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DTSTART;VALUE=DATE:20180719
DTEND;VALUE=DATE:20181006
DTSTAMP:20191223T221547Z
CREATED:20180705T195302Z
LAST-MODIFIED:20191223T221547Z
UID:33656-1531958400-1538783999@tr.jpf.go.jp
SUMMARY:Masks Onstage: Noh Theatre Photography Exhibition
DESCRIPTION:  \nMasks Onstage: \nNoh Theatre Photography Exhibition\nPresented by The Japan Foundation\, Toronto \nIn association with the Yokohama Noh Theatre \nPhotography Yoshiaki Kanda \n能面舞台写真展\n主催: 国際交流基金トロント日本文化センター\n協力: 横浜能楽堂\n写真撮影: 神田佳明\nMasks are one of the most characteristic elements of Noh Theatre. Designated as Intangible Cultural Heritage by UNESCO\, commonly called World Heritage\, in 2001\, Noh Theatre has been developing and maintaining an elaborate theatre form since its establishment in the 14th century. The unique use of masks in Noh results not only in physical changes in the facial appearance of the actor\, but also an actual change in the reality of the whole fiction\, which can be much larger than life and profoundly spiritual. \n \nIn far more than half of the Noh plays the main characters are ghosts. Gods and goddesses are conjured on stage not as deus ex machina\, but as the main characters. Spirits of plants and animals can be the leads. A large portion of the stories is based on the great classic literature\, such as The Tale of Genji and The Tale of Ise\, and epic legends of warlord samurai. The Noh masks connect us to the mythical world and we can embrace the reality of the magic and grandeur of these god-like characters. \nThe masks are surprisingly small\, not completely covering the actors’ faces. The masks are placed high on the actor’s face\, towards the forehead\, like a symbol of the character. The performer’s view through the eyeholes is so limited that actors can only mark their own positions by viewing the four pillars at the corners of the stage. These facts can make the Noh masks seem dysfunctional\, but these are all a result of the mask’s function being to build a myth for whole theatre rather than only assisting the wearer to be in character. \nAt a first quick look\, the masks seem motionless: However\, on stage subtle changes in the angle of the mask can suggest a range of emotions\, such as anger\, joy\, and sadness. In this exhibition\, the stage photo and the close-up of the mask are paired. Photographer Yoshiaki Kanda (1937–) specializes in Noh Theatre and has been following performances at the Yokohama Noh Theatre since its inaugural opening in 1996. \nWe invite you to the universe of Noh Theatre through the images of masks in action and in details. \n  \nShow GALLERY HOURS \nMon 11:30 am – 6:30 pm EXTENDED HOURS \nTues 11:30 am – 4:30 pm \nWed 11:30 am – 4:30 pm \nThurs 11:30 am – 6:30 pm EXTENDED HOURS \nFri 11:30 am – 4:30 pm \n  \nSaturday openings: \n11:00 am – 4:00 pm \nJuly 21\, August 11\, 25\, September 8\, 22 \nClosed: Other Saturdays and Sundays \nAugust 6 (Civic Holiday)\, September 3 (Labour Day) \n \n  \nADMISSION: FREE \n  \nShow The Japan Foundation\, Toronto \n2 Bloor Street East \nHudson’s Bay Centre\, 3rd floor \nAbove Royal Bank of Canada \nwww.jftor.org 416.966.1600 x229
URL:https://tr.jpf.go.jp/event/noh-masks-onstage/
LOCATION:The Japan Foundation\, Toronto\, 2 Bloor St. East\, 3rd Floor\, Toronto\, ON\, M4W 1A8\, Canada
CATEGORIES:Exhibition
ORGANIZER;CN="The Japan Foundation%2C Toronto":MAILTO:info_jftoronto@jpf.go.jp
GEO:43.6710659;-79.3857432
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DTSTART;TZID=America/Toronto:20180913T183000
DTEND;TZID=America/Toronto:20180913T200000
DTSTAMP:20180730T163151Z
CREATED:20180730T163124Z
LAST-MODIFIED:20180730T163151Z
UID:33837-1536863400-1536868800@tr.jpf.go.jp
SUMMARY:Harmony Between Morality and Business: The Philosophy of Shibusawa Eiichi
DESCRIPTION:Shibusawa Eiichi (1840-1931) is regarded as the father of Japanese capitalism. He founded nearly 500 enterprises and economic organizations\, most of which operate to this day. Equally dedicated to social and public welfare\, he launched 600 philanthropic programs in many areas\, including social welfare\, education\, and international exchange. His basic philosophy in the management of businesses was the harmony between morality and business. In recent years his thought has drawn increasing international attention for its ethical vision of capitalism as an alternative to the untrammeled profit-seeking and capital accumulation characteristic of contemporary market economies. His most famous work\, The Analects and the Abacus\, has been translated into Chinese nine times. This lecture will offer an overview of Shibusawa Eiichi’s thought\, its roots in Confucian ethics\, and its implications for 21st-century economic systems. \n\nAtsushi Moriya is a writer and a researcher. He is an expert in ancient Chinese thought and the thought of Shibusawa Eiichi\, and has translated Shibusawa Eiichi’s books into modern Japanese. His translation of Shibusawa’s The Analects and the Abacus has sold over 130\,000 copies. \nCo-Sponsored by:
URL:https://tr.jpf.go.jp/event/atsushi-moriya/
LOCATION:The Japan Foundation\, Toronto\, 2 Bloor St. East\, 3rd Floor\, Toronto\, ON\, M4W 1A8\, Canada
CATEGORIES:Lecture
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