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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:20180919T183000
DTEND;TZID=America/Toronto:20180919T200000
DTSTAMP:20180824T213337Z
CREATED:20180809T231942Z
LAST-MODIFIED:20180824T213337Z
UID:34056-1537381800-1537387200@tr.jpf.go.jp
SUMMARY:SPIRIT OF JAPAN: SHINTO & GAGAKU
DESCRIPTION:SPIRIT OF JAPAN: SHINTO & GAGAKU\nJapanese Traditional Religion and Music\n(Introduction of Shinto and Gagaku performance) \nYou may think Japan is the country of Buddhism. In fact\, there are various Buddhist temples in Kyoto\, Nara and everywhere in Japan\, and the concept of “Zen” is also familiar. On the other hand\, quite many Japanese enjoy Christmas and Halloween\, and visit Shinto shrines from time to time. \nShinto is Japanese indigenous religion\, which does not have a founder\, dogmas and a holy scripture. However\, it has been kept as a part of Japanese life (custom) for more than a few thousand years\, and for example\, millions of people visit Meiji Jingu Shinto shrine in Tokyo for the New Year’s first shrine visit to make prayers. \n \nShinto priests of this Meiji Jingu will come to The Japan Foundation\, Toronto this September\, and have an introductory talk about Shinto\, the concept of the relation with nature as you can see the forest (picture) surrounding Meiji Jingu\, and the connection with the life of Japanese people. \nGagaku –traditional music- has an important role at Shinto ritual ceremonies. Slow and mellow music will lead you to feel Japanese culture rooted into the ancient times of the country. In this event\, some music will be performed by three musical instruments (Sho\, Hichiriki\, Ryuteki). Furthermore\, performers (Shinto priests) will give you instructions if you want to challenge/try to play it! \n  \n【日本語】 \n日本は仏教の国というイメージをお持ちの方も多いのではないかと思います。京都や奈良、日本全国には様々な寺院があり、禅という概念にも親しみがあります。一方で、クリスマスやハロウィンを楽しみ、正月には神社に参拝をします。 \n神道は日本古来の信仰で、創始者や教義・経典を持っていません。しかし、今日もなお日本人の生活の一部として残っており、例えば、東京にある明治神宮は正月の一週間で数百万人の参拝者で賑わいます。この明治神宮からやってきた神職が、神道について、そして広大な森に象徴される神道と自然との関わり、生活との関わりについて解説します。 \n  \n神道のお祭りには雅楽が欠かせません。ゆったりとした曲調は、遥か遠い昔に根付いている日本の文化を感じさせてくれます。このイベントの中では、三管（笙・篳篥・笛）という小編成で、数曲演奏される予定です。また、参加者の中から希望者には、この雅楽器に挑戦してもらう時間も設けられます。 \n  \nBio: \nMember: Moriyasu Ito\, Atsuki Katayama\, Takanaga Tsutsumi \nMoriyasu Ito graduated from Kyoto University and earned Bachelor of Law. He entered in the Ministry of Foreign Affairs in 1993 and studied at Trent University in Canada as a trainee\, and was posted to Karachi in Pakistan as a cultural attache and vice consul for three years. Back to Tokyo in 1999\, he left the ministry in 2003 and entered Meiji Jingu and became a Shinto priest after studying at Kokugakuin University. He is a Chief of the International relation division at Meiji Jingu Intercultural Research Institute. He plays the Sho (Japanese wind instrument assembling panpipes). \nAtsuki Katayama graduated from Kokugakuin University in 2003\, and entered Meiji Jingu in the same year. His father is serving at Hitomaro Jinja (Shinto shrine)\, dedicated to the spirit of a poetry Kakinomoto-no Hitomaro (A.D. 660-724)\, in Yamaguchi prefecture.  He became a Shinto priest in 2008 after serving as a trainee for 5 years at Meiji Jingu. Currently he belongs to the Ritual division. He plays Ryuteki (dragon flute). \nTakanaga Tsutsumi lives in the life close to Shinto\, since his mother was born in the family serving at Kumano-hongu Taisha (Shinto shrine) in Wakayama prefecture. After he studied low at Tokai University\, he decided to be a Shinto priest\, and entered Kokugakuin University to take one year intensive course for the qualification to be a priest. He has been serving at Meiji Jingu for three years as a trainee\, now. He plays the Hichiriki (small double-reed instrument).
URL:https://tr.jpf.go.jp/event/shinto-gagaku/
LOCATION:The Japan Foundation\, Toronto\, 2 Bloor St. East\, 3rd Floor\, Toronto\, ON\, M4W 1A8\, Canada
CATEGORIES:Performance
ORGANIZER;CN="The Japan Foundation%2C Toronto":MAILTO:info_jftoronto@jpf.go.jp
GEO:43.6710659;-79.3857432
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