The 21st century started and ten days past. It means that the 0.03% was already spent since there will be the 21st 36,525-days century in all.
I feel faint that I think how I make a living the 99.97% remaining sure enough...?
By the way, it was 600 years ago, -- therefore -- 219,000 days ago from now on, that Noh appeared. Now it is the existing "oldest theater in Japan." This is not natural story. Noh has not a guarantee of remaining also 100 more years after. Although it was 400 years ago that Shakespeare appeared, and now, it is not clear anymore how it was performing in those days. Because English has changed fairly. Therefore, conversely, he may be continuing reviving on bases of various stage directions at the new modern language translation, which has repeatedly published also now. Our Great Shakespeare will continue reviving also in 100 years or 200 years, as long as theater survives.
However, although it is not a figure with produced that time, as long as it is going to maintain the classical form, I feel that it is uncertain as surviving of Noh. Probably, we may carry out playing Noh flexibly. Also not only Noh but Kyogen, and Kabuki. I think that a form may be changed rapidly.
It seems to be a big difference from Noh and the contemporary theater from appearance, but I think there is no difference on the dramatic effect, a sense, composition, etc.
At least, "the structure of texts that enchants people " is the similar when the most, if it says on the level to read through them. The reason is that the structure of passion has not changed, either (that the figure of happiness does not change, either), as the structure of man's body had not changed. What had changed is the name of each passion, the criterion, and thing like religion feeling.
After all, man dies. He also dies alone and dies. At least two persons loved each other however surely separate. Toward such absolute premise, the consciousness which minds the question as "when I die, what happens?" is building the tale of Noh. On the contrary, the today theater avoids such a big thing and treats trivial things (it is individual or social), because the man of today lost "wisdom" at the question as "when I die, what happens?" Or it is because we have the allergy, which receives ignorantly. However, once we place our bodies near the "death", a man of today also understands immediately that incredibly "big power" moves me, and washes away and that we are almost absolutely helpless against 90% of our lives.
I will carry out the method-talk. Seemingly, the speed of the present Noh will be 3 more times slower than the thing at the time of Zeami. Naturally it becomes sleepy. But there are old men who refer Noh as being "subtle profundity" etc. and admire it for the antiquarianism. They should not know the fun of real theater. That calm feeling of speed that we see was born to the Edo period (not the time of Zeami).
First of all, there may be a limit, even if the speed of the world becomes quick, man's capability cannot change the speed to accept information. Surely, it says, "informational speed became quick." However, this opinion is only accepted in the machine-bearing domain, and the process which man accepts information in his inside is not change. Rather, the medieval-times people who had lived into slaughterous and nature environment had possibly gained more quick feeling of speed than the man of today who is alive snugly... man of today could bear the drama for about 100 minutes also leisurely, people in the Muromachi period (the time of Zeami) was not able to bear only the tale for 20 to about 40 minutes.
So hereafter, I am exploring the gap with the interface of Noh and the contemporary theater. I will become thinking-guess, not practical.
I hope to find something becomes the hint of "future theater"
Waiting of the severe instruction from you.