When Sanzouhoushi, who wants to go Daihannya, went to the quicksand river of the western, a suspicious man appeared and said something. This river is the Chihiro of a dangerous place and the mountain ridge that rises on the other side, so the first difficulty is to cross it. It is also talked about the man said that the lord of this river is King Fukasa who is known with a terrifying monster but he respected Buddhism with all his heart and in fact he_Sanzo wanted to obtain Daihannya Sutra in his previous life, however he died in this place when he was in seven times. Actually, he gave a sutra that said “We are Fukusha and we come to this life to test our ambitions, so let’s try our best” and disappeared. While Sanzo is waiting, bodhisattva appears then plays and dances, and while Dairyu and Koryu worship Sanzo, King Fukasa who is carrying things as a bagage of Danhannya sutra appears. King Fukasa opens his baggage and reads the sutra with Sanzo, after that he promises to become the guardian deity of his sutra. When Sanzo carries a baggage on his back joyfully and heads for quicksand the river splits in two and Sanzo easily crosses over and says “Goodbye” to King Fukasa.
It was reproduced in the 58th Showa period. King Fukusa is the guardian deity of Buddhism that Sanzo himself felt during ascetic journey, he is known as a person who carried Dai Hannya sutra to China. Nowadays in Japan, he was placed in a lot of temples or shrines as a guardian deity. The reason why the figure was made a dragon god is that the Japanese went over the desert lying in the western part of China but he thought it was a big river, so in this case Fukasa is referred to as a Mahebi_true snake. In other words, establishing the theory that the Noh mask as a Mahebi_true snake must be used for Danhannya. It can be said that it is not “Hannya” that adapted the face of “Hannya” to a more intense expression, it is “Hannya” that created the face of a demon with reference to “Hannya”. It disappeared during the 500-odd years when the performance of “Daihannya” retreated. Nowadays, the Noh mask face as mahebi of Umewaka family which is used for the Shite after Danhannya is a masterpiece of the Muromachi period which still retains its ancient style. I addition, King Fukusa appears as Sha Wujing-沙悟浄 in Nishiyuki-Monkey that a novelization about Sanzo Hoshi’s journey. The seven skulls that Sha Wuing(King Fukasa) hangs from his neck are the ones that took his life seven times in Sanzo’s previous life, and are proof that he will be the guardian deity for the eighth time. In addition, the fact that King Fukusa beliefs were popular in Japan may be seen from the face that there is a temple called Jindaiji Temple in Chofu, Tokyo. Jindaiji Temple, which was built during the Tenpyo era and is one of the oldest temples in the Kanto region is truly Jindaiji- Fukusa temple and has a big statue of the secret Fukusa Buddha.
The rehabilitation Noh “Daihannya” was made in the Muromachi period and has been performed for a long time, but in 1983 (Showa 58), it was replayed by Umewaka Minoru IV at the National Theater Grand Theater. It is a great spectacle that depicts the moment of a miracle, in which the passion of Sanzou Houshi, who is reborn even after dying seven times and pursues the truth of Buddhism, finally protects the god Fukasa Daiou. Please enjoy the dramatic and gorgeous stage that vividly repaints the image of graceful Noh, represented by compound Noh.
There was a filial liquor seller called Waki at the foot of the Kinzan mountain_金山 in Karaji. Following Reimu’s announcement he went out to the market every day to sell sake and he gradually became wealthy.
When he opens his store, he always has a child- like a customer(former Shite) who invites a large number of friends to come here, when Takakaze hears his name, he says that he lives in the river of Banyang, he is Shojo. Feeling the filial piety of Takakaze, he told me to give him a fountain jar and went away among the people of the city. (coming to middle)
When Takakaze was waiting in the river of Banyang, Shoujo(later Shite) appeared from the waves with many friends(Tsure).
Opening the mouth of the large bottle_Taihei, drink the sake of the spring that never runs out even if we draw it and dance and go home while enjoying the world of Taihei.
It is a very small performance, but it is a group of people and it is hard to arrange the molds, and nothing to be so nervous because it’s a group of drunk people.
In this performance, you can enjoy the arrangement of bottles costumes.
Having one Nembutsu(prayer to the Buddha) monk(Waki) visited Toema-ji Temple in Yamato on his way home from Kisu Mikumano.
An old nun (former Shite) with a young woman (Tsure) comes over there. In response to the monk’s question, the old nun explained about the dyeing well where the lotus thread of the mandala of Toema was rinsed and purified, and the cherry blossom tree of the treasure tree that was dyed with lotus thread. The old nun also talks about Chujo-hime who made the mandala depicting the pure land as heaven. At the time of Emperor Junnin, the 47th Emperor Junin the princess of the right servant of Yokobu, Chujo- Hime, stayed in this mountain and continued to pray at Kusan to read the daily history and worship the true Amitabha, appeared in the form of an old woman and the princess told her that her sleeves were wet with tears. Sino- Japanese equinox today, February 15th, a face my colleagues that Kaama seemed to Lieutenant General princess of time (Amitabha) tell that it’s a reduction woman (Kannon) and two people to Ascension I went. (Come to the middle), as a monk read the sutras and waited for Chery, a strange sound was heard and the light came, and the Bodhisattva of Kabuki was visible. It is the spirit of Chujo-hime(Later Shite) who has been a daily sutra during her lifetime, praising the Pure Land of Mida preaching the merit of sutra and dancing.
Moreover, while worshiping Buddhism and listening to Buddhism the monk’s dream dies at dawn.
This play is set in the so-called from “Chujohime narrative” play, a story about the establishment of the principal image of Taema-dera Temple in Nara Prefecture, so it was called “Taima Mandala”.
The Taema Mandala is a painting of the paradise of the Pure Land and the training method for paradise mortality, which was explained in one of the Pure Land scriptures, “Kanmuryou kotobuki Sutra” and was made in Tang China during the Nara period. It was passed down to Japan. The way the world of ” Kanmuryou kotobuki Sutra” is depicted in this mandala. This mandala was described in the early Kamakura period, as it was in excellent agreement with the description of the memoir “Kanmuryu kotobuki Sutra” written by Daishi Zento (a monk in the Tang dynasty of China, who was privately owned by Honen). Since it was “discovered”, it has been gathering faith mainly among the Pure Land monks who follow the tradition of Honen. Along with that, a miracle story about the formation of this sacred painting is born and will be handed down. That is the story of Chujohime, which is featured in this work.
The maid Kocho brings the prescribed medicine to comfort Minamoto no Yorimitsu, who is sick, but the illness seems to be getting worse. That night, a monster appeared on the pillow and asked Yorimitsu about his condition. When asked for his name, the monster scrutinized the songs of the Kokin Wakashu, and became in the shape of a spider that was big more than two meters long, he unleashed a thousand threads and threw at Yorimitsu. Yorimitsu pulled out his beloved sword at the bedside and slashed it but the spider of the monster disappeared.
When the German warrior who came to hear the cry of Yorimitsu looked at the tatami room, blood stains were scattered. Following the blood, he came in front of Kozuka. When this mound in Kozuka was destroyed, the spider_Tsugigumo whose large earthen spirit emerged from between the rocks pulls the thread and throws it. A large number of warriors shook the monster, slashed it and finally dropped its head.
The highlight of “Tsuchigumo” is the scene where Shite throws a spider’s thread made of Japanese paper. It is said that the production of throwing a lot of threads as it is now was devised by Kongo, the Iemoto of the Kongo style in the early Meiji era. The appearance of the white spider thread floating in the air in a parabolic shape has a strong show-like element and is gorgeous in appearance.
There was a couple named Queen Mother of the West_ Ō haku-ō haha in the Era of Shina Gokan. The queen was pregnant after having a dream of a drum falling from heaven, so she named his daughter Tenko_the heaven of drum. Afterward, the drum really came down from heaven and it had an extremely beautiful tone in the world. The Emperor of the time wanted it, so Tenko drummed and fled into the mountains but she was arrested and sunk in the Kusui River. However, the drums that were placed inside did not ring at all, so this time the messenger of Emperor (Waki) came to pick her up to her father_the King (Shite), hit it.
The feared father is dazzled by the magnificence of the palace and shrugs. When he finally entered the palace and beat the drum, the drum made a strange sound for the first time. The feeling of the father and daughter must have been understood. The impressed emperor decided to mourn the spirit of Tenko at the orchestra.
The old man who has been given many treasures goes home. (Coming Middle)
The usual drum is left on the bank of Lusui River where the drum is sunk, then the emperor is also lucky and the orchestra begins. The time is early autumn with the moon shining in the clear sky and the water is full and the waves are undulating. Then, the ghost of Tenko (Later Shite) appeared late at night. The ghost is happy to play when ordered to beat the drum. In the olden days, it was mixed with the roar of waves and it was as beautiful as the music of the heavenly world (Music).
The stars of Tanababa shine in the clear sky and after five o’clock as about in the six chickens singing time (6am) the ghost disappears like a dream.
In the first half, the king who lost his child, Tenko, focuses on his love and mourning for the farewell of his misfortune, and in the second half, he turns around and plays with the art of the mysterious existence of Tenko, a free-spirited spirit. They draw it in the center. The story changes greatly from the old man to the child after, and in the place where there is a strange contrast, another heavenly drum, a mysterious drum, is entwined, and the story is finished with a very fascinating and highly artistic story.
“Tenko” is another name for Tanabata’s cattle, and if you think about the mystery of birth, Tenko may be an incarnation of a celestial person. The ghosts that appear in Lusui are depicted as spirits that are far from the emotions of the world, such as grudges and gratitude.
At the Kishu Dojoji Temple, a long-damaged bell is revived and the memorial service is held. Due to some circumstances, the priest (Waki) banned women from the memorial garden. A beautiful Shirabyoushi(Shite) appears in front of the subordinate ability(the love) that touches on the above story, because he said he would perform as hard as he could so his ability secretly allowed him to see the memorial service. Shirabyoushi danced and approached the bell and while a lot of people were ecstatic, he pulled down the bell and disappeared into it.
In order to keep this from happening, the woman is banned. According to the priest’s story, there used to be a priest of Mako who had a daughter around here. The daughter truly took the joke of her father and decided that Yamabushi, who had been visiting Kumano as a beggar of the priest at her house, was her husband. When Yamabushi knew it, he was surprised and fled to this temple. The people in the temple hid him in the bell, but the daughter chased after him and turned into a big snake because of her obsession. She swam over the Hidakagawa River and came to this temple and she clung the bell and killed Yamabushi.
Even if the previous Shirabyoushi is the ghost of the daughter, when the other priests prayed at the bell, the bell rose again and the ghost of the daughter who became a snake style, appeared. The detestable daughter who challenges the monk and shows her obsession with the bell gradually loses the power of the prayer of the inhabitants and finally jumps into the Hidakagawa River and disappears.
From the spirited rhythm of the Shirabyoushi to the sudden dance, the thrilling bells and the struggle between the Shite and the priest after becoming a snake, we can say that this performance showed a breathtaking development.
Dojoji is one of the great songs in Noh.
Ranboshi, which is one of the highlights of this song, is performed with a shite and a small drum, and it is a difficult place to continue for about 15 minutes with just the breathing of both. In this place, Kotsuzumi sits back facing the shite, creating a concentrated world. In addition, there are many special and gorgeous hayashi musical accompaniment hands, and there are many highlights unique to Dojoji.
Bell-entry, which can be said to be the biggest mountain, is a very dangerous performance in which the shite jumps into the falling bell. The bells are very heavy, and if they are not timely, they can be seriously injured and even deadly. “Kane kouken”, which lets go of the bell rope with a bell, is the second most important role after Shite, and is supposed to be played by a competent veteran.
The change of face and costume to the backstage is done by Shite alone in the bell. Dojoji is the only existing song that allows you to change clothes by yourself without Kouken kata. In addition, the shite must perform special effects in the bell, such as rocking the bell in time with the Jiutai and ringing the cymbal.
“Dojoji” is a story about a bell, and in a sense, the bell plays a leading role, such as the bell being lifted by the guardianship of the bell, the bell being inserted during the song, and then returning to the bell tower. In general, in the ability to use the stage horizontally, Dojoji is a new attempt to focus on the verticality of space.
Sagami’s Tashiro monk (Waki) who stayed at Zenkoji temple in Shinano for seven days, was told a dream from God mystery, so he went to Hajidera (Domyoji)’s Kawachi which is the ruins of Kankou.
In the dream the God is said to be a noble old priest who seems to be an incarnation of Tathagata, opens the door of Mikuriya and appears, praises the priest’s aspirations for the prayer to the Buddha, so he visits the Domyoji. Domyoji is a place where Tenjin_The God comes to visit, and in the olden days Tenjin thought that all sentient beings could live in peace in this world and be able to live in paradise in the next world, so it was written a memorial service for the five parts of Mahayana sutra and buried here. Having a lot of grass and trees (later we called Mokugenju) grew from the axis of the sutra but it is said that there is no doubt that if you pray to the Buddha a lot, you are able to be reborn with the trees of fruit.
There was a court lady (Tsure) and an old court lady (Shite) at Domyoji but when they talked about dreams, the old court lady guided the monk into front of the Mokugenju. God and Buddha are one. Both monks worship this Mokugenju and praise sutras. After talking about Sugawara no Michizane, the court lady disappeared under the name of becoming the god of Shiratayu. (Coming the middle) In the dream of the night, the celestial maiden (later Tsure) descends and invites the god of Shiratayu, who plays the role of time signature, recalling the god of Iwato in the heavens. The god of Shiratayu(later Shite) appears in a solemn form and plays an interesting music with a shakubyoshi(music). At the end of various dances such as Chiakiraku and Manzairaku, the god of Shiratayu seems to hang on the treetops of a tree and shake off the nuts from its branches to give it dignity, the monk’s dream has awakened.
The theme is Dojoji Engi auspicious of “Anchin Kiyohime”. A work depicting the obsession of a fierce woman’s love. It expresses the horror of the obsession of a woman who remains even after her death. The biggest song among the current songs. A bell of several tens of kilometers is caught in the center of the stage. The highlights are the long and sharp shouts of the small drums in ＜Random Beats＞, the tense movements of the shite, and the use of the feet. Breaking the silence of ＜Random Beat, dancing violently with ＜Sudden Dance＞, and Shite jumping into the bell at the climax ＜With Bell＞ is the biggest highlight.
～Excerpt from the commentary on the day of the “To Oru” performed by Umewaka Gensho～
This time, the fusion will be a small writing called “Mai- Kaesu_Return-dance”.
First of all, let me talk about “Mai-Kaesu”
In the first half, there is no change in the pattern but the song is a little missing and it becomes a song with only the first voice. After that, it will be immediately moved on to a conversation with the monk (Waki). There is no big difference depending on the writing, just to get out of it. The costume doesn’t change either.
In the second half, the costume maybe change. But it also has various patterns depending on the time. What will it look like this time? A true sword or headgear wearing a thimble, kariginu or straight garment, which is usually the first crown, can also be a small hat. It depends on the taste of the performer.
Most of the time, performers usually use white and only the inside is red and wear white.
And there is a place where the latter half changes. Since it is “Return- dance”, the dance is repeated again.
This is many meanings and it’s interesting to dance, when it again with excitement and we call it “ Return-dance ”, in order to create a scene that seems to symbolize the splendid glory of Fusion during lifetime, it is possible that the wonderful and gorgeous dance of latter half was added to it. This will also be thought of as change depending on the production of intention at that time.
This time we think that we will be the latter performer.
Now, I will talk about that so how will It change?
When it is said that it is originally performed in a style, in terms of “return-dance “the first half is the five-stage kiln of the board and the return is the sudden dance. I often play with that and this time it has remained in Umewaka’s house for a long time. The dance method in the first half is Huang Wataru 5th Dan and the second half is the kiln of the board. So, there is no sudden dance.
In the case of a normal 13th dan, you can think that there is no sudden dance in the latter half and it is stopped in a kiln. Therefore, there is no very rapid tempo dance, but on the contrary, if it is not fast, it will lead to the gorgeousness of fusion. It stays in a very comfortable early dance that is fastened in a kiln. I am happy when you think of it as the early dance that remains only Umewaka today.
At the end, Shite leaves the curtain in the song called Wakidome. In terms of production, it will look like it is now.
Now, let me state my thoughts on fusion.
Thank god that I’ve played this song “Fusion” many times and I think I’ve done it more than 30 times. This is what my father’s predecessor was very good at and it seems that Tenko and this fusion were dancing endlessly.
That means that I was very good at dancing.
As you know, the dance of the early dance in the latter half is also a very pleasant place to dance and it is also very beautiful and gorgeous to you to see it, certainty you will think it is exceptionally interesting. But it is important to note that this is very difficult in the first half, there is a first half and there is this second half. The stage of this devastated and desolate Rokujo Kawarain in the first half is talked about in the first half. It is necessary to change to a scene where the spirit of the Minister of Fusion in the latter half appears and this situation of the past is reproduced. This’s how it changes. When the later shite appeared, it had to appear as if it was a desolate dwelling and the mansion of Rokujo Gawara was shining like it used to be. For that, it may be the first half of the action from the story of the Shite in the first half to drawing of Shio, so it’s very difficult. To put it the other way around, you have to be an old man who is a Shio-buki in the first half, but you can see and hide high-ranking people.
That is where it is difficult for a performer. I think that if you try to pass it, you will succeed and play well later.
I also think that it is very talented work that is easy to understand and interesting for those who see it, you will enjoy it.
Minamoto no Tooru is the twelve princes of Emperor Saga and is said to have become the model for The Tale of Genji. He became a vassal and served as Minister of the Left, but lost the political struggle with Mr. Fujiwara who had risen at that time, built a mansion in Rojogawara, and spent the rest of his life in style. As mentioned in this Noh play, it is said that he loved the scenery of Shiogama in Mutsu, imitated it in his garden, and brought salt water from Naniwa no Tsu every day to bake salt. Even after his death, his obsession with Kawarain was inseparable, and he appeared as a ghost, and the story of the later owner, Lady Rokujo, who worried about the place of residence, appears in the story of Uji Shuimono.
In the days of Kan’ami and Zeami, the Minister of Fusion (Otodo) seemed to have the image of a grudge and a demon attached to Kawarain, but in this Noh, he focuses on the image of a person who loved grace and lives in the city of the moon. It creates a fantastic fusion of nobles.
There is no story that changes through one song, and while changing the role from an old man to a nobleman, in the shining autumn scenery of the moon, while having a nostalgic feeling, he just spins out beauty. It will converge to. The hayashi and chanting excitement and the expression of elegance in dance make us feel that Noh is music, dance, and poetry, all of which are the beauty itself created by overlapping.
Spring is shallow in the bay of Suma. On the way to the capital, a priest of West country (Waki) stopped by to see the soul of the deceased Taira no Tomo Akira and held a pity party. Then, a young man from Ura(Shite) appeared and taught that Tomo Akira Musashi Nokami is a child of Taira no Tomomori(the third son of Kiyomori), who died in the Battle of Ichi-no0Tani on February 7. Today is the anniversary of his death, so a person related to him, set up this stupa. In that battle, his fatherTomomori, made a famous horse named Inoue Kuro swim, and after talking about how Twenty-Yomachi also crossed the sea and caught up with Emperor Antoku’s throne ship, while he was asking for a transfer the young man who tried to give his name at dusk but did not give his name went up and down to the offshore and disappeared.(Coming middle）
When the monk was reading the sutras all night, the ghost of the Tomo Akira (later Shite) who died in the war at the age of 16 appeared in the waves. At the time of the rout in a scattered manner, his father Tomomori, himself and his guardian Taro, arrived at this shore in love with the master’s throne ship. However, a large number of enemies came and turned back and while the two of them were killed here, the father Tomomori decided to swarm as a horse to the throne ship. Tomomori reported the situation to the Naidaijin Munemori on the ship, he was shedding tears. Kiyomune, the son of Munemori on the ship, was the same year with Tomo Akira.
The ghost of Tomo Akira talks about the situation at that time. Taro, the prisoner shot through one of the enemies with an arrow, but was defeated and Tomo Akira, struggled with the enemy aiming for Tomomori but was shot down.
The song title “Tomoakira” is added in the form of an additional note to the memorandum “Noh 35th Record” written on the wrapping paper of Noh, which was introduced to the Kinshun family. In addition, there is a Noh book of the diary of the 34th year of Oei (1427), which was handed down to Konparu Zenchiku by a person named Kuji. The author is unknown, but it seems to have been established around Zeami and Zenchiku.
It is a young warrior Tomomori who was defeated by the enemy by protecting his father Tomomori, Tomomori who could not save his child, and Shura Noh that conveys the thoughts of the two. The sadness of the separation of the father and son, the master, and the horse emerges.