As the powerful and resonant tones of traditional chants fill the air, the Noh actors, wearing hauntingly mysterious masks, stride solemnly across the stage. Every movement is fluid, yet decisive, revealing why they have been described as "moving sculptures". This Japanese cultural treasure has long been a passion of Kazufusa Hosho, the 20th grandmaster of the Hosho school—one of Japan's five major Nōgaku schools—who took on the mantle of this centuries-old tradition at just 22 years old. Since then, he has expanded the reach of Nōgaku (a traditional style of Japanese theatre that encompasses the lyric drama Noh and the comic theatre Kyogen), introducing international audiences to the enigmatic beauty of Japan's aesthetic of yūgen, a profound sense of grace and subtlety.
"Nōgaku is considered an 'ambient culture' in Japan, captivating audiences with its tranquil and profound atmosphere, encouraging them to engage in self-reflection," Hosho tells FestMag. "Many people think Nōgaku is difficult to understand, but this perception arises from comparing it to other theatrical forms. Nōgaku is deeply rooted in the arts, and rather than imposing its message on the audience, it invites viewers to find their own meanings—much like appreciating a painting or sculpture."
The origins of Nōgaku date back to Sarugaku, a form of theatre that was popular in China during the Han and Tang dynasties. When it arrived in Japan, it evolved into a unique performance art featuring actors wearing Noh masks. During the Muromachi period (1336-1573), the art form was refined by Kan'ami Kiyotsugu and his son, Zeami Motokiyo, who introduced elements of elegance and subtlety, emphasising concepts such as "grace", "beauty", "subtlety" and "wonder".
Today, there are about 250 Noh plays, most of which have been passed down since the Muromachi period. These plays often feature non-human protagonists such as ghosts or deities, with few new modern creations. However, Hosho has ventured beyond convention and will bring the world premiere of the Noh version of The Butterfly Lovers to the 53rd Hong Kong Arts Festival. "For the Hong Kong audience, this is a familiar love story," he explains. "I'm curious to see what kind of magic happens when it's interpreted through the lens of Japanese aesthetics."
The Noh adaptation of The Butterfly Lovers was written by Naoki Prize-winning author Tōko Sawada, with Kazufusa Hosho starring and producing. The music, a delicate blend of traditional sounds, was composed by flute player Yukihiro Isso, kotsuzumi (small drum) player Kyosuke Tanabe, and otsuzumi (large drum) player Takanori Kakihara. Hosho notes that this adaptation embraces the subtle narrative techniques of Noh, paired with melancholic and intricate music, to depict the tragic love story between Liang Shanbo and Zhu Yingtai.
"Noh is not as direct or dramatic as Western opera," Hosho observes. "Performers rarely make physical contact. Instead, they excel at creating emotions and atmospheres through the use of space. Their movements on stage, though seemingly slow, are imbued with deep meaning in every gesture."
To capture the essence of Liang Shanbo, Hosho selected the "Kantan-otoko" mask from his family's collection of more than over 500 Noh masks, highlighting the character's melancholy and sensitivity. "Noh masks are the soul of Noh," Hosho says. "Each mask has a unique expression. Performers don't say they 'wear' a mask; they say they 'attach' it. This signifies that the emotions and persona of the mask become one with the performer's mind and body. Even without a mask, Noh performers treat their own faces as masks, maintaining a stoic expression and minimising eye movement on stage.
"When a Noh performer wears a mask," Hosho continues, "it's as if the character's spirit possesses them. We use stage lighting and adjust the angle of the mask to convey different emotions. When the mask is tilted upwards, the light creates an expression of joy; when tilted downwards, it casts a shadow, evoking a sombre mood."
Noh masks also allow for swift character transitions. In another play being performed in Hong Kong, Funabenkei, Hosho dons two different masks to portray two distinct roles. The play tells the story of the Japanese warrior Minamoto no Yoshitsune, who, after defeating the Taira clan, is suspected of treachery by his brother and forced to flee his homeland. In the first part of the play, Hosho portrays Yoshitsune's lover, Shizuka Gozen, conveying the sorrow of parting. In the second part, he transforms into the vengeful spirit of Taira no Tomomori, summoning storms and creating waves on stage.
To balance the gravitas of the Noh plays, a comedic Kyogen piece, The Owl, performed by the Yamamoto family of the Ōkura-ryū school, also takes the spotlight. With their humorous expressions and exaggerated movements, they bring a light-hearted atmosphere to the programme. Hosho emphasises that Nōgaku encompasses a wide range of genres, from the solemn to the comedic, ensuring that there is something for everyone.
Noh theatre + Kyogen play—School of Hosho and School of Okura-Yamamoto Ke
Date: 10 Mar 2025
Venue: Concert Hall, Hong Kong City Hall
