Where to begin? I keep wondering…
This year, as summer turned to autumn in Kyoto, I was fortunate enough to take part in the International Noh Institute’s Intensive Programme.
When I applied, I was not sure I would be accepted. I was neither a performer nor a Noh scholar—just someone who loved Japanese history and Noh theatre. But I am happy to say that perhaps the most important requirements for joining the course are a love of Noh and a desire to learn.
Reading the reflections of past participants now, I recognize so many of their feelings about the course. It is a testament to how meaningful a learning and life experience it has remained over the years. The depth of knowledge shared, and the quality of the teaching, were astounding. What stood out most was the generosity with which our teachers shared Noh principles, kata, and even less commonly taught techniques and artistic choices. I am still reflecting on our discussions about them.
The INI team is truly inspiring, dedicated, and kind. I cannot thank our main teacher, Udaka Tatsushige-sensei, enough, nor Udaka Norishige-sensei, Diego Pellecchia-sensei, and Monique Arnaud-sensei. Each is remarkable in their own way as a Noh practitioner or scholar. I would also like to thank Udaka Keiko-sensei for giving up an evening to show us firsthand how Noh masks are made. We could even smell the history—some 250 years of it—in the freshly carved hinoki (cypress) wood shavings.
After weeks of intensive training, we had the incredible opportunity to perform on the Kongō Nōgakudō stage.
Sharing the stage and theatre with our teachers, fellow participants, and the students of Tatsushige-sensei and Norishige-sensei was truly special. I would like to offer a particular word of thanks to the kind and funny Sōmyō Tadasuke-sensei, who helped me dress. As I watched everyone, I tried to observe their faces and movements, their relationship to the space on and off the stage, their timing and their pauses. I came to sense a profound ma in all of them. Performance day was amazing!
For a little while, I felt as though I was part of the “Mai-Kongō.”
For me, the highlight of the course was watching Tatsushige-sensei perform Yamanba on the final day, bringing the Noh mask, the costume, the world of the play—and Yamanba herself—to life.
I once read that in Western theatre, something happens, but in Noh theatre, something appears. I am truly glad I was there to see it.
Antonio Laranjeira
Photo: Udaka Sanami
