A traveling priest (Waki) who visited seventh big temple in Nara stopped in Zaigenji Temple. This is a historic site where Ariwara no Narishira was living with his daughter Kino Aritsune, so the priest mourned for the couple. There, a young woman (the priest mourns traces of the couple Shite) was drawing water from an old well and turning to Kozuka but when she called out, she told the story of Narishira.
In the olden days, Narishira lived here in Ishigami with his daughter, Kiyutsume then separately he sneaked into Takayasu in Kawachi.The wife thought that there is her husband spirit and wrote “The wind blows Shiranami Ryutayama, you are alone in the middle of the night”, so Narishira also stopped going to Kawachi after that.
These two are young friends and long ago they played side by died in a well in a wooden fence. After a long time, the man wrote “Tsutsuizutsu, Tsutsuizutsu is a younger sister who looks like a younger sister”, the woman replied “Someone should open up without you, whose hair is not too shouldered”. At the end of such a story, she revealed that she was the woman of Izutsu and the daughter at that time, and she disappeared behind Izutsu_ the well (Coming middle).
When the priest spent the night at this temple, the enthusiastic spirit of the everlasting daughter (later Shite) appeared wearing a crown of Narihira’s keepsake and a straight garment this time. While humming memories, the woman dances a beautiful dance (Yonomai) , puts her sleeves on the well, and looks like it used to be. Then, now that he was wearing Narihira’s clothes, he felt nostalgic for Narihira himself. However, when it is around dawn, the priest’s dream disappears and the woman also disappears.
「梅 枝 越天楽」 Umegae
～April 18, 21st Hesei period Umewaka Gensho played Noh Umegae Etenraku at Kyoto Kanze Kaihan Theater with event “Kyoto Spring Umewaka Noh”. Excerpting from the commentary by Gensho Umewaka issued on the day～
This Umegae Etenraku book has the characteristic that the dance part is in the tone of the board (Hanshikichou).
Because this is followed to the creation of the second Minoru generation, it’s been gone for a long time but father 55th Umewaka Rokuro revived and performed about 40 years ago. Since then, I have performed three or four times and in recent years I have performed Etenraku for the first time at the National Noh Theater.
So by the way, the front performance is not so different but will become middle(nakahairi) from beginning to end and before coming middle something it will be followed by something and come middle.
The performers are wearing a long skirt_Hakama for the costume of the back and long silk or dance clothes and wearing a hat as a torryattobe.
The later performance’s type itself is not much different from usual, therefore as mentioned above the dance is in tune with the board,but unlike the current Noraku of Fuji Taiko, there is not much change in speed, and the dance becomes moist.
Kiri enters the curtain with the song. As you can see, there is no noticeable change throughout but this play is a production that reveals the feelings of grief. Many people think that the tone of this board (Hanshikichou) wading may arouse the feeling of love for her husband.
And you, how do you feel about it when seeing and then hearing it?
「江 口」 Eguchi
A monk (Waki) from all over the world, on the way to visit Tennoji Temple he came to Eguchi no Sato in Settsu Province. This was once a prosperous landing site and was also the place where many prostitutes were. The place was also where a monk Saigyo Hoshi asked for an overnight inn, but he wasn’t accepted and he suddenly hummed remembering when he song with himself that “ In the world, I will sad if you’re the one who misses the temporary inn because of the difficulty”, then, the woman in the village(Shite) appeared and answered him that she doesn’t sad if it is.
However, it was wondering if a deceased person would drop in at an inn that likes, so she song that “If you ask the world as a person who doesn’t enjoy it, you’ll just think that you shouldn’t stay in a temporary inn.” She said that she was the ghost of the prostitute at that time and she disappeared (Coming middle).
When the monk is trying to mourn the current of the ghost, strangely the singing voices of the prostitutes (Shite and 2 people of Tsure) can be heard in the clear river of the moon, and could see the night boat of Eguchi’s river in the dim and distant place. There is the mourning singing voice of the old prostitutes. The cosmetics are scattered Spring flowers and can’t be faded by the morning frost of autumn leaves of the fall. Moreover, the prostitute dances with her beautiful sleeves inspiring (Yo no Mai).
Hesitation is left from keeping in mind a lot of things in this tentative world. When she thought that she was the one who screamed the person and she talked that she should go home even if she left the delusion, her figure suddenly changed to Samantabhadra, the boat as became a white elephant and she got on the white cloud as it was with light, then she went to the far west sky.
「 翁 」 Okina
It isn’t only still performed at the head of various Noh plays but also is completely different from other Noh plays general, it is a kind of festival that prays for the peace of the land of Taihei Tenka, it is the purification of the stage which was transmitted from the distant primitive Sarugaku.
The player is Okina-old man（Shite）, Chitose (Tsure), Sanbansho (Kyougen), but because the lyrics spell a happy fragment, there is no meaning that is consistent. In other ways, I can speak that you should look at the song and this verse is also called “God’s song “ in particular. In addition, there are many unusual productions, but the one that is usually performed is a format called “Yokka- no- Shiki”. In the Edo period, the number of days for promotion was four days until the time of Jokyo but it has been more than ten days since Kamen and it’s said that the fourth and subsequent days were all passed by this fourth day ceremony.
Before the performance, the performers who worshiped at Bekka received the sacred sake from the altar in the dressing room on the day of the performance, and prior to holding the mask (kyogen) then appear in the order of Shite, Chitose, Sanbansho, musicians, Jiyo and Kyougen guardianship. Shite statues in front of him and sit in front of the Jiyoza. Then we plan to open the face box holder in front of it, and line up local songs behind the musicians. It is all the best of the dress. The whistle is blown out, and Shite begins to sing when he hears the chords of the three small drums. During the Chitose dance, Shite goes out with her own face, sings and dances Kagura. When it is finished the mark face will be taken off, and Shite will salute and leave the stage (as the old man returns). It is continued in the dance of Sanbansho.