Sarugaku
sarougakou（1901）Le théâtre au Japon: ses rapports avec les cultes locaux, Leroux, Paris [FR]
- 53Ces divers éléments se retrouvent dans leskagoura shinntoïstes, qui se développèrent, à une époquehistorique, pour s’épanouir dans le sarougakou et le nô.
- 74De ces deux genres, qui continuent l’évolution commencéeavec le icasaoki, sortira le sarougakou, puis le nô, oudrame lyrique.
- 75A la fin du XIIe siècle, le dengakou, ce grossier divertissementdes fêtes champêtres de l’antiquité, tombe en discrédit,et fait place à un art moins vulgaire, d’une formescénique moins élémentaire, au sarougakou (1).
- 75« Le sarougakou, suivant M. Foukoutchi-guèn-Itchiro,est un gakou sans en être un, comme le singe est un hommesans être un homme. »
- 75Les caractères XX étaient mal prononcés, comme sarougakou, et il semble, d’après quelques ouvrages anciens, que parfois les caractères XX étaient usitésàleur place (2).
- 75A l’origine, le terme sarougakou-no-Nô était employé par analogie avec le terme dengakou-no-Nô, mais dans le cours des âges le mot dengakou disparut pour ne laisser subsister que le terme général de sarougakou.
- 75L’époque du premier shogoun est marquée par un progrèsdécisif du sarougakou, qui prit graduellement la formed’un art dramatique complet.
- 75Désormais le sarougakou complétera la significationdes mouvements rythmés et de la mimique par lechant d s vers (outaï) et par l’emploi ordinaire du masque.
- 76Le sarougakou semble avoir obtenu rapidement unegrande popularité.
- 77cependant, elles conserveront, pour la~plupart, le nom de sarougakou, jusqu’au XVIIe siècle.
- 79les éléments comiques du sarougakou étaient bannis des nouveaux drames et se concentraient dans le kiyôghèn (1).
- 81En transformantl’anciennekagoura et le sarougakou, il a élargi le champ d’idées oùse déploie l’action scénique.
- 84ils constituèrent un art nouveau, conformeà la délicatesse raffinée des esprits de la classe noble, ungenre grave, exempt des parties comiques du sarougakou,profondément imprégné des doctrines bouddhiques.
- 94Le kiyôghèn (littéralement: folles paroles) réunit enpetites pièces d’un acte les éléments comiques du Sarougakou.
- 288elle s’est développée dans le sarougakou, qui possède un dialogue etune intrigue.
- 288A partir du XIVe siècle, le nô continuel’évolution du sarougakou dans le domaine de la légendereligieuse et historique.
- 28For the Saru-gaku thus modified became, in effect, a drama.
- 28Even the name Saru-gaku passed out of use, being replaced by No (accomplishment), which term continues in vogue until to-day.
- 251Note 4. -— The full names of the bucolic mime and the monkey mime were respectively Den-gaku-no-No and Sarugaku-no-No, or the accomplishment of Den-gaku and of Sarugaku; and since every feature distinctive of the original Den-gaku and Saru-gaku disappeared in the new development of the fourteenth century, it was natural that the names also should be abandoned.
- 16To the accompaniment of Flutes and the Drums Taiko and O-tsuzumi, the Dengaku lived in Court favour until the close of the twelfth century, when, in the time of Yoritomo, the Sarugaku, the purest form of the No dance of the present day, was established.
- 17On the other hand, the Dengaku was purely Japanese in its origin; and so also was its rival the Sarugaku.
- 17In the intervals of the Sarugaku light comedy pieces were performed, called Kiogen; and these seem gradually to have supplanted the Chinese Sangaku, which after a time went out of vogue.
- 17The word Sarugaku, however, dropped the “ru,” and was very easily confused with Sangaku; and, although the two dances had no connection, the old Chinese word came to be applied to the newer Japanese dance, which thenceforward was called “Sarugaku” or “Sangaku” indiscriminately.
- 17In much later years the Bugaku remained as the amusement of the Court, the Sarugaku of the Shogun and Daimyo, the most wealthy of the nobles having their own theatre and dancers, together with a costly wardrobe of sumptuous brocade and embroidered dresses.
- 17In the present day, the Sarugaku and Kiogen dancers, like the Bugaku dancers, have their home in Tokyo; their theatre adjoins the “Maple Club” – Koyo kwan – in Shiba Park, where they give frequent performances.
- 17Both Bugaku and Sarugaku are popularly called No dancing; the word no signifying ability in any art.
- 17Strictly speaking, however, the No dance is a still later development of Sarugaku, standing midway between the old and the modern Japanese dances.
- 18The Sarugaku appears to have achieved popularity rapidly, though invention was slow.
- 18The performance of the Sarugaku indeed at one time passed almost entirely into the hands of the priests: and many of the Temples used it as a substitute for the Kagura, maintaining special performers for the purpose.
- 27In the Keicho era, about 1620, Sawazumi, a very skillful Biwa player, departed from the strict tradition of his profession, and sought fresh fields of fame in Samisen playing and the study of the utai of the Sarugaku dance.
- 168It is the commonest of the Japanese Drums, and is used in the theatres, in the orchestra of Sarugaku, and on many other occasions.
- 41-42They held a small estate, and succeeded in winning the Shogun’s patronage for their Sarugaku or No, which became extremely popular at Court.
- xiiUsed in No and Sarugaku dances.
- 163For the popular theatre that had its origin in Yedo in the seventeenth century by no means led to the disuse of the old Sarugaku and No dramas.
- xxi( 1) Sarugaku, a masquerade which relieved the solemnity of Shinto ceremonies. What we call Noh was at first called Sarugiaku no Noh.
- xxi About 1375 the Shogun Yoshimitsu saw him performing in a Sarugaku no Noh at the New Temple (one of the three great temples of Kumano) and immediately took him under his protection.
- xxiiFor some while Yoshimitsu has been making a favorite of a Sarugaku-boy from Yamato, sharing the same meat and eating from the same vessels.
- xxiiThese Sarugaku people are mere mendicants, but he treats them as if they were Privy Counsellors.
- 2Masks were largely used from very ancient tímes ; as was also done in the case of the Shirabyoshi, Sarugaku ( 12th century ), Gigaku, Dengaku , and other historical or religious dances which preceded the best known of all, the No Dances.
- 5Nō is sometime known as the Sarugaku which together with the Den-gaku was in fashion toward the end of the Kamakura period (about 1224).
- 6As was elsewhere noted, Nō is derived from the Sarugaku-nō, but there is no definite theory as to the derivation of the word Nō.
- 6Les bateleurs, les mimes, tous les professionnels des représentations comiques, des sarugaku, nés du franc rire des dieux et d’une danse burlesque, ajoutèrent du mystère à leur vision du monde, jusquelà familière, moqueuse et jolie.
- 7L’art nouveau qui apparut fut dans la filiation du vieux sarugaku dont l’âme était le badinage.
- 7Il s’adressait surtout aux art scéniques, aux innombrables variétés de sarugaku ou de dengaku.
- 87SARUGAKU AND NOH
- 87In contrast to the Noh of Dengaku, the Noh of Sarugaku left an abundant literary legacy, now carefully cherished by devotees of Noh as a dramatic art.
- 87Originally, the characters which are read Sarugaku (猿樂) and which signify monkey music, were used to designate spontaneous actions of a humorous or comic nature.
- 87To this popular Sarugaku, dialogue had been added before the beginning of the fourteenth century; but gradually, under the influence of literary priests, the dialogue lost its comic nature and gave way to a more poetically austere recital, in the interpretation of which the action also became refined, while still retaining the original name.
- 87Kwanami Kiyotsugu and his son, Seami, were members of the Kwanze family, and by them Sarugaku was brought to its perfection.
- 87-88Seami (A.D. 1363-1444) considered it a Noh or art, under the name Sarugaku no Noh (申樂の能).
- 88In this connection it is of interest to note that Seami rejected the character signifying monkey, and substituted 申 which, while read saru, is derived from the character for deity (神) which is used in the term Kagura (神樂 ), from which more elementary form of entertainment he thought, or assumed to think, that Sarugaku had been developed.
- 88The increased dignity, in greater harmony with the acquired character of his Sarugaku, is at once perceived.
- 88Seami’s Sixteen Booklets (Seami Jurokubu Shu) throw much light upon his contribution to Sarugaku no Noh; and by inference, though not from direct statement in this, we may judge that he definitely rejected all lighter elements in early Sarugaku which his father had in a degree favoured through the influence of Itchu, his teacher, himself a noted player of Dengaku.
- 88In spite of Seami’s serious-mindedness, however, he did much, through the inclusion of more human elements, to free Sarugaku no Noh from the crushing domination of the Buddhist priesthood, which sought to use it almost exclusively for purposes of religious propaganda; and, since it still retained greater plasticity than did Kagura or Dengaku, he was able to make of it an entertainment which, however saturated with the more austere elements of Buddhism, appealed to men as no temple ceremony had ever done or as no simpler Kuse had ever aspired to do.
- 135Thus we have in Genzai Mono Noh what is apparently a surviving link which united earlier Sarugaku with later Noh and Kyogen, now recognized as distinct but practically inseparable art forms.
- 15All other dance and song representations had to give way to the Sarugaku which after A.D. 1430, became the No.
- 15Sarugaku united in itself the elements which it found in Dengaku, Kowaka, Kusemai, Ko-uta, Bugaku, and Ennen-mai, the last one developing into a form of song and dance used at Buddhist ceremonies.
- 15The Sarugaku was a feature of the Ashikaga period.
- 15-16At the Shinto shrines the Sarugaku were chiefly performed, and at the Ise shrine there were three different schools or groups of performers and in Omi, Tamba, Kawachi, there were similar services for shrines.
- 16Sarugaku was brought to perfection by Kiyotsugu and Seami, and became the No as it is known to-day.
- xAs to the origins of the No, there had existed from early days both the Dengaku or Rice-field Dance, a rhythmic posturing and song given by the farmers to lighten the labour of planting out the rice-shoots, and also the Sarugaku, an earlier form, part of which was humorous.
- x*No is merely an abbreviation of Sarugaku-no-No, or performance of Sarugaku.
- xiThese houses were originally engaged in the production of the Sarugaku given at the two Great Shrines of Kasuga at Nara, and Hiyoshi on Mount Hiei near Kyoto, and the tradition in the house of Komparu is that they were descended from an official appointed by Prince Shotoku (d. 621), to play the Dengaku which he wrote.
- 2It was first called Sarugaku-no Noh, and later the name came to be abbreviated as Noh.
- 6Although the details of the subsequent developments of Dengaku and Sarugaku are obscure, they gradually evolved, thanks to the efforts of gifted dramatists and producers, into performances possessing coherent dramatic form.
- 1Il « Sarugaku », una danza mimica-comica, introdotta nell’epoca Kamakura (XIII secolo).