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od uobičajenih dramskih formi da Je ostavio dubok trag na mnoge savremene pesnike. Ovde se dramska akcija odvija u retrospektiv! i, uvodenjem duha, spaja prošlost i sadašnjost.

kantan of China, stops for a night in the village of Kantan The innkeeper gives him a pillow and he lies down to rest. An TT SSTTUIJSI t Œ * life of Sed lolendour and uxurv throughout a reign of fifty years, ButThen Äakes^ to hear innkehim that hi« Hop iq cooked Sd à his dream figures fade away Rail ili nn than that life itself is lust cifri! I 9 mnmpntarv dream he resolves to oive uo his journey and Its vanities InH 9 tp e cnpnHthp rpqt of his davs auietlv ™home by Waley ) at home. (Translation by waiey.j

swJmit-f '7P/Iftilm'Tft UUUU'I Zeami-Za is a troupe of Noh and Kyogen actors formed by the artists themselves for the purpose, not merely of transmitting these proud Japanese dramatic traditions, but also of actively applying the superb acting and production techniques of these disciplines to the performance of theatre art today. The troupe takes its name from Zeami, a brillant Noh artist who lived between 1364 and 1443. Not only was Zeami an extraordinary playwright, he was also an actor and theorist as well. Five hundred years after his death, Zeami ’s plays continue to be performed and marveled at around the world. His theoretical treatises, the most famous of which is the Kadensho, moreover, have been transfated Into many languages and bave ibipressed readers the world over with their depth and with the challenges their artistic conceptions ipose tin the contemporary context. Zeami-Za has thus been founded on the work and ideas of Zeami, seeking to transmit his Noh and Kyogen dramas ever more effectively into the modern wor ld. Until now, nearly all ensembles have

been organized around the leading actor, the shite, or around a particular school of shite acting, and the other actors in the ensemble have been assembled only afterwards. In contrast, Zeami-Za seeks to make the leading actors, supporting actors, and musicians all equal partners, The members of Zeami-Za have come to know each other well through their stage work. In addition to their voluminous classical work, they have also begun SHT" wl,h " ew produc,ions ' in ' continue and expand* work, creating drama with a density unmatched by any other Noh ensemble »“pÄ Noh. not as an esoteric and distant art, but as an immediate form whose beauty and significance can be understood and appreciated by people everywhere. Zeami-Za’s first performances as an ensemble will be given in Denmark and Italy during the month of September. In addition to formal performances, semiears concerning Noh and Kyogen will also be conducted. (Hlsao Kanze , Director)

« hntrtpnfnv KANTAN No obično karakteriše mali brOj učesnika, ali KANTAN ima relativno veliku podelu i dočarava nam jedinstven svet mašte. Naravno, No je dobro poznat po predstavljanju sveta koji vise liči na snove, a njegov najslavniji žanr se i zove mugen ili No Priviđenja, ali prikazivanje događaja iz sna koji jedan od likova sanja, dosta je neuobičajen. Ova centripetalna struktura, koja se usredsređuje na događaje iz nečijeg sna pruža nam izvanrednu manifestaciju potencijala No drama. Sadržaj komada je san o životu i< o ji sanja miadi čovek u vreme kada doživljava krizu identiteta i postaje svestan realnosti ovog sveta. Medutim, te realnosti su čudno srednjovekovne i orijentaine. Muzika je u ovom komadu takode veoma šarolika i omogućuje punu primenu dramske tehnike No-a. Naročito je zanimljiv Hisao Kanze, koji tumači glavnu ulogu mladog snevača, Rosei. H. Kanze je jedan od najpotpunijih No giumaca danas, a naročito je vest u prikazivanju mugen-a No Prividenja. TSUKIMIZATO Od davnina su u Japanu tipične zabave;

šetnja poljem po čistoj jesenjoj nodi u vreme uštapa i slušanje hora insekata. Tsukimizato koji počinje pateticnom scenom u kojoj slepac Jde sam da elusa zvuke noci, je neobično deio za mace razdragani repertoar Kyogen-a. Komad istražuje životinjske i božanske strane čovekove prirode, obuhvatajući dinamiku ljudskog života, i završava se bogatom teksturom emocija.

SkllftitfiflW SlifillTlUrj' Of the ZCdltll-Zd J VPJJPVfnVV ' f lU " J KANTAN Noh is generally characterized by the few people who appear on stage, but Kantan has a relatively large cast and depicts a unique world of fantasy. Noh is of course well known for its depiction of a dreamlike world, and its most famous genre is even called mugen or Phantasmal Noh, but the presentation on the stage of the events of a dream actualiy being dreamt by one of the characters is unusual. This centripetal structure, focusing on the events of one man’s dream, affords an exquisite manifestation of Phantasmal Noh’s potential. The play concerns the dream of life dreamt by a young man Jn the throes of an “identity crisis and his consequent reawakening to the realities of this world, but these realities are peculiarly medievai and Oriental. The music of the play Is also filled with variety, encouraging the fullest application of Noh s dramatic techniques. Of particular interest, also, is Hisao Kanze in the primary role of the dreaming young man, Rosei. Mr. Kanze is one of the most accomplished Noh actors working today, and he is espedally adept at Phantasmal Noh. Tsukimizato Since ancient times it has been a typical passtime in Japan to venture out into the countryside on a clear autumn night when there is a full moon in the sky and listen to the chorus of the insects, Tsukimizato. which opens with the pathos of a blindman out to listen to the sounds of the night all by himself, is a work unusual in the ordinarily light-hearted Kyogen repertory. The play proceeds to inspect the bestial and godlike sides of man, considering the dynamics of human life, and ends in a rich brocade of emotions.