"I am a resident of this neighborhood."  So began our introduction to Kyogen, storytelling based on everyday life often told through the eyes of a servant.  Comedy and laughter are the mainstays of this theater.  Like Noh, Kyogen dates to the 14th century Muromachi Period.

To say that Don Kenny as our Kyogen sensei was a surprise is understatement.  Don is an American transplant who was born in Manhattan, Kansas.  While he was stationed in Japan with the U.S. Navy in 1959, he saw Kyogen performances and decided that when his enlistment was up he would study the art form.  It took time for Don to be accepted by the teacher with whom he wanted to study.  But persistence paid off. In 1964 Don began to study Kyogen.

Don Kenny and Shichiro Ogawa founded the Kenny Ogawa Kyogen Players.  The troupe performs traditional Kyogen plays in English and French.  Don has translated 200 plays into English.  Although the plays are performed in English, Don maintains the Japanese feel by adapting the cadence and intonation of the Japanese language to the pronunciation of the English words.   His presentation is a wonderful way for international visitors to access a Japanese theatrical tradition.

Kyogen uses singing, narration, and dance to tell a folk story. Costumes are simple and based on medieval styles. Masks are used to enhance comedic roles.  Don explained that we were experiencing an art form that may not be well known by modern Japanese.  When I described the performance to various people whom I met in Japan, they seemed to be unfamiliar with it. 

Noh is a far more formal theater than Kyogen.  Noh performances are based on symbolism and are more stylized. Noh drama can be realistic drama or fantasies inhabitated by demons and gods. The story is told through dance and chanting.  The dancing is not expressive like Western ballet.  It is more of a glding motion across the stage.  Sometimes the actor sits quietly as the music and chanting tells the story of his inner turmoil.

The costumes are made of a rich heavy fabric that rustles as the actor moves.  Simple props are sometimes used.  A skilled performer can conjure up an imaginary prop, e.g., a bow and arrow.

The presentation that we experienced in Tokyo used classical music played on a shimisen and a narrative chorus during dance sequences.  Neither were part of a performance we saw in Matsuyama. In Matsuyama we watched a solo performance.  In addtion to trying on a mask, we were given a short lesson in Noh movement and drumming.  It is much harder than it appears.  A well-trained performer will have spent many years learning his craft.  That the actors we saw appeared to perform effortlessly is a testament to their talent and training.