Globalization and national originality. Forum of languages

Доклады секции:
"Форум языков" 2007

PHILOSOPHICAL AND CULTURAL ASPECTS OF THE JAPANESE ART /LITERATURE AND THEATRE/ AS THE FORM OF FORMATION GROUP AESTHETIC CONSCIOUSNESS

PhD, lecturer Nurutdinova A.R.

Tatar State Humanitarian Pedagogical University
rstmvn@yahoo.com

  Japan cannot be compared to one country of the world. It is unique country. The statement of the maintenance of culture of Japan should lean on studying of the sources concerning by this period. This position remains true and for an ancient epoch: here again we should find such sources on which it is possible to establish our research. A source of complexities are in cultural and in language distinctions. If to deal with concept which is not present in our culture which has no a name in our language while translating there are the difficulties similar to a huge boulder, to shift which without huge efforts it is practically impossible.
It is impossible for one of mysterious words to transfer literally in Russian are the names of theatre «Noo» or «Nogakу». By words Hajasi Ejsiro, the President of Society «Hakysekai», it is necessary to name the theatre «Noo» essence of culture of Japan. Theatre «Noo» is the high-refined art, which passed from father to son and remains to be loved by Japanese during 600 with superfluous years. Several years ago, UNESCO has brought in theatre «Noo» to the first lines of the list of masterpieces of an oral and non-material heritage of humankind.
It is necessary to touch a history of occurrence of theatre «Noo». It to make it is necessary, because absolutely uninitiated in secret of theatre «Noo» performance can seem to the spectator a never-ending set of the unusual recitative, the slowed down movements. After which it can leave bewildered, at all not having looked through representation up to the end (actual duration of performance of theatre «Noo» - hour three - five and a half) and, not having solved «a great riddle» masks. Representation of theatre «Noo» will consist of the several plays interrupted by small miniatures from life of simple people /kegen/, and refined dances of plays /samai/, called to emphasize a height of the main action. Plays for theatre «Noo» (for the first time appeared in XIII century) long time existed in oral transfer. Not earlier than second half XIV century due to the father and son Kanami and Dzeami, plays have been fixed in written form that promoted development of theatre «Noo» up to a level of high art. The genre name of plays /Ekeky/, have arisen based on complex (from acrobatics and focuses before dances and songs) representations /Sarygaky/ which gave vagrant troupes, since VIII century. Sources of theatre «Noo» go back to the various forms of the national performing art, which has come to Japan from China in VII century. Separate troupes of executors /Sarygaky – hosi/ settled in Buddhist temples and синтоистских sanctuaries where from time to time put the plays thought up by them. Not last role in becoming and development of theatre as important component of aesthetic life the religion as a whole is, namely the Shinto - Buddhist symbiosis. Interaction the Shinto with the Buddhism really unusually: Japanese not only borrowed Buddhist deities /Kami/; but also the Buddhism has filled itself in the big space in attitude of Japanese, having taken under the control everything, that has been connected to death and beyond the grave existence. And it was really, symbiosis of two beliefs mutually penetrating each other and creating something new, peculiar only Japanese soul for which was not, and is not present precise distinction on and "another's".
Theatre «Noo» is the stylized theatre of masks which main element is not the text, and music, therefore spectators with intense attention watch here: behind character of movement of actors on a stage - their movements are slowed down, as if are made in very dense environment; behind mastery of musicians and choristers - in performance they do not create a continuous background, and only from time to time are included in action; and only in third turn - behind dialogue - as speech of actors on a stage of theatre «Noo» differs from household speech both on a timbre, and on a manner of pronouncing. Especially the attention should be given masks at theatre «Noo». Masks, as well as a kimono, transferred from generation to generation, and masks with трёхсотлетней a history are frequent. In the majority of a mask of theatre, «Noo» are not adhered to any certain role, and are widely used in different plays on different roles. However, expression of masks more likely released, in a combination to movements of actors and monotonous music they create that, as is a core of theatre «Noo»- an embodiment of the religious doctrine the Zen, but on a stage. Art of theatre «Nogaku» trusts that with the help simple, laconic and, at the same time, methods of execution full of refinement transfer of various emotions and sensations are possible. Feelings of pleasure and rage, humour and pathos expressed by hardly appreciable change of an inclination at the appendix of a mask to the person, game of light on a stage, a recitative of chorus and accompaniment of drums and flutes. Great skill of the actor is opened on a stage without its present person, but with the help of a motionless mask and the perfected movements by transfer of all scale of moods - whether it is suffering or pleasure: hands designate grief; the easy inclination of a head in a combination to the lifted palm corresponds to rough sobbing.
The actor can and "stiffen" in one pose, and the dramatic nature of a situation will be presented with the help of retorts and a rhythmical tune of chorus. This "silence" of a pose can stir up a storm of emotions and if to look attentively and to imagine Japan time shown in performance, that is probability to feel the participant of those events, together to empathize and receive an improbable set of emotions if it is possible so to say, "ultra thin" emotions, emotions of the prepared spectator. Representation of theatre «Noo» does not put the purpose realistic transfer of space and time. The poor furniture of a stage and movement of actors should wake imagination of spectators. The actor can make some steps on a stage, but from retorts and a tune of chorus the spectator should understand, that the character had been did a long way. Characters can be a stone's throw away from each other, but they "do not feel" mutual presence, will not be revolved yet by the person to each other. From eight or ten person makes comments on chorus or repeats words of the main hero, explains spectators a situation. Sometimes during performance by the main hero of dance, the chorus instead of him says words of his role.
The technical equipment of performance of the performance, accepted in XIV-XV centuries is precisely unknown, but to modern statements of a drama at theatre, «Noo» goes back to XVII century. It is possible to assume only, that essential changes in techniques of execution from XV till XVII century have not taken place. The stage without scenery has been supplied with rotary circle. Any gesture of the actor are were accompanying, or easy movement of a stage something symbolized: slow turn of a stage - long travel of the character; easy lowering of a mask by the hand lifted by the actor - tears and moamings; hardly perceptible movement of a fan - a palace, steppe or sea coast. Huge value got imagination of the spectator, its readiness to understanding of scenic language. On separate types of plays at theatre, «Noo» shared to a thematic attribute: about gods; about soldiers; about women; about mad; and about demons.
In total there were five known schools of theatre «Noo»: the Kandze, the Congo, the Comparu, the Hose and the Kito. The troupe was headed by 20-years Dzeami Motokiyo (1363-1443). At him theatre «Noo» has achieved extraordinary blossoming. Dzeami has become famous as the talented actor, the playwright, theorist Nogaku. To him attribute about half of plays from those two hundred forty, which nowadays enter into repertoires of theatre «Noo». He has written 24 treatises on a performing art of actors «Noo». All treatises have been intended for secret transfer within the limits of school Dzeami. As a whole, they interpret three categories on which, on ideas Dzeami, scenic art should be based: imitation "mono-no-mane"; secret beauty "jugen"; and the Flower of "khan". It is necessary to note that huge influence which rendered on theatre «Noo» the classical Japanese literature, in particular, Monogatary (story) and Vaka (classical Japanese poetry). Authors of plays use a rich arsenal of means of the art expressiveness, saved up by generations of the Japanese writers and poets - Engo (associative words), Kaketoba (word - sheaf), epithets.
In plays about soldiers undertook from «Haiku Monogatary» or «Gempei Seisyki» here the spirit of the lost soldier asks the cleric to pray for its calm. Therefore, in the basic text historical Chinese and Japanese chronicles, poetic could find to the full the response only in the prepared spectator. Words it is impossible to express all beauty of farewell dance: the immovability of a mask pays a look to exclusive grace of the slowed down movements, which is perfected by years; in it all depth of feelings - both humility, and love of heart swept from suffering, and sorrow of separation.
Smooth movements of the heroine during dance with a fan in hands only emphasize beauty of her noble hear. The belief by virtue of the Law of the Buddha, fearlessness of the hero forces malicious spirit to disappear. The victory only confirms belief of Japanese in kindness, wisdom and validity. Small addition: the role of great commander Yositsune is played "Kokota" (actor - child), and it is not casual. A youth, so cleanliness of ideas. Sincerity of experienced feelings, cleanliness of heart of heroes of a drama - due to what, and theatre «Noo» is obliged to the longevity.
At theatre, «Noo» to each type of the play there meets special rate of execution. The text had concise character and handed actors by right of succession, and each executor sated with its citations familiar to the spectator from popular products. Until 80th years of XVI century was considered as norm when in the play of theatre «Noo» the heroes living not less than for hundred years prior to its spelling were represented. The rule has been broken, when Toetomi Hidejesi ordered to the author of panegyrics to the poet and prose writer Omura Juko (1536-1596) to create a series of plays where in role «Site» it would be deduced. The performances of theatre «Noo» assembling mass audiences of the most different social status and a cultural level, from shoguns up to representatives of city bottoms, in the first centuries of their distribution played the leading part in business of popularization of plots, ideas and art receptions of the classical literature of previous epoch among simple people and having wide circulation among people of plots and art receptions - in the aristocratic environment. This last problem with even big success was carried out with execution on the same stage of farces «Keigen». «Keigen» (in translation with Japanese "mad speeches") are short, for ten - fifteen minutes, one-act farces which were played in breaks between statements of plays, and sometimes - and between acts of one play at theatre «Noo». If the majority that of theatre «Noo» are serious and represent freakish weaving from verses, quotations from monuments of classical prose and philosophical-religious treatises «Keigen» represents household situations from the comic or satirical point of view. Speech in «Keigen» flows in a usual manner and as a result, the play is looked easier.
In spite of the fact that «Keigen» have appeared in XIV century, and the first description of their statement has been made in XV century, texts of these plays for the first time have been published only in XVII century Okura Jiamon Tora-Akira (1597-1662) has published the collection from 240 plays in 1642). Now 300 plays «Keigen» are known approximately, from them near two hundred and now are executed on a stage. From the point of view of a subject line, they share on plays about large and fine landowners, about their servants, about the husbands accepted in the house of the wife, about spouses, about demons, about eremites /jamabysi/, about accepted Buddhist has cut, about слепцах, about thieves - all no more than 14-15 categories.
During viewing «Keigen», there can be a representation, that essence of this genre - satire in which people of the certain class belonging are derided. Nevertheless, experts speak that it not so. «Keigen» - more likely a parody where properties of character who had these properties - daime, the monk, the servant, the peasant, his wife or somebody another are mocked. Objects of ridicule have «universal value» is nonsense, arrogance, greed. Quite often spectators meet in humors situations. Plays are allocated for household themes on the general background with more thin humour and juicy language and allow to judge evidently real life of simple Japanese in middle Ages. Plays were much shorter and more vividly than plays at theatre «Noo» actors in them have been dressed not in conditionally scenic, and in habitual for spectators’ clothes and used informal conversation of XVI century, using popular then words and humorous catchphrases. But if in performance of theatre «Noo» the executor represents crying by that slowly lifts a palm up to a level of eyes in «Keigen» in a similar situation the actor simply bursts in loud sobbing.
If to take into account, that each representation of theatre «Nogaky» last hours and included execution of several dramas of different type, becomes obvious, that psychological switching of the spectator from one type to another, fast removal of a stressful overload could be made only by means of contrast. Such contrast to dramas also was made with farces. The combination in one representation of dramas and farces reflected one more process - a meeting of classical tradition that was developed with a drama of theatre «Noo», culture embodied in farces «Keigen». The main applicability of art - to display, let in the symbolical form, experiences of human soul. By the example of theatre «Noo», it is visible especially clearly. However, it is fair not only for the Japanese theatre. All culture of Japan is penetrated with super experiences. A word becoming to habitual hearing «Ikebana» - also to that acknowledgement, only here the author tries to transfer the inwardness through motionless flowers and flower compositions. In addition, here for the Japanese internal it is more important external. Riddle of an invariance of traditions so quivering preserved by Japanese and reached up to now, yet time will pay to itself steadfast attention of researchers. In addition, who knows, probably, sometime it and will give in to an explanation.