Motokiyo Zeami (1363–1443), also known simply as Zeami, was a Japanese playwright, actor, and theorist who is often regarded as the most significant figure in the history of Noh theatre. He played a critical role in the development and refinement of Noh, transforming it into a sophisticated art form that combines elements of drama, music, and dance.
When training with my father, a Noh actor, I often recalled passages from Fūshi Kaden, both during my Noh practice and in everyday life. For instance, during my adolescence, I could no longer perform as a child actor and hadn't yet become a full-fledged adult. When I appeared on stage as a supporting actor, I felt immature, my voice awkward due to puberty. My father would look at me and say, "the first flower has faded," a phrase from Zeami's text referring to the fleeting beauty and charm children naturally possess. Essentially, it meant my time of having a beautiful boy soprano voice and cute appearance had ended. He didn't need to tell me; I felt it deeply.
One chapter of "Fūshi Kaden" is called "Nenrai Keiko Jōjō, (年来稽古条々)" which can be translated as “Years of Training: Detailed Guidelines.” It is a significant section within the "Fūshi Kaden" (風姿花伝, "The Transmission of the Flower"). This section provides detailed instructions and principles for the long-term training and practice of Noh actors, ensuring the development of their technical skills and artistic sensibility. It suggests starting training around the age of seven, emphasizing natural expression and avoiding strict instruction. Teaching too much at this stage could make the child resent the training and dislike Noh.
The next stage of training is "From Ages 12 to 13." At this age, the voice stabilizes, and the adolescent’s appearance is charming, described as "beautiful at any time." However, this is not the ultimate "true flower" we strive for but a transient charm. Reflecting on this period in my own training, I recall receiving praise and feeling happy every time I was on stage.
Soon, however, the "dark age" arrives, the period "from ages 17 to 18." Zeami emphasizes the importance of this time. To give a modern analogy, it's like high school, a time of diverse interests: movies with friends, getting a motorcycle license, experiencing romance. Having outgrown child roles, there are few opportunities to perform. On stage, without the charm of a child, with acne and an awkward posture, my father would repeat, "the first flower has faded." Yet, this period is crucial, and Zeami outlines the training methods: practice within one's vocal range and never give up despite ridicule.
During this time, my younger brother, three years my junior, was in his "flower" stage, and my father would often say, "he is beautiful in every way," while observing him. I was acutely aware of my struggles with my voice and appearance, but I also began to find joy in Noh. I learned to play the drums, starting with taiko in elementary school, taking up kotsuzumi (shoulder drum) in junior high, and ōtsuzumi (hip drum) in high school; thus I started understanding Noh’s musical patterns. Backstage, I helped with making props, stage work, and dressing actors, gradually feeling more responsible and skilled.
I read "Fūshi Kaden" during this period. Zeami wrote it to ensure the continuation and transmission of the art he inherited from his father, Kan'ami. The book's final section is labelled "secret teachings（秘伝）." This manuscript was not for everyone, not even all members of the same troupe, and was kept hidden from rival Noh troupes. Only one person in each generation, who understood its significance and excelled in their craft, received it. The term "passed down to one child" originated from Zeami.
Currently, I am in the final stage described in "Nenrai Keiko Jōjō (年来稽古条々) "Beyond Fifty Years."
Zeami notes, "there's no help for it but to do nothing." In the 1300s, people lived shorter lives. Yet, Zeami witnessed the ultimate form: his father, Kan'ami, performing at age 52 shortly before his death, captivating the audience and appearing more charming than ever. Zeami called this a rare example of "the remaining flower of old age," proving that even in old age, one could give a compelling performance. Today, life expectancy has increased by decades, but our ultimate goal as actors remains to sustain the unfading "flower" — our stage charm — throughout our lives.
Noh Reimagined runs at Kings Place in London from 21-22 June: tickets and more information can be found on the Kings Place website. Sumidagawa is also performed at the Aldeburgh Festival on 18 June.
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