{"id":37056,"date":"2022-06-09T05:52:38","date_gmt":"2022-06-08T20:52:38","guid":{"rendered":"http:\/\/kochihen.replan.ne.jp\/?p=37056"},"modified":"2022-06-09T18:29:00","modified_gmt":"2022-06-09T09:29:00","slug":"%e3%80%90%e8%83%bd%e6%96%87%e5%8c%96%e3%81%a8%e7%8f%be%e4%bb%a3%e7%a4%be%e4%bc%9a%e3%81%ae%e7%b6%99%e6%89%bf-%e5%b0%8f%e6%a8%bd%e3%81%ae%e3%80%8c%e8%83%bd%e8%88%9e%e5%8f%b0%e3%80%8d-3%e3%80%91","status":"publish","type":"post","link":"https:\/\/kochihen.replan.ne.jp\/?p=37056","title":{"rendered":"\u3010\u80fd\u6587\u5316\u3068\u73fe\u4ee3\u793e\u4f1a\u306e\u7d99\u627f \u5c0f\u6a3d\u306e\u300c\u80fd\u821e\u53f0\u300d-3\u3011"},"content":{"rendered":"

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English version\u2b07<\/p>\n

Inheritance of Noh Culture and Modern Society: Otaru’s “Noh Stage” – 3
\nNoh, the cultural norm up to the prewar period, was certainly transplanted to Hokkaido, but it is difficult to carry it on in the modern age. Can Youtube carry on Noh? Noh, however, is difficult to inherit in the modern age.<\/p>\n

The Noh stage built by Ken Okazaki, the second head of the Okazaki family, an Otaru business family from Sado Island.
\nThe second photo shows the Noh stage in his hometown of Sado, where he lived until the age of 10.
\nIt is the “Ozen Shrine Noh Stage,” which is said to have been built in 1843.
\nIt was built at the end of the Edo period.
\nThis kind of stage was set up in the precincts of a shrine in the countryside, and Noh plays have been performed
\nIt is reminiscent of how Noh plays were performed at local festivals and other occasions.
\nThe Sado region probably belonged to the Kitamae Ship trading network.
\nIn the Sado region, which probably belongs to the Kitamaebune trading network, he threw himself into the booming business of the pioneering period in Otaru, Hokkaido.
\nfather who “made it big” in the logistics business. During the local festival season
\non the Kitamae-bune, and he would take his father on his lap to see the gorgeous and solemn Noh plays and the
\nHe must have experienced the glamorous and solemn Noh plays and joyful Kyogen performances as a sensitive young boy.
\nThe fact that the best of Japanese culture was experienced in the village of Sado
\nThe strong presence of this culture must have grown inside him.
\nIn an environment rich in nature, the “unusualness” and dramatic space, which may or may not occur more than a few times a year, brought a “purpose in life” to the boy.
\nThe dramatic space of the “extraordinary” in a rich natural environment, which occurs only a few times a year, must have given the boy a certain “joie de vivre”.
\nI feel that there is something beyond comparison with the TV programs and movies that we are exposed to today.
\nThe boys continued to experience the specialness of Japanese culture through the conversation of people who said, “At the next festival…
\nThe boys continued to experience the specialness of Japanese culture through conversations about the upcoming festival, which culminated in the experience of the Noh stage performance.
\nThe experiential climax of the performance on the Noh stage.
\nThe respect for the traditional culture that is imprinted on them is beyond imagination.<\/p>\n

In his youth, this experience was sublimated internally and he began to learn Noh.
\nAfter his father’s death, he immersed himself in business activities in Otaru, and as he took on a social role, he began to learn Noh.
\nAnd as he fulfilled his role in society, he felt something rising up from within himself.
\nHe began to desire the creation of a Noh stage. This way of life is understandable.
\nHe was particular about the materials he used and cooperated with carpenters in Sado Island, whom he trusted.
\nHe made it his “life’s work,” so to speak, to build a Noh stage in Otaru.
\nAs the finishing touch to his comprehensive art, he was particular about first-rate Japanese paintings of the Kano school.
\nHis life’s work has something in common with the way we live in today’s age of individualism.
\nThe Noh stage created and left behind by Mr. Ken Okazaki is a great source of inspiration.
\nHowever, in our society of later generations, this sense of value has been transformed.
\nFirst of all, the local mura (village) society that sustained the “hare” (a time and space for festivals) that took place only a few times a year has disappeared.
\nLocal festivals continue to lose their centripetal force.
\nThe realm of expression has expanded to infinity through TV, movies, and Youtube videos.
\nThe experience of receiving these expressions has become almost completely “everyday.
\nThe simple traditional culture of the Noh stage in the countryside has been severely damaged.<\/p>\n

In today’s society, how can we pass on the Japanese culture
\nHow do we pass on the Japanese culture left behind in these architectural structures?
\nDr. Komaki is involved in activities to keep the Noh stage architecture alive as the core culture of the Otaru area.
\nI believe that Dr. Komaki is involved in activities to keep the Noh stage architecture alive as the core culture of the Otaru region.
\nIt is a fact that it is becoming difficult to sustain even as an architectural technology.
\nI strongly believe that today’s cultural society is at a critical juncture.<\/p>\n","protected":false},"excerpt":{"rendered":"

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