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*''Japanese'': 狂言 ''(kyougen)''
''Kyôgen'' is one of the chief forms of traditional Japanese theatre. Developing alongside [[Noh]] in the [[Muromachi period]], ''kyôgen'' is often performed as part of a Noh program, but is a lighter, more humorous, form, and often features commoner/peasant characters.
==Style==
''Kyôgen'' was traditionally performed very often as a comic interlude (''ai-kyôgen'') between acts of a Noh play. These interludes frequently retold the story of the Noh play in a different way, or from a different perspective, providing audiences with a more accessible understanding of the plot; this also allowed audiences to relax and take a break from the highly refined and aesthetically intense Noh, preparing them to better enjoy or appreciate the second half. ''Kyôgen'' continues to be performed alongside Noh in this fashion today, but is also often performed on its own; many ''kyôgen'' plays do not function as interludes for any particular Noh play, but stand on their own, with their own distinctive plots.
==History==
Heavily patronized by the [[Muromachi shogunate]] and [[Imperial Court]], ''kyôgen'' was also later patronized by figures such as [[Toyotomi Hideyoshi]], and by the [[Tokugawa shogunate]]. During the [[Tokugawa period]], the [[Okura school|Ôkura]] and [[Sagi kyogen|Sagi]] schools of ''kyôgen'' were formally recognized by the shogunate, while the [[Izumi school]] enjoyed patronage from significant groups outside of the shogunate. In the [[Meiji period]], however, the final ''[[iemoto]]'' (head) of the Sagi school, [[Sagi Gennojo|Sagi Gennojô]], is said to have failed to properly arrange for his succession, and the Ôkura and Izumi schools remain as the only two officially recognized professional schools of ''kyôgen'' active today. The Sagi school tradition continues, however, among non-recognized performers (i.e. outside of the ''iemoto'' system) based chiefly in [[Yamaguchi City]] and [[Sado-ga-shima]]. Other schools of ''kyôgen'' include the [[Nanto Negi]] school, active chiefly only in the 16th-17th centuries, who were criticized by figures such as [[Okura Toraaki|Ôkura Toraaki]] as "degraded" and "wrong-headed" for their excessively comic, even lewd, approach.<ref>Andrew Tsubaki, "The Performing Arts of Sixteenth-Century Japan: A Prelude to Kabuki," ''Educational Theatre Journal'' 29:3 (1977), 303.</ref>
{{stub}}
==References==
<references/>
[[Category:Muromachi Period]]
[[Category:Poetry and Theater]]
''Kyôgen'' is one of the chief forms of traditional Japanese theatre. Developing alongside [[Noh]] in the [[Muromachi period]], ''kyôgen'' is often performed as part of a Noh program, but is a lighter, more humorous, form, and often features commoner/peasant characters.
==Style==
''Kyôgen'' was traditionally performed very often as a comic interlude (''ai-kyôgen'') between acts of a Noh play. These interludes frequently retold the story of the Noh play in a different way, or from a different perspective, providing audiences with a more accessible understanding of the plot; this also allowed audiences to relax and take a break from the highly refined and aesthetically intense Noh, preparing them to better enjoy or appreciate the second half. ''Kyôgen'' continues to be performed alongside Noh in this fashion today, but is also often performed on its own; many ''kyôgen'' plays do not function as interludes for any particular Noh play, but stand on their own, with their own distinctive plots.
==History==
Heavily patronized by the [[Muromachi shogunate]] and [[Imperial Court]], ''kyôgen'' was also later patronized by figures such as [[Toyotomi Hideyoshi]], and by the [[Tokugawa shogunate]]. During the [[Tokugawa period]], the [[Okura school|Ôkura]] and [[Sagi kyogen|Sagi]] schools of ''kyôgen'' were formally recognized by the shogunate, while the [[Izumi school]] enjoyed patronage from significant groups outside of the shogunate. In the [[Meiji period]], however, the final ''[[iemoto]]'' (head) of the Sagi school, [[Sagi Gennojo|Sagi Gennojô]], is said to have failed to properly arrange for his succession, and the Ôkura and Izumi schools remain as the only two officially recognized professional schools of ''kyôgen'' active today. The Sagi school tradition continues, however, among non-recognized performers (i.e. outside of the ''iemoto'' system) based chiefly in [[Yamaguchi City]] and [[Sado-ga-shima]]. Other schools of ''kyôgen'' include the [[Nanto Negi]] school, active chiefly only in the 16th-17th centuries, who were criticized by figures such as [[Okura Toraaki|Ôkura Toraaki]] as "degraded" and "wrong-headed" for their excessively comic, even lewd, approach.<ref>Andrew Tsubaki, "The Performing Arts of Sixteenth-Century Japan: A Prelude to Kabuki," ''Educational Theatre Journal'' 29:3 (1977), 303.</ref>
{{stub}}
==References==
<references/>
[[Category:Muromachi Period]]
[[Category:Poetry and Theater]]
