluid narrative stance. Break the speeches up. It is a non linear story line. 
• Flexibility of time and space. Time in Japanese theatre is malleable. Time can be matched to the story in order to please the aesthetic. Theatrical time is as pliant as theatrical space. 
• Centrality of form. Movement, text, costumes and music are valued for formal beauty as for aesthetic. Movement can interrupt narrative time - just be there for aesthetic purpose. Base can stay the same, but the tone and the mood will be different. Vary speed, timing, intensity, design or color. 
• Mastery of form in training. Students learn by imitation. You would have to go a long way to be able to question interpretation. Form diminishes interest in verisimilitude (elements or aspects of reality that you evoke through writing). Form is truth. 
• Theatricalization of the mechanics of theatre. 
• Intensity of intertextuality. Originality vs. Traditional. Art of allusion. 
• Traditional Japanese theatre is presentational theatre vs. representational theatre.