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Hideo Kanze, legendary Teatro NO

TEATRO: E' MORTO HIDEO KANZE, LEGGENDA DEL TEATRO NO

HA LAVORATO MOLTO IN EUROPA, AVEVA 79 ANNI

Tokyo, 11 giu. - (Adnkronos) - L'attore giapponese Hideo Kanze, leggenda del Teatro No (detto anche Nogaku), e' morto a Tokyo all'eta' di 79 anni in seguito ad un tumore. Figlio di Tetsunojo Kanze VII, uno dei piu' grandi maestri del No, apparteneva ad una famiglia d'arte che ha conservato e tramandato di generazione in generazione gli insegnamenti secolari di questa tradizione teatrale. Hideo Kanze ha cominciato a praticare il No all'eta' di 3 anni, con il padre e il nonno; a quattro era con loro in scena. Ha studiato all'universita' nazionale di Tokyo, poi Kita school, in 1959 and 'was asked to be part of the National Association of No.

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The Noh (能) is a form of theater in Japan in the fourteenth century sort that requires a high culture to be understood, in contrast to kabuki, which represents its popularization. The text of the no so constructed as to be freely interpreted by the viewer, this is partly due to the peculiarities of the language has many homophones. It is characterized by slow, spartan and the use of a grace di maschere caratteristiche.

Si evolse, insieme alla strettamente correlata farsa Kyōgen, da varie forme d'arte popolari ed aristocratiche, tra cui il Dengaku, il Shirabyoshi e il Gagaku. Kan'ami e suo figlio Zeami portarono il Nō alla sua forma presente durante il periodo Muromachi. A sua volta il Nō influenzò successivamente altre forme d'arte teatrali come il Kabuki e il Butoh. Durante la restaurazione Meiji il Nō ed il Kyōgen vennero riconosciuti ufficialmente come due delle tre forme teatrali tradizionali.

Inizialmente faceva parte, insieme al Kyōgen, di una forma drammatica nota come Sarugaku. Mentre il Nō era centrato sulla danza e sul canto il Kyōgen era soprattutto basato sui dialoghi and improvisation that followed predetermined towels.

From the sixteenth century the two genres diverged. This was recited by actors in Noh mask and was based on written texts. The earliest date from the fifteenth century, but the majority was composed in the sixteenth. The Kyogen instead continued to rely largely on improvisation. The main characters are a no supernatural beings (gods, spirits) or historical or legendary. Again, this differed from the Kyogen whose characters were ordinary people.

The first author of NO was Kan'ami Kiyotsugu (1334-1384). Together with his son Zeami Motokiyo (1363-1443) and his nephew Motomasa Juro (1394-1431) form the triad of the Kanze school. Zeami is perhaps the most important authors of all ages with assets over two hundred works, which are still being staged, and many writings on the theater and the implementation of the works. Noh Noh



should be recognized that the Noh theater is an ancient form is still alive, if somewhat rare, and that even in modern times there have been authors who have written for this genre. One of these Yukio Mishima (Kindai nogaku shu, Five Modern Noh, 1956). The

Okina / Kamiuta is a unique form of representation that combines dance with Shinto rituals. It is considered the oldest Noh performance. The

'Heike monogatari (The tale of Heike), a medieval tale of the rise and fall of the Taira clan, originally sung by blind monks that accompanied the biwa, is a major source of material for the No (and later theatrical forms), especially for representations of warriors. Another important source is the Genji Monogatari, a work of the eleventh century, sometimes called the first novel in the world. The authors also inspired by classics of the period of Nara and Heian period and Chinese sources.

Nowadays in Japan there are about 1500 professional actors of Noh and the art form continues to exist. The five existing schools are the Kanze Noh (観 世), the Hosho (宝 生), the Komparu (金 春), the Kita (喜 多) the Kongo (金刚). Each head has a family known as Soh-ke and only breadwinner of this has the right to create new representations or modify existing ones. The society of Noh actors is still quite feudal and strictly protects the traditions of their ancestors. According to Zeami

(actor and author of this art form in the fourteenth century) all representations Nō should create an aesthetic ideal called Yugen, which means a spirit of deep and subtle, and Hana, which means new. Nō truly is the Japanese culture to seek beauty in the subtlety and formality.

http://it.wikipedia.org/wiki/N% C5% 8D