Kabuki Plus
Unusual Noh piece
There is a style called Mugen (dream revelation) Noh, in which a ghost, initially disguised as a villager, narrates the background story to a traveler in the first half, then reveals his identity in the second half and dances. Funa Benkei is a unique piece in featuring Shizuka in the first half and Tomomori’s ghost in the second half, two completely different characters. Even on the Kabuki stage, Shizuka follows the Noh style, using a mixture of a beggar’s wig, gold headgear and red Chinese brocade. Because her costume makes it difficult to move her legs freely, it is a very difficult scene for the actor.
Kabuki version highlight: Kyoto scenery
The playwright Kawatake Mokuami adapted a centuries-old piece into a Kabuki piece with the addition of a dance describing the scenery of Kyoto. The dance depicts the four seasons of the capital city, and mention many famous spots in the area such as Arashiyama, Kurama, Kitano, Fushimi and Uji. The Noh dance has long stretches with just flute and drums and no singing. Mokuami added lyrics of the capital for a more glamorous Kabuki-like feel.
Independent dance piece
A famous theater critic noted in 1932 that the dance portion about Kyoto would be perfectly enjoyable even in plain clothes without the glamorous costumes, since it offers such joys in the choreography and skills of the dancer. “Shizuka and Tomomori” stands today as a highly popular independent piece in dance recitals.
Sea cascade withdrawal
notable!One of the most interesting scenes is the ghost’s exit on the hanamichi. This scene raises the show’s tension and invariably wins applause. There have been many memorable performances by famous actors, but the standout is considered the late Tomijuro V accompanied by musician and Living National Treasure Katada Kisaku. The latter said in an interview, “The standard method is to beat a drum with the right hand only at the emergence of Tomomori’s ghost. He enters with the drum shortly following the sound of a flute. The drum beats hardest when the ghost spins in a swirl. I saw the sea swirl in Shimonoseki, where the actual Tomomori is buried. I felt as though I was going to be sucked into the water. Tomijuro was very flashy, as you know, and liked the music. I remember in my head how he would spin to the music. It was critical to match the music to his action.” Kisaku’s unique approach and Tomijuro’s great skill created a landmark performance.
Dialogue between old and young men
Dance plays a different role in stately Noh dramas and the more flamboyant art of Kabuki. Many Kabuki advocates would argue that complete reinterpretations like Dojoji with a variety of dances are actually more interesting than the original. Plays like Kanjincho and Tsuchigumo imitate the Noh style more closely with fewer dances, though they include unmistakably Kabuki-like characteristics.” Whereas Benkei’s role in the Noh Funa Benkei is not overly interesting, the Kabuki adds a bit of choreography to certain lines that enhance the role considerably, thus following the older style but delivering it as Kabuki.
Reflections of famous actors
notable!Many actors have commented on having to double up in the sad female and angry male roles. Onoe Baiko VI observed, “When Shizuka dances her separation from Yoshitsune, called a passing-on piece in Noh, it’s important to express one’s emotions sufficiently. We need to show the contrast between Shizuka’s compassion and Tomomori’s scariness. That difference between soft and hard is a highlight.” Onoe Shoroku II said of Tomomori, “We have to show the grace of a nobleman from the Heike clan, his solemnity as a warrior, and his evil mystique as a ghost.”
