Task 3 - Step by step to a
Nagauta
Introduction
The culmination of the project is to produce a piece of kabuki dance nagauta based upon the information and tasks found within the "Kabuki Story" web site, and introductory and supplementary support workshops. The notes below are intended as a guide to serve as a basis for personal exploration and creativity. They have been compiled from an analysis of the kabuki dance nagauta "Goro Tokimune". By way of source material the balcony scene from Romeo and Juliet (Act 2 Scene 1) has been chosen for adaptation.
This page deals with the sectionalising and creation of a script from the source material (balcony scene, Romeo and Juliet), and the composition and orchestration of the music. It provides a basis to which can be added the elements of dance and specific dramatic techniques as outlined in the site and accompanying workshops. The page is divided into an initial general comments section with more detailed guidance notes following.
The sound files are quite large. It is suggested that you download them for future ease of access.
General comments
Nagauta ("long song") is one of the principal forms to be found within Kabuki. It's formalised contrasting sections create a musical structure (both vocal and instrumental) that is used both as narrative and as an accompaniment for dance and subsequently provides a vehicle for the creative application of the accumulated background knowledge acquired during the "Kabuki Story" project.
Script
The preliminary step is to create a script. It will help to have knowledge of the whole play and not just the balcony scene. The balcony scene from Romeo and Juliet can be divided easily to support the principal sections of a "kabuki-dance" nagauta as follows:
- Okiuta
- background to the romance and setting of the scene
- Michiyuki
- Romeo's approach to the balcony along the hanamichi and first sight of Juliet
- Kudoki
- Romeo's thoughts upon seeing Juliet
- Odoriji
- Juliet's discovery of Romeo and their subsequent conversation
- Chirashi
- their farewell after the Nurse summons Juliet to her room and possibly a hint as to their fate
The script need not necessarily be in verse and each section needs to be quite short (40 words or less) which puts an emphasis on the ability to précis! Opportunity should be taken for the exploitation of colourful imagery as this will help with the preparation of the dance sections, for example in the original, frequent references are made to "light". Because of the narrative quality of nagauta we would suggest that in the main, the nature of the script should reflect the observations of an onlooker rather than replicate the dialogue of the principal characters.
Not all of the script needs be set to music and in fact you may wish to include some of the original dialogue which could be spoken by the actors. The sections should link both musically and dramatically
Music
Musically, the differentiation between each section is achieved by:
- Instrumentation
- the instrumentation tends to remain the same for the duration of each separate section. This can be augmented with occasional embellishments from the geza which serve to support the text and mood of the scene
- Speed
- the speed remains constant within the section and supports the mood whether reflective, processional, informative etc.
- Style of vocal delivery
- two styles of vocal delivery are covered in Task 1 and Task 2. The highly ornamented and extended style of the okiuta, and the more melodic nature of the other sections (excluding the michiyuki which is purely instrumental)
Regarding the practicalities of co-ordination it is useful to note that in kabuki, from within the debayashi ensemble the smaller hayashi grouping is used as a separate performing entity. It is suggested that this principle be extended to the school "debayashi" which can be broken into smaller groups each with the responsibility for the creation of one or more nagauta sections, and with instrumental groupings appropriate to the mood. Also, in co-ordinating the ensemble it is important to remember that the debayashi performs from the back of the stage area often in two lines and facing the audience.
Drama and dance
Dramatically, the sections are delineated by the nature of the actions on stage. Is the section a processional? What is the mood of the text? What will be the style of dance? This is of course linked to the musical content. From the script and the music it should be possible to build a series of dance movements relating to the principals outlined in the website and the accompanying workshops.
General comments
Until this stage everyone has participated in the kabuki experience. The time is now at hand to select the singers, instrumentalists and the characters of Romeo and Juliet all of whom should have an understanding of the importance of each performing role.
In directing the preparation both the music and the script you may wish to consider questions such as:
Which portions are to be sung?
Which sections should be danced?
Should dialogue be included, and where?
Does one include the chorus, Benvolio, Mercutio, and the Nurse?
What sort of a character is Romeo, aragoto samurai or wagoto lover?
Should kouken be included?
How does one introduce/set the scene?
Where does the scene lead?
How can the geza serve to augment the action or mood on stage?
Guidance notes
In addition to the five main sections two subsidiary sections have been included which may be included at your discretion. The maebiki and the dangire are instrumental sections that could serve respectively as an introduction to your nagauta, and a means by which Romeo could leave the stage.
Maebiki(Not essential to the project) |
|
Properties |
Short instrumental introduction performed by the geza musicians |
Analysis |
 In this example the takebue
performs a highly ornamented folk tune based on the
miyakobushi onkai.
Separately from this the ki perform
tomegi and
kizami patterns, and the
o-daiko helps to set the mood
with an irregular pattern |
Application to Romeo and Juliet |
Alerts the audience to the start of the play |
Oki (Okiuta) |
|
Properties |
The okiuta is introductory and reflective in nature. It prepares the audience for the entrance of the main actor and either describes the character, or sets the scene. |
Analysis |
Solo voice with
shamisen. Static vocal phrases
with extensive use of dissonant tones against shamisen pedal notes. Elements of
this are found in Task 2 Of all the
main sections in a nagauta this is the only one which is rhythmically free.
|
Application to Romeo and Juliet |
This could draw upon any material from the play up until the balcony scene which would help to inform the audience as to the background of the dilemma posed by the love between Romeo and Juliet. Alternatively it could tell us more about the distinguishing qualities of Romeo. |
Michiyuki |
|
Properties |
Accompanies the main actor's entrance along the hanamichi towards the main stage. Most of the dance or posturing (shosa) is done at the shichisan. |
Analysis |
Processional. Instrumental only
and frequently using all resources of drums, flutes and shamisen . A "nohkan " equivalent can be used to
"cloud the tonality". Geza
instruments can add additional rhythm and colour. Note the use of
kakegoe. Elements of this are
covered in Task 1 |
Application to Romeo and Juliet |
The entrance of Romeo |
Kudoki |
|
Properties |
Softer, more feminine. Drums are not used within this section. Shamisen line tends to become more simple. The text can be pantomimed whilst the musicians declaim the text or occasionally it can been spoken by the actors to a musical accompaniment, |
Analysis |
Moderately paced. No percussion,
only singers and shamisens in octaves. The vocal exercise in
Task 1 may help |
Application to Romeo and Juliet |
Romeo sees Juliet upon the balcony and listens to her. |
Odoriji |
|
Properties |
Main section of kabuki dance form. Sometimes called the taikoji because of the use of the taiko. |
Analysis |
Can start with a short
instrumental interlude . The main part uses the shamisen doubled by an
ornamented takebue line with the
vocal part drifting around shamisen melody, and an independent taiko part.
Tsuzumi feature as do the instruments of the geza. |
Application to Romeo and Juliet |
Juliet discovers Romeo and they profess their love for each other |
Chirashi |
|
Properties |
Can contain smaller contrasting sections or interludes. Purpose is to move the music away from the main dance section to the finale |
Analysis |
Full ensemble, with
nohkan. Taiko and nohkan work
together. The geza can help to underpin the action. |
Application to Romeo and Juliet |
The nurse calls Juliet to return to her bedchamber. Romeo and Juliet part. Possibly could include reference to future developments |
Dangire(Not essential to the project) |
|
Properties |
The finale. Seldom more that a few bars long |
Analysis |
The music increases in intensity
and could be used to aid the exit of Romeo. The drums in particular appear to
play a prominent role |
Application to Romeo and Juliet |
Brings the scene to a close and allows Romeo to exit along the hanamichi possibly with a roppo. |
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© Michael Spencer 1999