Divine Fools Possession and Japanese Performing Arts

Course Name: Japanese Traditional Theater Year Available: 2nd Year

Course Code: PART/JPNA351 Subject Area: Performing Arts

Class Style: Lecture Number of Credits: 3

Term(s) Offered: Fall Semester Prerequisites: PART110 or PART150

Instructor: Darren Ashmore

Divine Fools Traditional Japanese Performing Arts

COURSE DESCRIPTION This PBL (Project Based Learning)1 course is designed as a survey of important aspects of Japanese film and theater. Through lecture, discussion, debate, group work and presentation it explores the history and society of Japan. We shall examine significant examples of Japanese media, look at the national/global impact of Japanese cinema and consider how the Japanese perspective on media has come to affect the way the whole views this nation.

1 Project-based learning (PBL) is involves a classroom approach which places student participation,

and teaching (AKA the flipped classroom) alongside more normal lecture and discussion elements.

PBL compliments paper-based and teacher-led instruction by ensuring each student has an

opportunity to query or offer alternative viewpoints to the material being examined.

COURSE OBJECTIVES Over the course of the program, student will: Develop an understanding of some of the more important aspects of

Classical Japanese theater. Be able differentiate between the important different aspects of

possession and deviance represented by the Japanese stage. Recognize unique and borrowed social forms that are found in Japan

arts. Be able to place The main types of theater in their historical context. Understand the nature and purpose of Theater.

Students Should: Possess high communication skills in both Japanese and English. Possess Critical, Creative, Independent and Global thinking skills. Possess an inter-cultural understanding and be open-minded towards

other cultures. Student Feedback i i f i f i

STUDY MATERIALS: Supplied each week in class – no formal text-book required.

NOTE: Attendance is compulsory. A register will be taken each

session. 1. Each unexcused absence with reduce your overall grade by an incremental amount. 2. If a student misses 30% of the total number of classes without reason (5 classes), they

will automatically lose the ability to submit a final paper or research project. 3. If you are to be absent for a legitimate reason (medical, family, etc.), please be sure to

see me ASAP. Note that part-time work does not constitute a legitimate reason between the hours of 9am and 6pm on a week-day.

4. Pre-study and class preparation: all students in this course should be sure to fully cover any provided study materials and other work before class. Be sure to devote enough time to this so that both class work and assignments run smoothly.

Also, sleeping in class will be considered an unexcused absence. We are all busy, but dozing is disrespectful to the rest of the class.

Student’s achievement of the stated course objectives will be measured in terms of their performance in the following areas: 1. Take Home Theme Exams 35% 2. Final Essay 30% 3. Other Tests 20% 4. Class Engagement 15%

The Final paper may be on any topic of interest to the student. However, it should be a topic to which the themes,

theories and principles of media studies can be appropriately applied. These written projects should be around

2500 words in length.

Students must select or agree topic of paper by end of week eight to agree your essay question. Failure to do so will make it impossible to submit paper at end of semester.

iCLA ACADEMIC DISHONESTY POLICY: Acts of Academic Dishonesty: In accord with University

policies and good practices in higher education, acts of academic dishonesty such as plagiarism, cheating,

forgery (on a paper, examination, test, or other assignment) will result in the failure of the course at a minimum.

An act of academic dishonesty during the final examination or assignment in lieu of the final examination will

result in failure of all courses registered in the relevant academic term. Cases of academic dishonesty will be

reported to the Dean of Academic Affairs for relevant action.

Class Format:

1: On each subject there will be one or more lectures, discussions and/or video screenings on the subject at hand - from divine possession to the Takarazuka. On those days, the core data (and a certain perspective) will be presented to the class. This will be supported by other materials to help you prepare for the discussions on the following Thursday. 2: Following this up, there will be group discussions and expansions on the lecture and its themes. It will be based loosely around a number of questions which will be noted in the syllabus and handed out as short homework each week. • For the first section of the class there will often be a presentation slot for students, or groups

to speak to the whole class on issues which affect the day's discussion (15-20 mins). • For the main part of the session (30-35 mins), the class will discuss the questions in small

self-formed groups; sharing ideas and opinions on the issues at hand. • For the final part of the class, the whole group will address each of the questions (as well

as any other points which have come up) and share their ideas.

For every semester, this course will be evaluated and reflect upon student course evaluation and feedback.

SCHEDULE (This syllabus not totally fixed and is subject to change – please bear this in mind in the evaluation. We will follow it as close as possible, but there will be changes).

Week One: Orientation, group formation

Week One – Theatre and Ritual Lecture: Examining the evidence which exists for ritual performance traditions in the earliest records and why these traditions became important to the Japanese. - Discussion: Group Discussion: Performing arts and religious ritual: why do we dance for the Gods? Main Questions for discussion: Performing arts and religious ritual: why do we dance for the Gods? 1: Discuss the definitions of theatre? 2: Why do you think that religion and simple 'theatre' are so closely connected in early human history? 3: What do you think is really being achieved when objects (or people) are ritually sacrificed in the ways we discussed? 4. What are the two kinds of shamans in Japan? Which came first? What are the two kinds of trances associated with each? How did miko lose their status and power?

Kabuki Triptych – 1784

Chikamatsu Monzaemon

Week Two – Kagura and Gagaku Lecture: Arguably the forms from which all the three grand traditional forms of Kabuki, Bunraku and Noh evolved. This session we will look at the forms and ritual significance of this family of arts and explore the ritual landscape of ancient Japan.

Screening One – Kagura and Gagaku Two screenings, with commentaries and opportunities for questions.

Discussion: Presentation: Art in the Kojiki Screening: Dengaku and Court Gagaku and Bugaku 1: Why do the Miko remain important in Kagura after the take-over of the Yamato Govt? 2: Why is entertaining the Kami so important in both Kagura and Gagaku, and what is the essential difference between the two forms? 3: What is the Imperial Music School's role in preserving ritual and theatre in the Heian period? How does their work on religion help create the first true theatres? 4: Discuss the various symbols and signs present in the Kagura (Dengaku) we will view in class (refer to the handout and lecture notes). What do you think each one represents?

Ningyou Joururi Play - 1765

Master Kiritake Masaya of the Otome Bunraku Theatre

Week Three – Puppet Theatre Lecture: From the earliest forms of ritual, to the high art of Bunraku, this session’s lecture focuses on the puppet in Japanese theatre and the intrinsically ritual content of this art form.

Week Four - Screening - 義 経 千 本 桜 [Yoshitsune Senbon Zakura] "Yoshitsune and the Thousand Cherry Trees": One of the most remarkable long puppet plays in the official canon. We will be watching the dance sequence [道行].

Discussion: Main Questions for Discussion: Discuss the nature of puppet theatre. What can we say about this art's different approaches to reality? 1: Discuss the nature of the puppet or doll as a ritual object. How does the Japanese view on puppets and half alive affect the nature of puppet theatre? 2: Discuss the importance of puppet design within Japanese Puppet Theatre? How does the Style of the puppets affect your emotional engagement with them? Have a look at the puppets in the handouts, and attempt to describe their character/emotional states simple on their face and costume design. 3: Many puppets are manipulated by two, or three puppeteers – some in grand costumes. Do you find the number of puppeteers distracting to the performance, or do they ‘disappear’ to you? Discuss how this affected your experience and belief in the performance.

Onnagata [女形] female role specialist

Shizuka Gozen, in the Dance Sequence from “Yoshitsune and the Thousand Cherry Trees”

Week Five– Noh Part One Lecture 1: Examining the rise of the Noh and Kyougen in the Middle ages and its adoption by the military classes. Considering the works of the Great Masters (Kan’ami, Zeami), this session focuses on the professional artist. Week Six - Screening One: screening of Dai Han Ya. Note, I will be missing this day. There will be

homework assigned for the screening, to be prepared for the seminar.

Masked Noh Dancers

Week Seven – Noh Part Two Lecture 2: Examining secret traditions of the Noh schools and how they are transmitted and changed over time.

The Shite in the role of the Ghost Woman in “Dojouji”

Week Eight – Reading Week Free Time in Lieu of Field Trip to be taken in October to see the Kabuki

Week Nine – Kabuki Part One Lecture 1: From the licentious theatre of the Kawa River in Kyoto, to the Grand theatres of Edo, this session’s lecture examines the cultural and political impact of a theatre form which became popular among all levels of urban Japanese society.

Week Ten - Screening - 勧進帳 [Kanjincho] "The Subscription Scroll": One

of the most remarkable short Kabuki plays in the Repertoire. A play drawn from the Noh, this version is by the Ichikawa Family, headed by Master Danjuro XII.

Week Eleven - Lecture 2: The Heroes of Kabuki and the social role of the theatre.

Discussion: Kabuki 1: Why did Kyoto develop a social environment which allowed Izumo-no-Okuni to create the first Kabuki on the Kammo River? Is it so odd that the old Imperial Capitol City would develop such an anarchic and hedonistic outlook at the end of the Civil Wars. 2: Why did the merchant classes in the three great cities come to appreciate Kabuki so much? 3: Theatre as News: What was so offensive to the Govt. about such plays as "Sonezaki Shinju" or "Chushingura"? What made them station censors in each professional theatre in the cities? 4: The Genroku Period: What made this age so extravagant and gaudy? Theatre, business, society and the likes: place kabuki in context in this age and explore the broader nature of edo society in the 18th century.

Week Thirteen– Women’s Theatre Lecture: The return of Women to the stage in the Meiji period, and what has become of the feminine in traditional culture.

Week fourteen – Lecture/Discussion: Onnagata, women and sexual mores in Japanese theatre.

Week Fifteen - Screening - 宝塚歌劇団: ベルサイユのばら[The Rose of Versailles]: One of the most successful Takarazuka musicals in the official canon. It has to be on a weekend, as it is so long (NOTE unsubtitled) This screening is not compulsory, and I will be happy to give you a copy of the file if you prefer to watch this at home.