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    The Structure of Theater: A Japanese View of Theatricality

    Mori, Mitsuya.

    SubStance, Issue 98/99 (Volume 31, Number 2&3), 2002, pp. 73-93 (Article)

    Published by University of Wisconsin Press

    DOI: 10.1353/sub.2002.0033

    For additional information about this article

    Access Provided by your local institution at 05/17/12 12:15PM GMT

    http://muse.jhu.edu/journals/sub/summary/v031/31.2mori.html

    http://muse.jhu.edu/journals/sub/summary/v031/31.2mori.htmlhttp://muse.jhu.edu/journals/sub/summary/v031/31.2mori.html
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    The Structure of Theater :A Japanese View of Theatricality

    Mitsuya Mori

    The Western concept of theater did not exist in pre-modern Japan.

    Engeki was the word chosen to translate theater when it was introduced

    to Japan in the second half of 19th century.1 It still sounds a little foreign to

    Japanese people. Traditionally Japan had a word shibai, which was almostequivalent to theater, but was, and still is, applied only to Kabuki and

    Bunraku (puppet theater) and not to Noh. The modern westernized theateris not usually called shibai, either, for this sounds too colloquial or too non-

    literal. The adjective forms of shibai, shibai-jimita or shibai-gakatta, imply

    pretentious or insincere behavior, a definitely pejorative nuance,

    equivalent to the negative meaning of the English term theatrical.

    Theatricality, on the other hand, is rendered in Japanese as engeki-sei.

    The suffix -sei makes an abstraction of the preceding noun. The foreignness

    ofengeki is reinforced by this suffix, for the abstraction of theatricality is also

    a Western way of thinking, imported into Japan only in modern times.

    Grammatically, it would be possible to add -sei to shibai as well, but shibai-sei

    sounds odd and is not in common usage. This means that there is no Japanese

    word that is exactly equivalent to the slightly pejorative theatricality.

    Instead, engeki-sei (theatricality) is used to mean the spectacular quality of

    theater, or the qualities unique to theateri.e. particular qualities that

    construct the kind of performance we could call theater. It is in this sense

    that the word was often uttered to describe the new trend of Japanese theatersince the late 1960s. But some representatives of this underground theater

    would like to call their activities shibai rather than engeki, as a revolt against

    modern theater. They have even declared themselves to be closer to the

    old conception of performance art in Japan,geinoh.Geinoh (gay-noh) is another Japanese word, fairly equivalent to

    theater but covering the broader or narrower realm of performance arts,

    depending on the context. (I will return to this issue later.) Though the word

    itself first appeared in literature in the 10th century,2

    much earlier than shibai,today the word is also commonly used, and obviously intersects with engeki-

    sei. The distinction between engeki, shibai andgeinoh is not a clear-cut one,

    Board of Regents, University of Wisconsin System, 2002 73

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    and it becomes almost meaningless to attempt to define the words at all.(Such confusion is an inevitable result of modernization, and is seen in many

    fields of culture in Japan.) But if our goal is not simply defining terms, but

    understanding what theater is, then we need to move beyond the definitionof concepts. Our understanding of the topics will be deepened in the course

    of discussing them. Our topics are theater and theater-like performances,

    which still exist in abundance in Japan.There are many ways to analyze theater. I will limit my arguments here

    to the structural analysis of theater eventsi.e. basic characteristics of theater

    to be distinguished from other performative activities, in order to clarifytheatricality to some degree.

    From Creator to AudienceTheater is play and so is music. As an art form, theater and music have

    some structural similarities. In the aesthetic classification of art forms, theater

    and music are put into the same categoryperforming arts.A composer writes a piece of music, which is perceived by someone

    else. This someone else is usually a musician who plays the score to be

    perceived by the audience. This sequence can be schematized as follows:

    Composer > Musical Composition > Score reader

    Musician> Musical performance > Audience

    The upper and the lower levels have a similar structure in the way they are

    produced. For this reason, music is called an art form of double

    productions.

    Different musicians may play the same score differently, but it would

    not be unreasonable to say that what the composer composes and what themusician plays are almost the same. In a competition of musical composition,

    the nominated works are performed in front of the judges. What the audience

    finally perceives is supposed to be the same as what the composer originally

    had in mind. The audience and the composer share the same artistic

    experience. We can modify the diagram to the cyclic structure as follows:

    Composer > Musical Composition > Score reader

    Audience

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    The second production repeats the first one but in reverse.Theater is also an art form of double productions. Therefore, on the

    surface, the analysis of its structure is similar to that of music.

    Dramatist > Drama > Drama reader

    Actor> theater performance> Spectator

    However, unlike music, the second production does not repeat the first one

    in reverse. A theater performance onstage is quite different from a drama onpaper, and what the spectator conceives is not at all the same as what the

    dramatist had in mind. It used to be said that the dramatist imagines thestage production as he writes, so that one can read in the dramaprovidedit is a good oneevery detail of the stage production. Obviously this is

    wrong. Even the realist Ibsen would not possibly have imagined the way A

    Dolls House or Ghosts might be performed today. This is because a theaterproduction is a combination of two different aspects: drama and play. I have

    detailed these aspects elsewhere (Mori, 1997), but it is primarily the play

    aspect that makes the difference between what the dramatist writes on paperand what the actor performs onstage.

    If what the musician plays is fairly much the same as what the composercomposes, the above written diagram of the music structure could be as

    simple as this:

    Composer > Musical Piece (Score-Musician-Playing) > Audience

    But the diagram of theater structure cannot be shortened. It remains:

    Dramatist> Drama > Actor > Playing > Audience

    Structurally speaking, the musician is a mediator between the composer

    and the audience or an interpreter of the score (a musical performance is

    sometimes called an interpretation), while the actor is a creator of a kind of

    art form that is different from a written drama. This is another way of saying

    that music depends only on our sense of hearing, but theater on both hearing

    and sight. True, we enjoy the pianists passion-filled bodily movements, but

    the sight is not supposed to affect our evaluation of his or her musical

    performance.

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    Actor Plays Character for Audience

    The unique feature of theater lies in its process of performance. Hence

    any discussion of theater tends to focus on the performance level. Peter Brooksays in the opening passage of his The Empty Space, A man walks across

    [...the] empty space whilst someone else is watching him, and this is all that

    is needed for an act of theater to be engaged (9). This statement is rathermisleading. The man who crosses the empty space may be an actor and the

    man who watches him a spectator, but Brook mentions no character that the

    actor plays. Nevertheless, the mans action of crossing the empty spaceimplies his playing something or somebody else. Therefore, we can find

    even in Brooks statement three basic elements of theater: Actor playsCharacter for Audience.Admittedly, this formula has been challenged in the second half of the

    20th century, and various theaters, which seemingly lack one of those

    elements, have been advocated and practiced. But it seems that no one hasproposed more than these three as the primary agents composing a theatrical

    event. So, this formula can still be a good point of departure.

    First, the relationship between these three elements is to be seen not aslinear but as triangular. The diagram can be drawn thus:

    A(ctor) C(haracter)

    Au(dience)

    This kind of triangular relationship is meaningless in art forms other than

    theater. The impossibility of technological reproduction of a theater

    performance also derives from this structural relationship.

    This triangular diagram may be viewed in two ways: either from eachcorner point, or from each line between the two corners. The latter view is

    preferred here, for in this way we have a chance to grasp a theater production

    as a whole without cutting it up into pieces to be examined one by one. If we

    look into the triangle from the line between A and C, for example, we see Au

    beyond the line so that Au is not at any moment excluded from our view of

    the A-C relationship. In this way the whole theatrical event could be viewed,

    if not in its completeness, at least adequately enough.

    Each line of the trianglei.e. the relationship between each two of the

    three agentsis closely related with each of the three basic aspects of theater:

    playing, drama, theatrical space. The relationship between Actor and

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    Audience transforms a physical place, where they simultaneously exist, intoa theatrical space. The aspect of playing stands in the relationship between

    Actor and Character, and Drama is not something Actor presents to Audience,

    but something formed between Audience and Character. The triangulardiagram, therefore, can be enriched as follows:

    playing

    A C

    space >

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    was reinforced by a new type of dramatic character on the stagea typethat was more realistic than in previous dramas.

    The space characteristic of the stage is closely related to realism in

    theater. Realism demands that the audience ignore the pre-existingdecorations and forms of the stage and see characters as if they were really

    living there. The more realistic the drama becomes, the more the stage is

    required to be space, and vice versa. The space also cosmopolitanizesdrama, because a dramas space can be transferred to any other theater

    without essential alterations. This was not possible for Shakespearean drama,

    for example, which still retained the field aspect to a considerable degree.Nevertheless, a physical place cannot transform itself into a theatrical

    place without acquiring aspects characteristic of space. An absolute fieldwill remain a natural place of daily life. Thus the question, When and howis the physical place transformed to theatrical space? can be modified to,

    When and how is field transformed into space?

    Field and Performance

    The field aspect of the performing place is nowhere more apparentthan in folkloric rituals, which still today are regularly seen in Japan and

    other Asian countries. The place can be a rice field, the area around a shrine,a village market place, etc. Every ritual must be performed in its particular

    field and cannot be moved to any other place.

    However, the field of the ritual is not a mere natural, everyday field.

    An actual rice field, which is chosen for the rice ritual on a specific day of

    the year, is decorated in a special way for the performance by girls selected

    in the village for this occasion. This is no longer an ordinary rice field, but

    the one devoted to a divine being in a wish to have a good harvest, not only

    for this particular field, but for all the fields in the village. The space aspectalready creeps in here. The selected girl performers and the surrounding

    village people have a special relationship with each other in their wishes,

    which transforms this rice field into a ritual space or, we may say, a theatrical

    space.

    Let us take another example. A ritual performance at the Nigatsu-do

    Hall of the Todaiji Temple in Nara is called Todaiji-shunie and takes place in

    the middle of March. The climax comes after dark. Monks carry eight or

    nine burning torches (ca. 10 meters long and half a meter in diameter), each

    held by several monks, up to the wooden veranda of the Hall, about 20

    meters above ground level. They are laid side by side on the edge of the

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    floor, the burning heads being thrust in the air. Hundreds of thousands ofpeople come to watch this performance, standing on the ground below, so

    that sparks of fire fall upon them. This is truly a spectacular sight. While the

    torches are burning on the veranda, a group of monks conducts a specialrite in a small room inside the Hall. They continue the rite all night long,

    sometimes sitting on the floor, sometimes walking or jumping around an

    altar, but all the time chanting prayers. At around three oclock in themorning, a monk brings another burning torch into this small room and hits

    the wooden floor with full force. Sparks of fire spread out and monks jump

    over them. This is an incredible performance, even more spectacular thanthe performance outside. Only those who have obtained special permission

    from the Temple are allowed to witness this rite from a side room. No womenare allowed. They must remain outside, but may watch through a grill. Themonks completely ignore the spectators, the rite being conducted first and

    foremost for themselves. I cannot deny the great excitement I felt when I

    saw the enactment of this rite. And yet I had no personal feeling toward themonks, but rather an impression of a great panoramic picture, like an erupting

    volcano or an awesome ocean wave. It was an event completely of another

    world, so to speak, which we were peeping into; similar to a cinematicexperience rather than a theatrical one. No definite theatrical relationship

    between the performers and the spectators was formed.It was different in the case of the ritual that I once experienced in the

    region of Kofu, in central Japan. The performance took place inside curtain

    walls set up around the village shrine, so that the performance was totally

    hidden from the spectators. Nevertheless, we, standing outside, clearly felt

    related to those performers inside. I say we because I could sense the

    festive atmosphere prevailing among us while waiting for the end of the

    performance. This feeling, I assume, came from the fact that we had talked

    with the village performers and had walked behind them to the shrine beforethe performance. The whole process was a ritual, only a part of which was

    the performance inside the curtain walls. So we were participating in the

    ritual not only by having followed them to the shrine, but also by waiting

    outside the curtain walls. It was odd indeed that we had a feeling of being

    related to the performers whom we could not seea kind of feeling one did

    not have for the other performers whose spectacular action had made an

    awesome impression. Although I did not share the belief of the village people

    in their divine being, I at least could understand their belief. Herein lies the

    crucial point of our relationship. Both I and the village people perceived

    something existing outside our relationship, or better said, something that

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    assured our close relationship. Even if it is doubtful that this somethingcould be called Character in our diagram of the theater structure, it was,

    without doubt, because of this something that the area of the village shrine

    became a theatrical space, which the small room for the rite in the Nigatsu-do Hall was not. I had been struck by the sight of the monks performances,

    but almost completely alienated from their belief.

    Without at least a glimpse of C, the relationship will be reduced to thatof Player-Spectator. I mean by Player the performer who performs for

    him/herself, and by Spectator, the one who watches the performance as a

    mere bystander. The PlayerSpectator relationship is, in fact, no relationship.This is the case with sports, games or music. Some sports, and certainly

    music, are played for spectators (or listeners), and some may claim thatmusical performers are influenced by the audiences responses. This is trueespecially in popular music concerts, but these come close to being theater

    performances. Spectators are not essential for players of music, nor are

    players necessary for spectators. We enjoy recorded music as a substitutefor live performances, even if it is not a completely satisfactory one. This is

    not the case with theater, as anyone knows.

    Actor and Character

    The relationship between Actor and Character is the most problematic

    one in the triangular structure of theater. We say that an actor plays a character,

    but this activity is called acting. The difference between playing and acting

    corresponds to the distinction between Player and Actor, respectively. Acting

    implies playing a character, but the play element, being situated between

    Actor and Character, stands independent of both. In actuality, A, p and C

    are combined together in a person acting in front of the audience, but in

    theory these three can be separately examined. I have done so in some detailon another occasion, basing my arguments on the following schema (Mori,

    1997):

    A(ctor) p(lay) C(haracter)

    Au(dience)

    As is easily understood, realistic theater tends to hide p, or tries to make

    p unseen to Au. In non-realistic, or stylized, theater, p is emphasized rather

    than hidden, and when a certain pattern or form of p is repeated by one

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    actor or one generation of actors after another, what is called kata in Japaneseis born. This is the case with the stylized movements in Kabuki and Noh.3

    And the traditional puppet theater in Japan, today called Bunraku, is an

    interesting example by which we can illustrate each element of this schemeA, p and Cnot in theory, but in actuality.

    Any puppet theater consists of three basic elements: the puppeteer, the

    puppet, and the narrator. The puppeteer manipulates the puppet accordingto the dialogue or narrative spoken by the narrator. In most puppet theaters

    the puppeteer and the narrator are the same person who hides himself from

    the audience so that they see only the puppet. But in Bunraku, all threeelements are in sight. The narrator chants the story with the shami-sen (three-

    stringed instrument) musical accompaniment, played by a shami-sen player.Both narrator and musician sit side by side on the small platform, stage-left.A puppet is two-thirds the size of an actual human being, and is operated

    by hand by three puppeteers; the main puppeteer handles the head and the

    right hand, the second the left hand, and the third, the legs. Usuallypuppeteers cover their heads and bodies in black so as not to distract the

    audiences attention from the puppets, but curiously enough, the main

    puppeteer shows his face in important, dramatic scenes of the play.These three elements of Bunrakupuppeteer, puppet and narrator (with

    music player)correspond to the above-schematized three structuralelements of acting, A, p and C, respectively. This rare case of Bunraku reveals

    that C cannot be a theatrical element without being bodily expressed by p,

    and that p could not be theatrical p, no matter how stylized it may be, without

    being framed by C. But the most interesting thing to see is that A and p are

    indeed two separate entities in acting. The Audience can see p without paying

    attention to A, or even both A and p at the same time but separately. The

    audience can see all the structural elements of theater performance

    independently. In this respect Bunraku manifests the most basic structuralcharacteristic of theater performance.

    Of course this manifestation is not possible in an ordinary theater. But

    what is really revealing in Bunraku for the present argument is the fact that

    A does not play C in the sense that As movements represent C to Au. Au

    watches p, or A and p together, but C is given independently from a different

    side. In Bunraku, what the narrator chants is not only the dialogue of the

    characters but the whole narrative story. It can be appreciated as a free-

    standing form of literature. Herein lies a key to the everlasting question

    concerning acting: is it the actor or the character that the audience is watching

    on the stage?

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    Actor/CharacterOur perceptive organs can perceive only one object at a time, never two

    or more. It is not possible for us to watch both the actor and the character at

    the same time. Some think that we watch them alternately. But this is absurd,for then the character is split into pieces, and each member of the audience

    may have entirely different portions of the character. Some also think that

    the actor is a real person and the character an imaginary one, so that bothare compatible. But real or imaginary, we cannot perceive two objects at the

    same time. What is wrong about the above-asked question is the

    presupposition that character is a person, real or imaginary. For in fact, acharacter is not a person but a conception, which is formed in the audiences

    mind.When a person appears on the stage, we notice him, of course, but donot know if he is an actor playing a character or not. He may be the man we

    call Hamlet, but he may turn out to be the man who is going to apologize for

    the delay of the performance. Even a man who we suppose is playing Hamletcan take off his pretence at any moment and come back to himself as an

    actor. This means that we cannot be sure of having a complete character

    until the final curtain falls. We have a character only when the play ends.But when the play ends, the character is gone. He remains only in our minds,

    as a conception. Therefore, we may say that, watching the movements of theactor and hearing his lines, we build up the conception of the character little

    by little. Sometimes he may surprise us by an action, which his previous

    behavior had not led us to expect from him, but we adjust our hitherto built-

    up character to that new behavior and amend the conception accordingly.

    No matter how much his behavior confuses us at a certain moment in the

    play, we get a total conception of the character at the end. If we do not, we

    feel that the character is incomprehensible.

    Although everything in theater is pretense, a pretense that the audienceis well aware of all the time, the audience can believe in the character all the

    same. This belief is supported by the fact that a man on the stage is a real

    human being, which is not the case in cinema or the novel. So, coming back

    to the question of actor-character confusion, the audiences illusion of

    character is based on the reality of the actors being. And if Character is a

    conception that we complete only at the end of the play, it is to be understood

    in the genuine sense of the word characterethos in Greek.

    Aristotle put the primary importance on mythos rather than ethos, in his

    analysis of Greek tragedy in the Poetics.Mythos, usually rendered into English

    asplot, is a series of actions. Hence his definition: Tragedy is a representation

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    of an action. But we humans have the amazing ability to discern the plot ofa play that consists only of dialogues. In a theater, we hear only actors lines,

    with no explanations by the author or any one else, but we can still discern

    the story of the play as if it were narrated. This ability is obviously related toour ability to understand language. In the same way that we conceive the

    meaning of a sentence in a linear sequence of words, we weave the texture

    of the story little by little as we see actions going on. The story grows biggerand bigger from the series of small stories within each scene, until we get

    the whole storythe plot of the playat the final curtain.

    If the series of actions does not form a plot, everything we see is on thelevel of bare reality, and there is no formation of character, either. If one

    were to diagram the formation of both character and plot, they would be thesame, since character and plot are actually one and the same thing. Acharacter cannot stand alone, but can exist only in relation to other

    characters.4 That a character is complete at the end of the play means that all

    the relationships between characters are completed, which is nothing butthe plot of the play. We make up a character, little by little, in our minds, as

    we gradually make up the plot. Here arises the question of Drama. But before

    pursuing this question, I would like to take a couple of examples to illustratehow reality and fictionality intersect on the stage.

    Reality and FictionalityThere is a scene in a Noh play, Dojoji, where an actor seems to step out

    of the realm of the fictional world into reality. In this scene, called ran-byoshi,

    the shite (main role) makes stamping movements in accord with the drum

    music, played by one of the four musicians sitting on the floor upstage. The

    shite of this play is a female entertainer who has been infatuated with, but

    deserted by, a young priest, and who chases after him to the temple where

    he hides himself. At the temple, the celebration of the completion of a newbell is held, but the female entertainers jealous passion makes the bell fall

    down. She transforms herself into an evil snake inside the bell and comes

    out only to be soothed by a priest. The scene ran-byoshi takes place right

    before the fall of the bell. When the play reaches this scene, the player of the

    small drum changes his posture so that he directly faces the shite, who is

    standing beside the right pillar, downstage. Usually the musicians, facing

    toward the main auditorium, pay no attention to the players. In this scene,

    subtle movements of the shites feet, stamping on the floor, and sporadic

    sounds of the small drum are in accord and discord with each other, as if

    both players were engaged in a battle of life and death. Each of them is

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    concentrating greatly, the actor on the timing of his movements and themusician on the beating of the drum. The fictional plane of the play

    disappears for several minutes of this scene, and the audience senses both

    players existing on the plane of reality.A sudden stepping out of the fictional world happens more often in

    Kabuki, and in a more festive mood. The typical one is koh-joh, a scene where

    actors on stage pay the audience ceremonial greetings on the occasion of thesuccession of a big actors name by a junior one.5 A koh-joh scene sometimes

    takes place in the middle of the play; that is to say, all the actors on the stage

    at the moment, who are usually the young ones family and relatives, stopacting all of a sudden and sit in a horizontal line on the stage to greet the

    audience one by one. After the greetings are finished, they resume actingand the play continues. It is even more obvious here than in ran-byoshi ofNoh, that we see actors in reality rather than characters in fiction.

    However, if, as we have discussed, character is not a person but a

    conception that the audience conceives in the course of the performance,and if character is in fact the same as the plot, these scenes of Noh and

    Kabuki, which seem to be carried out on the plane of reality in the middle of

    the play, should also be included in the conception of character and plot.Indeed, in these scenes actors do not change their costumes, and their

    actionsstampings or greetingsare still very stylized. They are definitelyin kata. Therefore, the plane of reality that suddenly manifests itself in these

    scenes is not everyday reality, but reality in fiction, one may say. It is a

    theatrical device to make the audience realize that in theater, reality and

    fiction are interwoven in a complicated fashion. And it is at this moment

    that the audiences of Noh and Kabuki have the feeling of utmost theatricality

    (engeki-sei), a feeling that we rarely get from any other art form.6

    DramaAudience builds up Character, which is identical to Plot. This

    identification of Character and Plot forms Drama. Drama here is not the

    drama the playwright writes. In my definition, Plot and Drama are the same

    as Story, but Drama is an expression of a view of life, while Plot is a series of

    actions. Drama emerges from Plot and yet is a larger world than Plot. We

    can get a plot out of what the playwright writes (what a playwright writes

    is also a series of dialogues, and the reader composes the plot of the play in

    the same way that the audience does it from the lines spoken by the actors),

    but Drama must be formed in theaterthat is, from actual actions on the

    stage.

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    Drama has been the subject of elaborate discussions among literarycritics, and we do not need to go through them. But a few observations on

    Japanese theater may be of some use for our discussion on theatricality.

    When drama was invented as the form of Noh in Japan, it was not thesame as Greek Tragedy or any later Western drama. Noh consists not only of

    dialogues, butmore importantof narrative and lyric forms. Lines include

    explanatory descriptions (or stage-directions) and the words of the chorus(ji-utai) of eight chanters, sitting stage-left, who speak sometimes as pure

    narrator and sometimes in unison with the main character, shite, who also

    partly narrates his actions by himself. Therefore Plot is not formed by, butgiven to, Audience as in an epic. Nevertheless, an abyss lies between the

    participatory role of Audience in Noh, and that of the earlier performativeforms of narrative and lyric (both were performed in all countries in pre-modern times). While the latter could be totally passive in perception of the

    narrative story or lyrical poetry, the former (Audience in Noh) is supposed

    to conceive the extended world of poetry, only a small portion of which isenacted or narrated on the stage. This world is Drama in Noh. In typical

    Noh plays (though the present repertories of about 220 plays contain many

    different kinds), the shite is a dead person appearing in this world from anold literary world such as The Tale of Genji or The Tales of Ise, or from an

    historical epic of major battles such as The Tale of the Heike or Taihei-ki. Theplay is enacted in the present tense (otherwise it would not be drama), but

    the story is given in the past tense because it is about a world from the past.

    The shite, therefore, exists in both worlds, present and past, at the same time.

    We conceive beyond the episodic story of the shite the entire world of the

    tales or historical epics. When, for example, the wife of Narihira, the shite of

    the most famous Noh play, Izutsu, looks down into the well and sees the

    reflection of herself, whom she sees as her beloved husband (she is now

    wearing Narihiras clothes, in her yearning for him), we feel beyond herlonging the whole world ofThe Tales of Ise, a story about Narihira. More

    than that, we sense the long tradition of Japanese poetry, for Narihira was

    one of the best and most representative figures in Japanese poetry. In this

    sense Noh calls for an active audience, which no performance art in Japan

    did before.

    Greek or European drama is primarily enactment of an action, which

    looks forward to the future. Noh drama is enactment of a feeling, which

    looks backward in the past. Or, better said, Noh makes no clear distinction

    between the past and the present; characters come and go between the two

    worlds. It has been pointed out that the Buddhist way of thinking lacks the

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    sense of history, which the Christian tradition clearly holds. In the KamakuraEra, the period preceding the formation of Noh, new schools of Japanese

    Buddhism emerged one after another. One of them was Japanese Zen, under

    the influence of which Zeami was culturally educated. This may havesomething to do with the above-stated characteristic of Noh drama.

    When new forms of theater emerged around 1600 as Kabuki and

    Ningyo-joruri (the original name of Bunraku), they did not have a puredrama form, either. To be more precise, Kabuki did develop a drama form

    of dialogue during its early stage, but in time it came under the dominance

    of the Puppet Theater and adapted the puppet drama form to human actors;actors play in part according to the narrative chanting. Most of the famous

    Kabuki plays in the present repertories are of this type. Kabuki, though closestto Western theater among the traditional theaters, acquired a pure dramaform in dialogue only in the second half of the 18th century. Before long,

    however, it succumbed to the temptation of performing only some scenes

    extracted from a long play, which originally had been performed from dawnto twilight. Bunraku, too, follows this custom today.

    Kabukis Plot, like Nohs, is not identical with Character, but is composed

    of dialogue and narrative (stage directions). In a sense, the story has beengiven to the Audience beforehand. Most audiences know the play; if you do

    not know the story of the play, you do not understand the scene. The primaryenjoyment results from the appreciation of the acting. And yet, just as the

    Audience of Noh conceives a larger world beyond the shite, the Audience of

    Kabuki appreciates the manifestation of a long tradition in the acting styles.

    This larger world, Drama, keeps the Audiences interest within the realm of

    the Actor, rather than having it dispersed into mere interest in the Player.

    Actor Plays Character for Audience

    Having circumnavigated the triangle corners and lines of the theatricalstructure, we come back to the original formula: Actor plays Character for

    Audience. But we have said that Character is only an abstract conception

    that Audience completes at the final moment of the play. Is it not odd,

    therefore, to say that Actor plays Character? However, when we say that an

    actor plays, for example, Hamlet, what we actually mean is that he plays the

    role of Hamlet. This Hamlet is no character in the sense we have discussed,

    but a generally accepted image of a man called Hamlet in ShakespearesHamlet. Different actors play the same role of Hamlet but the audience

    conceives different characters of Hamlet in different actors. The role of Hamlet

    is a sort of stock character, like Pantalone, Arlecchino, or Dottore in commedia

    dellarte. He is not someone we conceive at the end of the play, but perceive

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    from the beginning. Roles are recognized in appearances and patterns ofmovements and behaviors. In everyday life, we recognize Student, Teacher,

    Priest, Fireman, etc. or more fundamentally, Man, Woman, Youth, Old Man,

    etc. as roles. When small children play Father and Mother, these are roles,too, not characters. As is commonly said, we are all playing roles of our own

    in life.

    Stock roles are common not only in commedia dellarte or ancient Romancomedy, but in most traditional Asian theaters. Each role has a distinct

    appearance and its own patterns of behavior and movement, that is, kata. In

    fact we are all behaving according to the kata most suitable to ourselves ineveryday life. Without this custom, the convention of female impersonation

    in Kabuki or Elizabethan theater would be impossible. Role is an outerfeature, and Character is an inner quality. Role is a physical appearance,and Character is a conceptual idea. In life and on the stage, Role and Character

    are inseparable and together give us the complete person. Thus, we should

    now amend our original triangle diagram as follows:

    A C, R(ole)

    Au

    Note that Role or kata is nevertheless on the plane of abstraction, thoughbased on the level of everyday life. Different young men have different

    patterns of behavior, but a certain typical pattern is abstracted from them

    and called the role of the handsome young man. Character and Role are two

    sides of a coin, a conception; they are not inseparable in actuality.

    However, Character is equated with Plot, as we have seen, but Role is

    not. Role is more on the side of reality, or, one may say, abstraction in reality.

    It is possible that an actor plays the role of Hamlet without knowing thecharacter of Hamlet, or plot, only by moving as he was told to move, for the

    patterns of his movement are decisive factors in the performance, out of

    which Audience will compose Character and Plot. A famous Noh actor, who

    had been greatly admired, confessed one day that he did not know the story

    of the play he was playing on the stage. In Kabuki productions in the old

    days each actor was given a script in which only his lines were written so

    that he had no knowledge of the whole plot before the dress rehearsal. When

    Role is the dominant factor in the C-R element, Plot tends to be fragmented;

    it stands for the manifestation of Role rather than for Drama, the view of

    life. This is exactly what has happened in Kabuki; today the usual Kabuki

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    repertories for an evening consist of three or four famous scenes taken fromlong plays. When children are playing Father and Mother, it is of this type,

    too; the important thing is being Father or Mother and not the story that

    they play.C is split into C and R in the new diagram. But this is nothing peculiar.

    A and Au also have double faces. As was mentioned before, A contains a

    Player aspect in itself and Au is endorsed by Spectator. So, the trianglestructure should be like this:

    A(ctor), P(layer) C(haracter), R(ole)

    Au(dience), S(pectator)

    The double faces of each corner element are inseparable, but the one

    stands on the plane of fictionality and the other more on the side of reality.Apparently Actor is related to Audience, which composes C, but Player is

    seen by Spectator as a person who plays Role. The triangle of three pairs is

    in fact two triangles, (a) and (b):

    (a) (b)P(layer) R(ole) A(ctor) C(haracter)

    S(pectator) Au(dience)

    Any theatrical performance must have both structural triangles of (a)

    and (b) together. Triangle (a) is more on the level of reality and (b) is more

    on the level of fictionality. Because of its slant toward reality, triangle (a)

    tends to exclude R, which is by nature not real but conceptual.

    However, when (a) is reduced to a mere P-S relationship, it will be sports

    or music. Player and Spectator do not necessarily communicate with each

    other.

    By the same logic, triangle (b) tends to ignore the existence of Actor,

    which is on the plane of reality as a real human being. But when (b) comes

    to be only a C-Au relationship, it will be a narrative or a novel. It needs

    Actors performative aspect to be theater. Character is Character only by

    being conceived by Audience as Plot, and Actor must be present in order to

    make Plot theatrical.

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    To endorse the element of R in triangle (a), (a) needs (b), and (b) needs(a) to assure As performative function. One may say that triangle (a) is a

    triadic relationshipthat is, we must look at the triangle from each corner

    element, while triangle (b) is a tri-linear relationshipthat is, we must lookat the triangle from each line between the corners. The ran-byoshi or koh-joh

    scene seems to put more emphasis on (a) than (b) and makes the Player

    aspect come forward because the fictional level is stripped away in thesescenes. But the Audience is never lost, for in the koh-joh scene in Kabuki, the

    actors are directly addressing the Audience, and in the ran-bryoshi ofDojoji

    everything is meant for the Audience. Noh actors look absolutely indifferentto the audience when performing, but the goal of Noh is the satisfaction of

    the audience, which Zeami called making hana (flower) bloom.Being aware of the double triangle schemes of theater structure, wemay be able to clear away confusions that sometimes occur in theater

    performances. When the Actor element is supposed to be emphasized, it

    may, in fact, be the Player aspect that comes forth because of the lack ofCharacter. Or, when the Actor attempts to emphasize Plot, the emphasis

    may actually be on Role, not on Character at all. New experimental theaters

    are often entangled in two kinds of triangle relationshipthe triadic andthe tri-linearwithout being conscious of it.

    TheatricalityNow we finally come to our main issue, theatricality. Theatricality is by

    definition being theater-like. If theater is conceptually based on the

    structural relationship between A-C-Au, it is the physical relationship of the

    above-diagramed (a) that concretizes the conceptual (b) into an actual or

    physical event, which is truly what we call theater. In short, it is the (a)

    triangle that makes a performance of the (b) triangle. However, if the aspectof (a) is too much in front, theater tends to be broken because of the loss of

    fictionality. The less apparent the (a) is in a performance, the more we believe

    in the plot in the (b), and it may be praised as a good theater of realism.

    It seems that theatricality emerges when the (a) breaks into, and yet

    does not destroy, the (b), that is, the (a) and the (b) are combined in the

    stylized performance, which actually stands on the edge of ficitionality. A

    spectacular scene or an acrobatic performance in theater, for example, gives

    us a feeling of theatricality because of its manifestation of the (a) in the realm

    of style, which actually is the (b).7 If traditional Japanese theater appears

    rich in theatricality, it is because Japanese theater essentially appreciates the

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    aspect of (a) in style, as in the case ofran-byoshi in the Noh play, Dojoji, or thekoh-joh scene of Kabuki, discussed above.

    This is the characteristic of what we call geinoh in Japanese, which I

    mentioned in the beginning of this essay.Geinoh or geinoh-jin (geinoh people) has in some contexts a pejorative

    sense because it implies vulgarity or low artistic status. Modern theater would

    refuse to be called geinoh. Geinoh covers traditional Japanese musicperformances but never Western music (whose reviews in daily newspapers

    usually appear in the culture section rather thangeinoh section).

    However,geinoh is often used in scholarly research works as a conceptto cover all the theatrical genres and performative activities, including the

    tea ceremony and Sumo wrestling.

    8

    Following the structural analysis wehave developed so far, we may say that geinoh includes every kind ofperformance that contains the above schematized triangular structure of (a),

    but that it needs even the slightest hint of the triangle of (b). Rituals have a

    definite tendency to base themselves mainly on (a). But if they give us animpression ofgeinoh, they always have certain aspects of (b). In the case of

    the ritual performance, which was executed inside the curtain walls and out

    of sight, we felt a definite relation to the performers, which means that wewere transformed from mere Spectator to Audience by something outside

    us that we shared with the village people. This ritual performance definitelyfalls into the category ofgeinoh. The rite in the Nigatsu-do Hall of the Todaiji-

    Temple, on the other hand, refuses to let us be Audience. True, the monks in

    the small room are no longer ordinary monks. They are playing sacred roles

    that are quite different from their everyday roles. Nonetheless, they do not

    go further to be totally characterized as Actor, and the rite remains on the

    border between ageinoh and a purely religious rite.

    Conventional theaters that hold a clear structural relationship of (b)

    may dislike being classified asgeinoh. But since triangle (b) could not standfor a theatrical performance without (a), they, too, are categorized asgeinoh.

    Thus, geinoh requires: (1) the triangular structural relationship of (a),

    Player-Role-Spectator, but (2) that at least one of these elements be lifted up

    to the plane of the fictional relationship of triangle (b), Actor-Character-

    Audience. Both traditional Japanese performances and Western experimental

    ones tend to step out of the fictional plane of (b), but while the former still

    keep the triangular structure with regards to the aspect of Audience, the

    latter seem to put more emphasis on Actor in their own structure. Both share

    the same intersection of reality and fictionality. Therefore, these Western

    experimental performances give us a definite impression of being in the

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    realm of the geinoh even if they are rigorously trying to get rid of thetraditional structure of theater.

    Thus,geinoh and theatricality go together, side by side. And whenever

    the Western concept of theater suffers from narrowness and ambiguity,the termgeinoh may be recommended. Adopting this term, it will be possible

    to denote the broader implication of theatricality as well as to make

    distinctions between different kinds of performance, theatrical and non-theatrical. Perhaps we need a new discipline ofgeinoh studies in order to

    further explore the issue of theatricality.Seijo University, Tokyo

    Notes

    1. Sino-Japanese characters for engeki did exist early in the 19th century, but labeled not asengeki but as kyogen (see, Mori 2001).

    2. The meaning ofgeinoh, which originally came from Chinese usage, first meant skill,but went through a considerable degree of change from the 10th to 14th centuries (seeMoriya, 1981).

    3. Kata is described in the New Kabuki Encyclopedia as follows: Kata essentially are fixedforms or patterns of performance and, while the term most commonly refers to acting,may be found in all production elements, such as the arrangement of a program, ofscenes, and the traditions of scenery, props, wigs, makeup, music, and costumes.[...] A

    kata may be said to have been born when an actor created an appropriate interpretationof the spirit of a play and his role in it (in terms of movement, speech, appearance, andso on) and this interpretation was transmitted as a convention to the next generation ofactors... (Leiter, 289)

    However, in my opinion, kata in Kabuki is more a pattern, while kata in Noh ismore form, or Form in the sense close to the Platonic idea. Kata as pattern can be changed,as we see in the history of Kabuki, but kata of Form cannot, since Noh will no longer beNoh if its kata is changed (See Mori, 1997, II).

    4 Bert O. States holds a similar view of character: All characters in a play are nestedtogether in dynamical communion, or in what we might call a reciprocating balance ofnature: every character contains in itself the cause of actions or determinations, in

    other characters and the effects of their causality Hamlet is made of Gertrude andClaudius, Osric and Horatio, Rosencrantz and Guildenstern, et cetera and vice versa.Seen from the characterological viewpoint, Hamlet is a collection of relationships(146-48).

    5. A Kabuki critic and scholar, Tamotsu Watanabe, claims that the koh-joh scene presentsthe essence of Kabuki in various aspects (see Watanabe, 1989).

    6. The intersection of reality and ficitionality is most clearly seen in the convention ofKabukis onnagata, a female impersonator. As is well known, this convention waspracticed in Elizabethan theater, too. But the comparison of both cases would show thedifferences of theatrical sensibility between the East and the West. To take examplesfrom Shakespearean comedies, Viola and Rosalind disguised as men do not concealtheir true selves from the audience, and the audience knows everything and enjoys thevarious layers of philosophical implications in their ironic situations. In contrast, Kabukisdisguise hides the true self of the character not only from other characters in the playbut also from the audience, so that the revelation of the real self is a surprise for both. A

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    typical example is the Hamamatsu-ya scene in the play Benten the Thief. The thief is ahandsome young man and played by an actor who can be an onnagata. When he appearson the stage, disguised as a young princess, the audience naturally takes him as anonnagatathat is, a genuine princess who is not disguised. He even uses some theatrical

    gimmicks to maintain that illusion with the audience. It is in the climactic scene that heis detected as a man. He suddenly takes off his kimono and identifies himself with along and melodiously narrated monologue.

    7. This characteristic of theatricality in theater will become clear when we consider cinema.Cinema has, on the surface, a similar structural relationship between actor, characterand audience. In a movie house an audience is watching an actor playing a character,but on the screen. The essential difference between theater and cinema is often expressedby the phrase, the theater audience confronts a real person on the stage while thecinema audience watches only a shadow of a person on the screen. Structurally speaking,this means that cinema is based solely on the conceptual relationship of (b), not at all onthe physical one of (a), though this may sound the other way round at first. A movie

    actor looks just like himself on the screen, that is, the same as in his actual life. But thisis so because there is no gap between Actor and Player. If what we are watching must beeither a real person or a fictional character, it must be a character, for otherwise wecould not enjoy the fictional world there. When we see Laurence Olivier playing Hamleton the stage, we never imagine that Hamlet actually looks like Olivier. But when he isplaying Hamlet on the screen, Hamlet is no one but he. This is another way of sayingthat cinema is totally realistic. Therefore, a movie, even a spectacular type, does notgive us a feeling of theatricality. Anything on the screen does not appear artificial (nottheatrical in every sense of the word) to our eyes; if it does, it must be a miserablefailure.

    8. It may be difficult to imagine that Sumo wrestling was in the old days regarded asgeinoh. But it was geinoh not because it was something like todays pro-wrestlingakind of show entertainmentbut because it was a performing competition dedicatedto divine beings. If this sounds odd to us today, it is because we have lost the ability tosense the transformation ofSumo elements to those of triangle (b). In contrast, the teaceremony gives us a clear feeling ofgeinoh. Here Player and Spectator easily transformthemselves to Actor and Audience. Despite the fact that no shadow of Character appearsin the performance, the feeling for a larger world clearly emerges. Actor and Audienceconstantly exchange their roles during the performance, and yet the host is the host andthe guests are the guests; the triangle structure remains.

    Works Cited

    Brook, Peter. The Empty Space. London: MacGibbon & Kee Ltd., 1968.Carlson, Marvin. Places of Performance: the Semiotics of Theater Architecture. Ithaca & London:

    Cornell University Press, 1989.Leiter, Samuel L. New KabukiEncyclopedia, a Revised Adaptation ofKabuki Jiten. Westport,

    Connecticut & London: Greenwood Press, 1997.Mori, Mitsuya, Thinking and Feeling. In Stanca Scholz-Cionca & Samuel L. Leiter (eds),

    Japanese Theater & the International Stage. Leiden, Boston & Kln: Brill, 2001.. Noh, Kabuki and Western Theater: An Attempt at Schematizing Acting Styles.

    Theater Research International, Spring Supplement, Oxford University Press, 1997.. Koten-geki to gendai-geki (Classical and Modern Theater). Iwanami Koza,Kabuki,

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    Bunraku, Vol.1, Tokyo: Iwanami, 1997.Moriya, Tsuyoshi. Introduction, Nihon Geinoh-shi (The History ofJapanese Geinoh). Vol. 1,

    Tokyo: Hosei University Press, 1981.States, Bert O. Great Reckonings in Little Rooms. Berkeley, Los Angeles, London: University

    of California Press, 1985.Watanabe, Tamotsu. Kabuki: kajonaru kigo no mori (Kabuki: A Forest of Signs). Tokyo: Shin-yoku-sha, 1989.