OverviewTRADITIONAL THEATRE TRAINING was founded in 1984 to introduce non-Japanese artists and scholars to first-hand, physical practice of Japanese classical arts. |
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Noh, kyogen, nihonbuyo, and shoulder drums have since been offered in small-group intensive courses during the summers in what we call the KYOTO PERFORMANCE INSTITUTE (to distinguish it from programs conducted abroad or at other times of year). Experienced teachers and translators enable those without Japanese language or cultural backgrounds to study one-on-one in a traditional manner in preparation for a culminating recital. The concentration of time and energy provides a rich experience unavailable through even normal, traditional practice, while the group lessons and concentrated time make the costs lower than individual lessons. Over 125 persons from 12 countries have participated. In 1991, Japanese participants were admitted, and now half the students are Japanese. Funding over the years has come from The Japan Foundation, Asian Cultural Council, Saison Foundation, and Kyoto City International Foundation. Individuals have received awards from the Hitachi Foundation, U.S.-Japan Friendship Commission, Japan Foundation, and Fulbright, as well as from their home country’s arts and university fellowships. TrainingTraining is as authentic as possible given the constraints of time and language. Classes are held in teacher’s home studios or rental studios. Teachers have decades of experience teaching amateurs and professionals, and have been with T.T.T. anywhere from six to fifteen years. Romanized scripts and summaries of plays performed help initiates to these forms overcome the problem of understanding the Japanese language. But the direct one-to-one experience of master and disciple is the core of the training. There is little or no meta-commentary--discussing the philosophy or history or spiritual basis of these disciplines. Instead the forms are drilled by rote repetition in the daily practice fundamental to all Japanese traditional training.At the end of the training, students perform a recital. These have ranged from public recitals for 300 spectators on outdoor noh stages, to intimate student-only recitals at teacher’s home studios. While some participants feel shy or embarrassed to perform so soon after their studies have begun in these lifelong disciplines, masters universally agree that such recitals act as "knotting" to the strands of knowledge absorbed during practice. These are times of celebrating student learning, and an opportunity to observe the teacher’s own dances, performed at the end of the program. Continued StudiesAfter T.T.T., some students continue their training in the normal practice sessions of these teachers, in Kyoto or Tokyo, and even abroad. There are ten T.T.T. alumni continuing their lessons in Kyoto or Tokyo today. Others return over several summers or for extended periods to study. Still others integrate their learning with their own teaching and creative practices in their home country. We do not intend the training to be either an appetizer or the main course in the feast of Japanese theatre, merely a rich, authentic taste to be savored in various ways.Calendar Of EventsApplications accepted until courses are full.May 15 Deposits needed, partially non-refundable.
ContactFor more information about TTT, contact:
Dr. Jonah Salz |
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