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Tweets for Today
Apr. 13th, 2008 12:46 am- 17:52 さき歌舞伎を見ました! #
Apr. 13th, 2008
of kabuki and magazines.
Apr. 13th, 2008 01:23 amSo today I rushed down in the pouring rain to the NUSSU room for the HOOKED meeting and woooooooooooooooooo, I am getting my tech column. It's called "techbuzz" at the moment but I'm going to suggest other names? (Plus, for the other sections too. Oh man.The names we came up with. Were hilarious.)
I was actually considering 404 but er that wouldn't ring too well. :D() 201's a little abstract too but bleargh! I'm quite looking forward to the new HOOKED - okay I'm REALLY excited for my flagship section - so you guys need to read it too.
The meeting ended late so I had to cab down to Cathay to catch THE KABUKI FESTIVAL!!!!!!
Okay. I have a headache. It's been annoying me since I fell asleep half-way through Kyokanoko Musume Ninin Dojoji (I was really tired. I couldn't help it. And the whole thing was so soothing. :D() ). I think it's divine retribution for sleeping through around 45minutes of such a wondering kabuki performance. Plus, I missed out a huge chunk of Bando Tamasaburo's dance scenes. How could I?!?!?!
Yes, I really am quite enraptured by onnagata and by Bando Tamasaburo especially.
One of my favourite scenes was when the/a priest staring doing puns on the word mai (the base meaning is "dance") and I was trying very hard not to burst out laughing because the puns got even more ludicruous (he actually used "shumai" in his monologue LOLOLOL) and I patted myself on the back for actually understanding most of his patter. It's encouraging to know that I actually can understand the puns.
Togitatsu no Utare was really something else though! If Kyokanoko was elegaic and full of the stereotypical high-brow stuff kabuki is known for today, Togaitsu was really the kabuki of yesteryear. The parts where the audience would call out the actor's names at exact precise moments - awesome. I've often read about it in magazines, but never actually seen it happen and really, the interaction between the stage and the audience is wonderful. Nakamura Kenzaburo was impeccable as Tatsuji. It so far, is the best representation of the Japanese philosophy of comedy which I read about last year. Something about how comedy should encompass philosophy but not be overpowered by it.
My paraphrasing is atrocious. Forgive me. Togitatsu's dramatic moments never seemed out of place amdist the almost slaptick comedy. It's a very well-balanced piece.
Togitatsu I love more, simply because it was so much more interactive, even on a fabric screen. On the other hand, I love Kyokanoko for the gorgeous dances by the onnagata. It's two really different forms of kabuki, but both equally beautiful.
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I was actually considering 404 but er that wouldn't ring too well. :D() 201's a little abstract too but bleargh! I'm quite looking forward to the new HOOKED - okay I'm REALLY excited for my flagship section - so you guys need to read it too.
The meeting ended late so I had to cab down to Cathay to catch THE KABUKI FESTIVAL!!!!!!
Okay. I have a headache. It's been annoying me since I fell asleep half-way through Kyokanoko Musume Ninin Dojoji (I was really tired. I couldn't help it. And the whole thing was so soothing. :D() ). I think it's divine retribution for sleeping through around 45minutes of such a wondering kabuki performance. Plus, I missed out a huge chunk of Bando Tamasaburo's dance scenes. How could I?!?!?!
Yes, I really am quite enraptured by onnagata and by Bando Tamasaburo especially.
One of my favourite scenes was when the/a priest staring doing puns on the word mai (the base meaning is "dance") and I was trying very hard not to burst out laughing because the puns got even more ludicruous (he actually used "shumai" in his monologue LOLOLOL) and I patted myself on the back for actually understanding most of his patter. It's encouraging to know that I actually can understand the puns.
Togitatsu no Utare was really something else though! If Kyokanoko was elegaic and full of the stereotypical high-brow stuff kabuki is known for today, Togaitsu was really the kabuki of yesteryear. The parts where the audience would call out the actor's names at exact precise moments - awesome. I've often read about it in magazines, but never actually seen it happen and really, the interaction between the stage and the audience is wonderful. Nakamura Kenzaburo was impeccable as Tatsuji. It so far, is the best representation of the Japanese philosophy of comedy which I read about last year. Something about how comedy should encompass philosophy but not be overpowered by it.
My paraphrasing is atrocious. Forgive me. Togitatsu's dramatic moments never seemed out of place amdist the almost slaptick comedy. It's a very well-balanced piece.
Togitatsu I love more, simply because it was so much more interactive, even on a fabric screen. On the other hand, I love Kyokanoko for the gorgeous dances by the onnagata. It's two really different forms of kabuki, but both equally beautiful.
