The \u201cHeike Brothers\u201d and the 700-Year Transmission and Reception of Heike Musical Narrative<\/p>\n
Alison Tokita, Director of the Research Centre for Japanese Traditional Music at the Kyoto City University of Arts, discusses the historical development of Heikyoku and introduces contemporary effort in connecting to this early narrative-ballad in this presentation.<\/p>\n
This paper is presented in\u00a0Session Three\u00a0of the\u00a0Contemporary Tradition – Japanese Performance Genre Today<\/a>\u00a0conference (13 – 15 Oct 2016) in NUS.<\/p>\n\t\n Fran\u00e7ois Rose, an award-winning composer and professor at the University of the Pacific, discusses how he used precision recording in audio to capture time and color, two critical concepts in Gagaku.<\/p>\n This paper is presented in\u00a0Session Three\u00a0of the\u00a0Contemporary Tradition – Japanese Performance Genre Today<\/a>\u00a0conference (13 – 15 Oct 2016) in NUS.<\/p>\n\t\n Julie A. Iezzi, Associate Professor at the University of Hawai\u2019i at Manoa, discusses the collaborative kyogen productions between professional kyogen actors Shigeyama Doji and her students at the Asian Theater Program at the University of Hawai’i.<\/p>\n This paper is presented in\u00a0Session Three\u00a0of the\u00a0Contemporary Tradition – Japanese Performance Genre Today<\/a>\u00a0conference (13 – 15 Oct 2016) in NUS.<\/p>\n\t\n A lecture explanation of aspects of noh chanting and dancing, with illustrations by speaker Richard Emmert and members of Theatre Nohgaku.<\/p>\n This paper is presented in\u00a0Session Three\u00a0of the\u00a0Contemporary Tradition – Japanese Performance Genre Today<\/a>\u00a0conference (13 – 15 Oct 2016) in NUS.<\/p>\n\t\n Elizabeth Dowd explains the basic components of noh, including the Kamae, the basic & formal position\/structure; the masks; suriashi (sliding feet); kata (movement pattern) such as shiitake-hiraki; uses of fans, etc. Elizabeth also explains the two different ways of chanting in noh and demonstrates these styles by performing excerpts of two plays Yuya (Yuya the courtesan) and Shojo (Shojo the Auspicious Lions). Yuya is chanted with wagin style and Shojo with gogin style. While discussing masks, Elizabeth mentions the “viewing pillars” that are used to guide performers with masks on. We created some for the show but unfortunately, they became those ugly long black poles that seems to have divided the screen in the video.<\/p>\n This paper is presented in\u00a0Session Three\u00a0of the\u00a0Contemporary Tradition – Japanese Performance Genre Today<\/a>\u00a0conference (13 – 15 Oct 2016) in NUS.<\/p>\n\t\n An exchange between Julie (waki) and the ghost of Elvis (shite) in Blue Moon over Memphis performed at the Lecture Performance session at a\u00a0conference<\/a>. After the first scene, Thomas O’Connor from Theatre Nohgaku explained the structure and technique of noh. Production of a full version of Blue Moon Over Memphis is in the pipeline by Theatre Nohgaku. Check\u00a0Theatre Nohgaku<\/a>\u00a0and\u00a0this space<\/a>\u00a0for updates later.<\/p>\n This paper is presented in\u00a0Session Three\u00a0of the\u00a0Contemporary Tradition – Japanese Performance Genre Today<\/a>\u00a0conference (13 – 15 Oct 2016) in NUS.<\/p>\n\t\n Members of Theatre Nohgaku engaged in a lively discussion about noh, their experience, ideas, and many more, after the lecture performance which is the last session of the Conference.<\/p>\n This paper is presented in\u00a0Session Three<\/a>\u00a0of the\u00a0Contemporary Tradition – Japanese Performance Genre Today<\/a>\u00a0conference (13 – 15 Oct 2016) in NUS.<\/p>\n Media Gallery Videos Alison Tokita: The \u201cHeike Brothers\u201d and the Heike Musical Narrative The \u201cHeike Brothers\u201d and the 700-Year Transmission and Reception of Heike Musical Narrative Alison Tokita, Director of the Research Centre for Japanese Traditional Music at the Kyoto City University of Arts, discusses the historical development of Heikyoku and introduces contemporary effort in […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-64","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\n\n\t\tFran\u00e7ois Rose: Orchestrating Time: The Changing Colors of Gagaku Music\n\t<\/h3>\n
\n\t\tJulie Iezzi: Building Bridges and Tearing Down Pylons: Medieval Satire for a 21st Century Hawai\u2032i\n\t<\/h3>\n
\n\t\tRichard Emmert & Theatre Nohgaku: Transition from Japanese to English Noh with Performances\n\t<\/h3>\n
\n\t\tMaking sense of the noh stage by Elizabeth Down\n\t<\/h3>\n
\n\t\tTheatre Nohgaku: Blue Moon Over Memphis<\/i> excerpt with explanation\n\t<\/h3>\n
\n\t\tQ&A after the performance\n\t<\/h3>\n
\n\t\tImages\n\t<\/h3>\n","protected":false},"excerpt":{"rendered":"