Category Archives: INI life

Udaka 2015 Independence Day, and INI Gala Recital 2016

In the early hours of September 13th 2015 Udaka Michishige continued with putting the finishing touches on the Deigan mask he would use later that day in his performance of Teika, the center piece of the 16th Seirannoh-no-kai at the Kongo Noh Theatre: adding more color, polishing, pausing to check the effect once again. This was the latest effort in the search for the essence of the expression of the Deigan mask, in this case for the essence that would most effectively portrayal his interpretation of the spirit of Princess Shokushi Naishinno. As always the process was continuing until the last possible moment.

His thoughts at this time as he kept on with this search included welcoming the 45th observance of his independence as a Noh actor and also his wishes for INI members. “Independence” can mean embarking on a lonely road and uncompromising battle of seeking the essence of your art. Michishige continues to be his own harshest critic and taskmaster, but he also treasures and finds strength in fellow travellers on the path. He hopes that you, too, as his fellow travellers are keeping to your path of seeking the highest essence in your endeavours.

Michishige also looks forward to sharing in training and performing Noh with as many of you as possible in the Gala Noh Recital at the Kongo Noh Theatre on August 21, 2016. More details will be coming soon, but please put the date down on your calendar and get in touch with us with any questions. As always at INI will do what we can to facilitate your participation.

In closing, the performance of Teika was very well received. Here are a few photos from the performance though they are hardly a substitute for the experience of the performance itself.

Rebecca Teele Ogamo

INI summer training 2015 – introducing Dorothée Neff

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Dorothée Neff

Dorothée Neff is a young member of the Berliner Ensemble, the legendary theatre company founded by Bertolt Brecht in Berlin soon after the end of WWII. Dorothée has spent a month studying Noh with Udaka Michishige and the INI, seeking to expand her knowledge of performance beyond the boundaries of Western theatre. It has been a great pleasure to welcome her and see her develop dance and chant skills in such a short time. Sadia Gordon, whom we introduced in an earlier post, and Dorothée formed a great combo, helping each other as they moved through their first steps in the world of Noh. Below are some reflections she was kind enough to send us. I love the way she describes the INI as an intimate group in which the Noh tradition is transmitted from heart to heart, mind to mind, body to body.

Diego Pellecchia, INI Junior Director

My first time in Japan, practicing Noh

by Dorothée Neff

After performing in Robert Wilsons “Faust I & II” at the Berliner Ensemble, I very much felt the desire to travel to Japan to learn more about Noh Theatre, since I could feel a very strong influence of Japanese culture and theatre on his theatrical work with us actors in Berlin. Before my first lesson at the Okeikoba, Diego Pellecchia introduced me and three of my fellow students to Japanese manners – how we should sit, greet, behave and talk in front of our teacher, Udaka Michishige. I soon realized that Japanese culture and Noh theatre go hand in hand together and I could never do one without being conscious about the other.

The first day I went to the okeikoba, I entered a room with a wooden stage and a table in the front. It felt as if time passed slower. When entering and leaving the rehearsal room we would first take off our shoes in front of the rehearsal room, enter and kneel in front of Udaka Michishige and our fellow students, bow and thank them for giving us the chance to study with him. In doing so every day, I felt like I was entering a very new and unique place, very different from everything I knew before. In the same breath I felt the power of tradition and heritage and how important it is to have a sense of where one is coming from.

From left to right, Sadia Gordon, Udaka Michishige, Dorothée Neff

A very special time during my stay in Kyoto at the International Noh Institute was an intensive three day rehearsal period in Matsuyama with Udaka Michishige, Diego Pellecchia and Rebecca Ogamo Teele, during which I had the stage, time and support to practice “Shojo” intensively. Since every movement in Noh Theatre, every gesture is very slow, I felt how important it is to be completely aware and conscious, with all of my body and energy, how important it is to stretch out my body, to fill the room with my energy and spirit. What I enjoyed most was the chanting. First I needed time to grasp the different pitches and sounds when chanting Noh in Japanese, but after Matsuyama, I felt I became more familiar with the sounds and pitches. “Familiar” is definitely a word I would use when describing the INI. It is a very intimate, one-to-one teaching atmosphere, something I had searched for for a very long time, and never found back home, but found when I came to the INI in Kyoto. I only realized after leaving Kyoto how much I missed and longed for “time”, “traditions” and “familiarity” as in a sense of trust and well-being based on a shared etiquette of respect.

When I came back to Germany, my friends and family asked me what I learned and what I could take on board from Japan, but I never knew what to say in the beginning, although I knew there was something. But it wasn’t until an audition, when I felt how much time, and space I took when speaking, moving, breathing, and observing, that I knew what it was. A teacher once said to me: “A pianist would not leave out one note when playing Beethoven, so why would you, as an actress, rush through your lines?” And now, after coming back from Japan, I feel how much I enjoy saying my words, how important it is for me that those down stage understand what I mean. For the first time, there is space, and I take it, with all of me, my breath and soul and it feels alive.

INI summer training 2015 – introducing Sadia Gordon

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Dear INI members and supporters, greetings from an unusually fresh Kyoto! It’s Diego here. While the temperature might be lower than usual, we are looking forward to a hot summer full of events and training opportunities here at the INI headquarters. Many international students are going to join the INI summer training, and we would like to give them a chance to introduce themselves and explain why they chose to study Noh with the INI. I always enjoy learning how different paths and life experiences can lead to the study of Noh theatre. So here is our first guest, Sadia Gordon, sharing her first impression of the INI Noh training in Kyoto.

Konnichiwa!

Sadia Gordon (New Zealand)

My name is Sadia Gordon. I am a 22 year old actor in training, studying Performing and Screen Arts at Unitec in Auckland, New Zealand.　In our third and final year of study, we are given six weeks to go out and explore something that we are interested in, connected with the field of work we would like to go into.　At Unitec, we are lucky enough to have John Davies as our Head of Department. John has been to Japan on several occasions to study Noh Theatre.

In my first year at drama school, John did a small performance of a Noh Theatre play in full costume with the wig and mask. I remember being amazed by his stillness and precision, and thinking that would be something I would find very hard to do.　I had been thinking about what I wanted to explore for secondment, in terms of what my main challenges are as an actor and what would help me get to the place I want to be before graduating.

This idea of feeling completely grounded and connecting with the breath has been something that I have found hard throughout my acting training. However, I have found that when I do reach this calm, centred place, my thoughts are so much clearer on stage and I can really tune into the intentions of my character.　During a meditation class, led by John, I suddenly felt completely connected to myself, without any outside noise distracting me. I realised this is the direction I need to go in.　I knew that Noh Theatre would be a way for me to further develop my stage presence while also connecting with myself and my base. I thought that learning Noh in Japan would be the ultimate way to immerse myself in the culture and really get to understand the art form.　I worked 12 hour shifts for 3 long months at a vegetable factory in Christchurch, New Zealand to save up and I am now seeing how worth it that was!

Udaka Michishige and Sadia Gordon

Japan is very different from New Zealand, but I also see some similarities which make me feel like I am at home.　Kyoto is such a beautiful, fresh place. I feel very calm and safe here. I have found people to be so kind and generous and interested in what I have to say, which I think can be very rare these days.　I can’t believe that I am surrounded by beautiful temples and I can go and sit in any one of them, for as long as I want to.　I feel so lucky that I am able to be here, working under Udaka Michishige’s tuition, as John did years ago.

My first Okeiko was incredible. I was very nervous, but as soon as I stood up on the butai with my tabi on, I could feel my feet firmly on the ground and I felt very at ease, within the structure of my movements. I hope that in 5 weeks, when it comes time for me to go back home, I can take with me some of the beauty and simplicity of traditional life here. I am realising how important and healthy it is for us to take time out of our busy lifestyles, full of noise and technology to sit and listen.

Domo Arigato Gozaimasu.

Sadia Gordon

Pictures from the Noh workshop at Iori Machiya

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On Friday 20th November 2014 the INI held a Noh workshop for a group of twelve American visitors led by Bob Stigler, co-president of the Washington-based educational organisation New Stories. It has been a memorable day because Bob and Michishige first met some 40 years ago in Kyoto, but have not seen each other ever since. It has been particularly enjoyable to listen them sharing memories of the old days in Kyoto, and impress each other with their achievements! Udaka Michishige lead the workshop along with his sons Tatsushige and Norishige. Diego Pellecchia has helped interpreting for the participants and Elaine Czech took pictures. The workshop took place at Iori, a luxurious Kyoto-style machiya (traditional townhouse) we use regularly for our event.

As you can see in the photographs, Tatsushige and his father showed and explained the features of a number Michishige’s Noh masks. Speaking of masks, The Udaka Men-no-kai exhibition is coming up soon: don’t miss the chance to see some of these masks live if you are in Kyoto on on 28-29-30 November! Participants could also admire (and try on!) precious Noh costumes, as well as experience basic Noh movement techniques. Bob’s group has been a lovely audience – thank you so much! Everyone expressed much gratitude to Udaka Michishige and to the INI, and some participants decided to stay longer in Kyoto in order to see the Kongo school monthly performance coming up this Sunday 23rd at the Kongo Noh theatre, featuring the Noh Ikkaku sennin (‘The One-Horned Hermit’ which you can see in the picture below!).

Udaka Michishige’s Noh masks

Men-ate paper pads applied on the back of the mask

Udaka Michishige and Bob Stigler

Udaka Michishige, Diego Pellecchia and workshop participants

Udaka Tatshushige shows the Shojo mask

Bob Stigler tries on the Shojo mask

Udaka Michishige explains the various types of textiles used for Noh costumes

A participants tries on a karaori robe, and the Ko-omote mask

Participants experience Noh movement techniques

Udaka Michishige, Tatsushige and Norishige with the workshop participants

Noh Photography #2 Stéphane Barbery

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Here is the second of a series of posts on photographers who have worked with the INI and with Udaka Michishige. (See the first post of the series, featuring Irwin Wong). This time we have asked Stéphane Barbery to contribute to our blog with his thoughts on photographing Noh. Stéphane is a French writer and photographer living in Kyoto, where he studies traditional arts since 2008. He is currently working on a ten-year book project on Japanese beauty. Stéphane is a regular Noh theatregoer, and has taken pictures of a great number of Noh performances, as well as other performing arts. His personal take on Noh is apparent in the stunning pictures that capture the intensity of performance moments. We have met Stéphane on a number of occasions in Kyoto, and have always been impressed by his passion for Noh and determination to disseminate it internationally. Find out about Stéphane’s many activities on his blog and his Flickr page.

I consider Noh as an atheist religious experience. It is not “just an(other) exotic entertainment”. Noh is the most noble and intense form of collective trance that I know. It purifies the heart and restores faith in the kindhearted nature of human beings. The photographer must thus take all the necessary steps to preserve the masters and the sense of trance in the audience. This means :

1) Being invisible.

a) Avoid strobes or added lightings.

b) Staying usually in the back of the room which implies using a long zoom. I’ve discovered that the equivalent of a full frame 600mm is necessary in order to take pictures that are framed enough so that the non-acting people on stage (specially the musicians and the koken stage assistants) do not show on the background of a picture creating a visual noise that dilutes the emotion of a movement that usually relies on a detail in a fraction of a second. I also want to avoid “static” pictures that, from my point of view, lose all the specific dynamic energy of Noh. It means that I take a lot of pictures and carefully select the most intense ones during the processing phase.

2) Being absolutely silent. Technology (specially after Panasonic Gx7) allows to take pictures in total “silent mode” with no shutter or lens motor sounds.

B) Photographers should never aim for verisimilitude but should try to share the peak of the emotions they felt. During the development of pictures (nowadays, with digital photography, on a computer using Adobe Lightroom), they should feel totally free to modify every parameter of the shot (colour, contrast, lighting, frame, etc.) in order to convey the intensity of what they saw. If the colours of his file, considering the limits imposed by the effort to be ‘invisible’, can be mixed in a noise that does not honor the genius of the colours and patterns displayed on a Noh stage, then it is best to shift to monochrome in order to underline the detail they want to share.

C) The exceptional nature of Noh is not only seen during the short time of the stage but also in the lifetime preparation process of the Noh performers. My dream is to be able to take pictures of all the dimensions of this “behind the scenes” world so that those who cannot get the chance to access it can understand the number of skills required to be a Noh master, but also how intensively those professionals are dedicated to their art. As such they are true sources of inspiration who deserve to be much more honoured than they are nowadays.

Stéphane Barbery

Noh: Ataka. Shite: Udaka MIchishige. Photo: Stéphane Barbery

Noh: Ataka. Shite: Udaka Michishige. Photo: Stéphane Barbery

Noh: Ataka. Shite: Udaka MIchishige. Photo: Stéphane Barbery

Noh: Hagoromo. Shite: Udaka Tatsushige. Photo: Stéphane Barbery

Diego Pellecchia getting dressed for the rehearsal of the Noh ‘Kiyotsune’. Photo: Stéphane Barbery

The Y-shaped kibane, a wooden piece that sustains the heavy okuchi-wide trousers. Photo: Stéphane Barbery

Adjusting the costume for the rehearsal of the Noh ‘Kiyotsune’. Photo: Stéphane Barbery

Diego Pellecchia bowing to the Chujo mask before the rehearsal of the Noh ‘Kiyotsune’ Photo: Stéphane Barbery

Noh: ‘Kiyotsune’. Shite: Diego Pellecchia. Photo: Stéphane Barbery

Pictures from the 30th Matsuyama Shimin Noh Recital

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Here are a few pictures of the 30th Matsuyama Shimin Noh recital in Matsuyama (Ehime pref.). Every year on November 3rd Kei’un-kai and INI members perform shimai (dance) and utai (chant) excerpts in a recital that takes place before a full Noh performance starring Udaka Michishige or, as in this year’s case, his sons Udaka Tatsushige and Udaka Norishige. The Udaka family has its roots in Matsuyama, where its ancestors were Noh performers who served the Matsudaira lords at Matsuyama Castle until the end of the Edo period, hence the deep connection between the current Udaka family, based in Kyoto, and the city of Matsuyama.

This year’s recital took place at the Dogo Yamatoya Honten, a beautiful ryokan (traditional hotel). The owner of this establishment is a fan of Noh, and the hotel rooms and facilities have Noh-sounding names. On the fourth floor there is an outdoor Noh stage where performances can be watched both from the usual front and side floors, and from porch-like structures at the back of both sides, just like the stages built within the premises of aristocratic mansions or temples. We were blessed by a deep blue sky and crisp autumn air, and the event, culminating with the performances of Takasago maibayashi by Udaka Norishige and Midare by Udaka Tatsushige, went very well.

Dogo Onsen by frenchbear @deviantart

Elaine Czech and I (Diego Pellecchia) arrived early in the morning on a night bus (a good way to save some money on transportation/accommodation fees) and enjoyed a hot bath at Dogo Onsen, one of the most famous Onsen in Japan, which has also served as model for Miyazaki Hayao’s Spirited Away. Matsuyama is famous for various literary figures and fictional characters who populated it, such as Natsume Sōseki’s Bocchan. Preparations for the performance started early, with more than 30 participants changing into traditional clothes (montsuki/kimono and hakama), getting ready to go on stage. Visitors and audience members could also admire some of Udaka MIchishige’s masks on display in the lobby (see photos below) and watch the recital before the main event, the performances of Takasago and Midare in the afternoon. Elaine has taken pictures from of the day, which we are sharing here. Enjoy and we hope to see you there next time!

Udaka Michishige’s calligraphy

Shintai, Zo-Onna, Magojiro masks by Udaka Michishige

O-jishi, Shaka, O-akujo masks by Udaka Michishige

Shimai: Yashima. Shite: Nagao Atsushi

Shimai: Atsumori. Shite: Hirasawa Yumiko

Shimai: Kantan. Shite: Takaya Daigo

Shimai: Ochiba. Shite: Ogamo Rebecca

Shimai: Aya no tsuzumi. Shite: Okawa Mami

Shimai: Uta-ura. Shite: Hatano Yoshiko

Noh Photography #1 – Irwin Wong

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This is the first of a series of posts on photographers who have worked with the INI and with Udaka Michishige.

Irwin Wong is a professional photographer based in Tokyo. A few months ago he contacted the INI as he was looking to arrange a photo shoot commissioned by camera maker Hasselblad for the advertising campaign of their new model. We arranged to meet at Iori, a machiya, or traditional house in downtown Kyoto: Michishige brought his costumes and the masks he carves, and his sons Tatsushige and Norishige helped him with the complex dressing process. Irwin brought his camera and lighting equipment, while his collaborator Kondō Keiichi filmed the behind-the-scenes that you can watch in the video below. It was very productive day and Irwin’s pictures are just stunning: make sure to check out his post on the photo session, which also includes technical information about the cameras and the lights.

We can see two characters in the pictures: the female character is the mae-shite for the Noh Uneme, which Michishige performed in February 2014. The costume is a karaori, or Chinese brocade, and the mask is Ko-omote, to portray the face of a young girl. In stark contrast with the delicate female character is the vengeful ghost of Taira no Tomomori, appearing in the second half of the Noh Funa Benkei. Features of this costume are the white hitoe-kariginu, symbolising the character is a ghost, and the halberd and sword. The mask is Shintai, also used for roles of powerful gods.

Udaka Michishige preparing his Noh masks. Photograph: Irwin Wong.

Udaka Michishige as the Ghost of Uneme. Photograph: Irwin Wong.

Udaka Tatsushige and Norishige dress their father Michishige as the Ghost of Uneme. Photograph: Irwin Wong.

Udaka Michishige as the Ghost of Uneme. Photograph: Irwin Wong.

The Ko-omote mask carved by Udaka Michishige. Photograph: Irwin Wong.

Udaka Michishige as Taira no Tomomori. Photograph: Irwin Wong.

Udaka Tatsushige and Norishige dress their father Michishige as Taira no Tomomori. Photograph: Irwin Wong.

Udaka Michishige as Taira no Tomomori. Photograph: Irwin Wong.

Udaka Michishige, Tatsushige, Norishige. Photograph: Irwin Wong.

Udaka Michishige (center), Tatsushige (left), Norishige (right). Photograph: Irwin Wong.

See?

Welcome to our new website!

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We are excited to announce the launch of the new INI – International Noh Institute website! We are going to use this blog to document our training and performance activities in Japan and abroad. We hope this will be a place where those who are interested in various aspects of Noh, such as dance, drama, music, or mask carving can share opinions, ask questions, read and tell stories about the world of Noh. If you are curious to try practice Noh, please refer to the Study Noh with the INI section for more information about our courses.

PS: don’t forget to subscribe to this website, like us on Facebook and follow us on Twitter!

INI members backstage at the Kongo Noh Theatre in Kyoto in 2013. From left-right, from top to bottom: Rebecca Teele Ogamo, Jaewoo Kang, Calder Tomlinson Suzuki, Jordi Ch. Mora, Cristina Picelli, Udaka Michishige, Elaine Czech, Diego Pellecchia

Johanna visits Kyoto

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Johanna Johanna Gernbacher has been living in a Zen temple in Nagaoka while studying utai, shimai and mask carving with Udaka Michishige in Kyoto since April 2012. She performed the kuse and kiri sections of Yuki in the student recital on the Yamatoya Noh stage before Udaka-sensei’s performance of Sesshoseki in November 2012. Johanna has been developing quickly as a shite and as a mask carver, and Udaka- sensei hopes she will continue her training and come back to Kyoto soon. She has now returned to Berlin where she will continue to study Noh, joining forces with other INI members in Germany.

This January Johanna visited Kyoto and it was nice to catch up! We went to the utaizome performance celebrating the new year at the Kongo Noh theatre, which was showing the seasonal decorations. We hope to see Johanna again soon!

The International Noh Institute

国際能楽研究会

Category Archives: INI life

Udaka 2015 Independence Day, and INI Gala Recital 2016

INI summer training 2015 – introducing Dorothée Neff

My first time in Japan, practicing Noh

INI summer training 2015 – introducing Sadia Gordon

Konnichiwa!

Pictures from the Noh workshop at Iori Machiya

Noh Photography #2 Stéphane Barbery

Pictures from the 30th Matsuyama Shimin Noh Recital

Noh Photography #1 – Irwin Wong

Welcome to our new website!

Johanna visits Kyoto