HF+Assignment+1

Harrison Fowler- Assignment 1

 __**The T**__ __**raditional Art of storytelling in Asia:**__  __**Laying the foundation of one's culture:**__  - // Harrison Fowler- // __ ATJ, V.I .#2 __ The earth, six billion human inhabitants and growing. As individuals we vary quite diversely as seen by the various cultures coexisting throughout the world, yet as unique as we come to be we all share a bond, the representation of the human race. Through the dramatic medium of storytelling archetypes, virtues, and creeds are created that individuals of any culture can empathize with personally. Though these human fundamentals are universally accessible, the culture for which one establishes life's foundation is ultimately dependent on one's social-cultural upbringings. For this reason I intend to highlight some of the most unique theatrical traditions still in existence today for expressing one's culture. The countries of China, India and Japan have incorporated the teaching of the “here and now” from martial arts with the historical traditions of theater, thus creating a multifaceted form of converging cultures. With this style of theatre all human senses are reached, producing a greater impact for the people who found their lives upon these diverse cultures.

Using: __**Shamanism in the Origins of the**__ **//__No__// ** __**Theatre.**__  -  Benito Ortolani __ ATJ __ // p.166-90, // 1984 In America there is no limitation on ones upward mobility, a concept exemplified in, “The American Dream.” Though in Asia there exists a more rigid hierarchy for the individual which can manifest itself into a defined caste system. This classification found in many Asian cultures can limit and even benefit an individual, yet varies independent of ones will. A good example is of the traditional Japanese stories prior to //no// and //kyogen// with shamanism existing between the eighth and thirteen centuries. Though little is known of the plays, the classification of each genre shows a hierarchy in place. The terms: “//kagura// (god entertainment), //sangaku// (miscellaneous entertainment), //sarugaku// (monkey entertainment), and //dengaku// (field entertainment) are applied to multiple kinds of performance(p.167).” An example is of the //za// (companies, or schools) of //sarugaku// and //dengaku.// That despite exemption from conscripted labor and taxes, “the performers were obliged to endure humiliation by residing in //sanjo//, villages where outcasts lived (p.168).” Though despite this system existing and the identification of certain elements as being linked to show //No// having originated from a long, mature, and varied earlier tradition. The concept development is hard to understand due to a disappearance of performances from late twelfth century, up to the emergence of //sarugaku no// in the middle of the fourteenth century //.// Perhaps the most significant contribution to the clarification was by Goto establishing //nogaku// which includes //no// and //kyogen//, as two inseparable aspects of one tradition. He also notes that, “during the Heian Period, a shift occurred from //sangaku,// circuslike spectacles to //monomane,// realistic acting(p171).” These traditions becoming the building blocks of //No//, yet presenting the cultural philosophy of class importance, that the performance despite rank is as a whole. Using:  __**“Doing the Exercise”:**__ __ The In-body Transmission of Performance Knowledge in a Traditional Martial Articulate. __   - // Phillip B. Zarrilli // __ ATJ __ // p.191-206 //, 1984 The Japanese term //monomane// means, “realistic acting” and without looking at the cultural differences, the practice of such an idea is found in almost every civilization. Now, “Performance Knowledge” is the result of learning the codified strips of behavior and having them ready at hand for use in either structured or improvised performance(p.191). This philosophy is almost exact to martial arts being that, one uses skills and structured moves to control the “now” whether new or old traditions. One example is of the South Indian theatre which along with Japan's //No// performances, deem respect to the practice of martial art in their cultural theatrical performances. Even with differences in culture the belief of, “here and now, doing the exercise, and the transformation of the actor into the traditional character” are all the same idea. The difference between the two is as recalled, “cultural.” The South Indian masters of //kalarippayattu// martial arts and //kathakali// dance-drama use, “explosive, fluid, and exuberant actions” with martial arts to express their historical traditions while the Japanese use //No// and //kyudo// (art of archery) in forms more restrained and measured in their exterior form(p192).” Though these cultures may seem polar opposites of one another, the martial practices which come into play for each create a transformation much more specific and profound creating the ability to “be”, to exist in the “here and now” for consummate martial and theatrical artists(p192).” The humanistic ways of living is shared among all, yet the projection of such traditions becomes much more direct having the backing forces of creeds, traditions, and a relevance for reenforcing the practice instead of using it simply for entertainment. The best examples of this thought is of the Japanese //No// performers which train for many days even years creating the //No// performance from a single basic posture, “The stomach and buttock muscles are held inward, the knees bent slightly, and the whole pelvis tilted forward and down(p.207-8).” This is just the beginning though of a series of tests, similar to that of the South Indian training of //kalarippayattu,// for which each student must perfect each step in order to advance unto the next level(p.204). Though similar, the art of //No// involves a different body placement, grand hand movements, and traditional formalities only expressible through the dedication of individuals striving for their unique beauty, their “American Dream.” This relation to the importance of foundations for concepts depict such a unique art all its own, humanistic traditions naturally have been recorded and the most grand have been through the display of theatrical performances.

__**Using:**__  __**Drama and Politics in the China of the Twelfth Party Congress.**__  - //Colin Mackerras// __ATJ__ //p.147-65,// 1984 Lastly I wish to explore the traditional theatre in China which has produced a lifestyle exemplifying a philosophy that reverberates to the core of each individual a connection from a everyday life problem to the fiction of the social-cultural problems performed from theatrical Chinese arts. One such example is of a play called //Warning Signal// this play beyond being a fundamental play with archetypes that still relate to present day norms: boy meets girl, girl needs boy, a challenge tests their love, and the time they are existing in relates to the performance. In //Warning Signals// the issue is the “unemployed youth and crime” going on at the time (152). Besides this, //Warning Signals// uses symbolic reference to, “The carriage is a a symbol of society. The symphony on the train is the symphony of social life. The security which safeguards the train is the common interests upholding society. The principle interest of the play though is, “the psychological activities of the characters.” The idea that leads to this assumption is based upon “stream of consciousness” is between the two people of opposite sex who start, just on occasion talking to one another simultaneously as to not suggest a dialogue creates the psychological aspect. With this form of human projection the senses of individuals receiving the performance walk away with a changed outlook. Something that stimulates and changes outlooks even after so many years, what could top that. Well the answer is: //Warning Signal,// “The play has three levels of performance- recollection, reality, and imagination- and expressed by the representation of different lighting with music the emotions of the character's feelings towards each other(158).” Different colors and intensities express various emotions of, and relationships among the different interactions of characters producing modern themes in old traditions. This form of theatre literally sinks in to one's subconscious, creating an art directed at the senses. The saying that comes to mind when discussing these theatrical cultures is, “History always repeats itself.” As related mainly with “clothing”, this idea is prevalent with much more. As shown by the oral histories told by Japan, China, and India, for their combinations of martial and theatrical arts in producing a sturdier and more practical foundation for which their life's cultures have grown. The Chinese performance of //Warning Signal// address not only the social-cultural problems of unemployed youth, yet the psychological aspects of young individuals and the creeds of love in relation to right and wrong. This unique form of storytelling using “stream on consciousness” really opens the “here and now” idea in //Warning// Signals, a philosophy related to martial arts, but connecting even the idea of Latin’s, “Carpe diem” meaning seize the day, despite cultural differences. The martial art which has been incorporated to theatrical performances of Asia uses the idea of, “in the reality” to make the actors transformation into character that much more profound. The example I used is that of the South Indian //kalarippayatu// and //kathakali// performances which highlight the mind and body being that of one, in addition to the //No// of Japan which shows how important just a flick of the wrist can become. These three cultures which as different as they come to be, are all intertwine by common humanistic traits shared by the human race. These just being a few examples of the martial and theatrical involvements in Asian performance have shown a clear view that all life is building upon a strong foundation. The Asian performances I have brought up deliver the idea of foundation in more ways that just one. The theatrical+martial+sociological art create a past present and future which is expressed beautifully in Asian performance. The history of the performance being the past, the actions of the transformed actors being the present, and the message given is the future. By examining the Asian performances as such, I hope to show how diverse the cultures for each person's home can be, yet to show that all individuals are apart of the same performance. Our performance as a race is called, “Life on Earth,” together no matter how different we humans come to be; we all build upon a foundation from stories of the past, work towards the “reality of acting” in the present, and hope to use that foundation to guide others like ourselves toward the future. These performances mean much more than just “a play”, they represent a way of life and answer questions constantly arising despite age. This is why these performances of Asian theatre are so important and must be recognized for such, because a smile and applause is universal.

__**Works Cited:**__

Colin Mackerras. Benito Ortolani. Phillip B. Zarrilli. __ATJ__ .Vol.1.#2. Honolulu, Hawaii. The University of Hawaii Press. 1984