In the world of performance art, it is not easy to establish any meaningful relationships between different artistic forms of presentation. This implies that even though there might be significant similarities and differences between one artistic form and another, establishing any meaningful relationships is not an easy task. This holds true for the case of Japanese and Greek theater. Smethurst contends that for a long time, it was difficult to establish any meaningful relationship between fifth-century BCE Greece and fourteenth-century CE Japan. The two realities existed in two completely different time periods so much so that spatial, temporal, and cultural variations are almost impossible to surmount (Smethurst 1). It was in this period that the most renowned tragedy authors of ancient Greece, Euripides, Sophocles, and Aeschylus, and their Japanese Noh writers Zenchinku, Zeami, and Kan’ami authored their famed dramas (Smethurst 1). It is not until recently that meaningful relationships between the two theatrical forms were established. Backed up by a wide body of research, this analysis aims to critically analyze the differences and similarities between Japanese and Greek theater.
Background
Before analyzing the similarities and differences between Japanese and Greek theater, it is worth noting that the political and cultural backgrounds of these forms of drama were very different from each other. Walton contends that Greek tragedy was largely a public affair in which Greek citizens had a say. In this case, the implication is that Greek tragedy was a democratic form of drama. On the other hand, the Japanese form of drama was different in that performances were mainly preserved for the elite in society, which remained the case until a later period. A closer analysis of the two artistic forms of drama indicates that there while there were numerous differences, there were also numerous similarities.
Crucially, to be able to better understand the rationale of this comparison, it is important to first understand the context in which this analysis will be performed. Greece and Japan have had diplomatic relationships for a long time. The first diplomatic connection was created in 1899, and in the years after 1999, numerous cultural events have been planned and commemorated in both countries in a bid to celebrate a century of continued collaborations politically, culturally, and also politically. The cultural festivals have included among others cultural exhibitions representing the respective cultures, academics as well as theatrical performances. Of all these different exchanges, the most prominent one is theater (Giannis et al. 1). The main reason why theater has such a prominent standing in Greek and Japanese culture is it has had marked impact on almost all facets of human life such as political and social life, arts and also architecture. Giannis et al. contend that even though there is a difference of two millennia between Japanese theater and ancient Greek tragedy theater, there are numerous points of comparison for the two. The key comparison points are as follows.
Origins
Llewellyn-Jones observes that even though both types of theater followed different developmental paths forged under different circumstances and varied cultural backdrops, both have their origins from the worship of God (Llewellyn-Jones 14). The Greeks worshipped the god Dionysus while their Japanese counterparts created the plays to worship Shinto. Ancient Greek theater was first passed over to the Rome stage and then extended to the renaissance plays and eventually inspired western drama (Giannis 1). For instance, the two forms of theater featured performances of three or more thoughtful plays that most often than not carried a religious message. In addition to this, Smerthust notes that the comical kyogen and satirical plays were performed during religious and public occasions in outdoors theaters that contained few architectural erections and little or no props. This is in stark contrast to later Greek tragedy and Japanese theater productions.
Bowers notes that a large majority of Japanese drama in the Pre Noh theaters featured performances performed in commemoration of various traditions that included Sangaku, a performance that had its roots in Chinese culture (Bowers 52). These traditions are known to have had a marked impact on how theater in the Pre Noh era developed. Early Noh productions had a salient characteristic in that dance essentially dominated over drama as evidenced by the tragedies of Aisxilos where lyricism and not the epic element was emphasized (Llewellyn-Jones 16). In the traditional Noh setting, Noh programs featured five plays with the comedic Kyogen interludes being included intermittently. A closer look at Greek satiric drama reveals a connection with Japanese Noh plays in that both forms of theater feature intermissions to dramatic parts. Therefore, despite the apparent differences in performance styles and intended impacts, the two forms of theater are similar in that they mainly focus on the symbolic exhibition of facts that are drawn from historical events and myths (Giannis 1).
Social Characteristics
A difference between the two theater forms arises from the fact that the Japanese form of theater was intended to mainly entertain the nobles and for this reason, it was tailored in such a way that it would cater for the needs of the upper class. Consequently, the conservative nature of this form of theater implied that reforms and novelties were curtailed by the conservative audience. As such, its evolution was almost non-existent. Bowers (14) notes that the moves performed on the stage, the language used in the performance as well as the production itself was tailored in such a way it remained relevant to the specific social class it was intended to target.
On the contrary, ancient Greek Tragedy as performed in the Drama Games every single year was intended to appeal to all individuals including children, women, and people who were aliens in Greece. Giannis et al. (2) note that the state of Athens even catered for the ticket price of the poor people in society to ensure they attended the Drama Games and participated as the audience. The authorities at the time were cognizant of the educational value inherent in the plays. In ancient Greece, acting was a reserve primarily for the men since only men were allowed to act in plays. Conversely, Japanese Noh plays were performed solely by individuals who specialized in the performing arts (Giannis et al. 2). Another interesting factor that is worth noting is that in the Pre Noh era, women took part in performances but were however excluded from the traditional theatrical presentations until lately. In both Greek and Japanese theater, female roles were usually played by a man donning a mask (Smethurst 2).
Elements of Performance
Another difference between Greek and Japanese theater can be observed from the elements of performance. According to Giannis et al. (2), there are three main characteristics of drama. They are the unities of action, time and place. Walton’s observation that Greek plays usually followed a singular main action to follow with few or no subplots supports Giannis’ view. A play in Greek theaters is structured in such a way that it covers only one physical space, whereas the stage should symbolize a single location, and the action cannot span more than a day. In the period spanning the above structure, Greek tragedies start with the prologue which essentially introduces the audience to the drama (Smerthust 3). After the prologue, the ‘parodos’ follows after which the story unravels over several episodes. The ‘stasima’ spread across the episodes while choral pauses explain or comment on what is happening in the play. A Greek Tragedy then concludes with the exodus (Walton 16).
On the other hand, the utilization of time and space in Japanese plays does not have to be depicted realistically. As such, there is a freedom for audience members to utilize their imagination in the perception of time and space through specific dance moves and songs being performed by the actors (Llewellyn-Jones 30). Japanese theater productions are highly formalized in nature characterized by the slow rhythm of dance performances. Nonetheless, the two theater forms are similar in that they both use customized costumes and masks which are used because of their graphic effects on the audience while also being a means of expression (Giannis 2).
Conclusion
In conclusion, it is evident from the discussion above that there are several comparison points for Greek and Japanese theater. Comparisons between the two forms of theater can only be discussed once they have been developed into artistic forms of theater. Analyzing the similarities indicates that although there is a time difference of two millennia between the two forms of theater, the similarities between the two are striking. There are similarities in origins in that they both came to be as a means of worship, they both utilize the use of customized costumes and masks and men played women roles. On the other hand, there are differences evident in the social aspects of the two theater forms, utilization of space, time, and place and the intended audience. Greek theater was meant for all people while Japanese theater was mainly reserved only for the elite in society.
Works Cited
Bowers, Faubion. Japanese theatre. Tuttle Publishing, 2013.
Llewellyn-Jones, Lloyd. Body language and the female role player in Greek tragedy and Japanese" Kabuki" theatre. Na, 2005.
Smethurst, Mae J. The Artistry of Aeschylus and Zeami: A Comparative Study of Greek Tragedy and No. Princeton University Press, 2014.
Walton, J. The Greek sense of theatre. Routledge, 2013.
