Conforming the body, cultivating individuality: Intercultural understandings of Japanese noh

Abstract

This chapter is concerned with understanding the nature of embodied learning of Japanese noh performance and its nature as an intercultural art. Noh is one of the traditional forms of musical drama in Japan. Deriving from the 13th century and developed throughout the samurai sovereignty, it portrays and expresses medieval Japanese aesthetics and religious worldviews. What distinguishes noh from other types of theatrical and musical performances in Japan is its inheritance of the medieval values: For instance, actors and musicians rehearse together only once on the day of performance. Sometimes there is no rehearsal at all. Performers are expected to embody and fully memorize every part of the play and respond to any change on the spot. They believe rehearsing many times devalues the idea of “ichigo-ichie,” or one chance, one meeting, proposed by Sen no Rikyu (1522-1591). This indigenous notion-often emphasized and practiced in the tea ceremony-suggests each encounter in life is precious, and so much so that it will not happen again. It suggests that we must appreciate each moment as if it is the only chance to enjoy it.