Though only a relatively small component of the centuries long history of kyōgen, the University of Hawaiʻi at Mānoa (UHM) is privileged to have been able to play a role in the internationalization of the genre over the past five decades. We hope that the timeline below will illustrate the scope of UHM’s engagement with this specific branch of traditional Japanese performance.
UHM Kyōgen Timeline
Nomura Kyogen Troupe
Touring production by the Nomura Manzō family, including Nomura Manzō VI and Nomura Mansaku II, as part of the first season of the newly opened Kennedy Theatre. (No program available.)
Noh/Kyogen
Touring Noh/Kyōgen production. Komparu school noh presented Funa Benkei and Aoi no Ue, interspersed with the kyōgen plays Bōshibari and Futari Daimyō, performed by the Nomura Manzō family. Read program here.
Da Kine Kyogen
First kyōgen inspired student production, Da Kine Kyogen (No program available.)
A Program of Kyogen
Nomura Mansaku II is Artist in Residence during the Spring Semester, sponsored by the Japan Foundation. Culminating in an evening of kyōgen which included Poison Sugar (Busu, translated by James R. Brandon), The Fortified Beard (Higeyagura, translated by James Araki), and two komai (kyōgen dances): Flowers for my Sleeve (Hana no Sode) and A Girl of Seven (Nanatsuyo). Read program here.
An Evening of Modern Japanese Theatre
A second student-directed noh/kyōgen production directed by Kitty Heacox. Billed as “An Evening of Modern Japanese Theatre,” it included a freely improvised version of The Cowardly Bandit (Fumi Yamadachi, set in Aʻala park, and The Monkey Skin Cover (Utsubozaru). These two kyōgen, adapted from Sakanishi Shioʻs English translations in The Ink-Smeared Lady and Other Kyogen (Tuttle, 1960), were paired with an adaptation of Yukio Mishimaʻs modern noh play, Kantan. Read program here.
Nomura Kyogen Troupe (Again!)
A second student-directed noh/kyōgen production directed by Kitty Heacox. Billed as “An Evening of Modern Japanese Theatre,” it included a freely improvised version of The Cowardly Bandit (Fumi Yamadachi, set in Aʻala park, and The Monkey Skin Cover (Utsubozaru). These two kyōgen, adapted from Sakanishi Shioʻs English translations in The Ink-Smeared Lady and Other Kyogen (Tuttle, 1960), were paired with an adaptation of Yukio Mishimaʻs modern noh play, Kantan. Read program here.
Kyogen O Hawaiʻi
The third student-inspired kyōgen production, Kyogen O Hawaiʻi, was written and directed by Jennifer de Costa. The production featured four new plays, aiming to combine Hawaiian legends with kyōgen: The Mischeif Maker, The Flying Taro, Diving for Stones, and Three Quarter Degree. Read program here.
Noh and Kyōgen: Japanese Theatre in English
Noh and Kyōgen: Japanese Theatre in English production directed by guest artists in residence Nomura Mansaku II (kyōgen) and Nomura Shirō (noh) with the assistance of Dr. Junko Sakaba Berberich. The kyōgen plays were Buaku the Bold (Buaku) and Tricked By a Rhythm (Yobigoe) translated by a faculty and student collective. The noh play was Pining Wind (Matsukaze), translated by Junko Sakaba Berberich. Read program here.
Kyōgen: Laughter for all Time
Guest artists in residence: Shigeyama Akira, Shigeyama Dōji, and Maruishi Yasushi. Three traditional plays, double cast, presented an array of kyōgen archetypes: Tied to a Pole (Bōshibari), The Snail (Kagyū) and The Washing River (Susugigawa) [all translated by Julie A Iezzi]. Read program here.
Kyōgen: Timeless Comedy
Guest artists in residence Shigeyama Akira, Shigeyama Dōji and Maruishi Yasushi. Four traditional plays, with a foray into larger-cast plays: Three Pillars (Sanbon Bahsira, translated by Suzannah Uluwehi Mills and Julie A. Iezzi), Hakama for Two (Futari Bakama, translated by Julie A. Iezzi), Six Jizō Statues (Roku Jizō, translated by Julie A. Iezzi), and A Measure of Courage (Chigiriki, translated by Julie A. Iezzi). Read program here.
Shibiri (The Inherited Cramp)
Kyōgen Guest Artist Residency with Maruishi Yasushi. Graduate students in THEA 625 studied and performed a recital of Shibiri (The Inherited Cramp), in Japanese. (No program available.)
Power and Folly: Japanese Satire for the 21st Century
Guest artists in residence Shigeyama Akira and Shigeyama Dōji. This thematic program featured the traditional play, Two Great Lords (Futari Daimyō, translated by Julie A. Iezzi); a new kyōgen play by Shigeyama Dōji, Two Yamabushi (Futari Yamabushi, translated by Julie A. Iezzi); and a new kyōgen, Derailed, set in Hawaiʻi and dealing with the controversial rail project (written by Matthew Kelty). Read program here.
Remotely Kyōgen: Comedy Under the Virtual Stars
Guest Artist in (Digital) Residence with Shigeyama Sennojō III (Dōji). A journey prepared for the virtual realm featuring a traditional play— Sword Stealing (Tachiubai), presented in Japanese with English titles (by Julie A. Iezzi); a translated and localized play, Mango Yamabushi (from Kakiyamabushi, translated by Jane Traynor); and new kyōgen-inspired student work including Earthbound (by Iana Weingrad and the cast), a “kyōmedia” bringing together commedia dellʻarte and kyōgen in Mask Confusion (by Catherine Ann Restivo); and an adaptation of the traditional play Kusabira for the virtual realm, MushZooms 2.0 (adapted by Jane Traynor). Read digital playbill here.