The Sea and Kyogen—The Art and Life of Mansaku Nomura

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On this day, I went to Zushi and Hayama to see a play performed by a local theater group that a friend of mine was in, and since I was there, I decided to take the opportunity to fully enjoy the town for the first time in a while.
I took a Keikyu bus from in front of the station in the morning, got off at Morito Beach, and gazed at the sea for a while.
The sky was blue, and where it met the sea, blue mixed with white; straight ahead, Mount Fuji was hazy due to aerial perspective, and the sea was blue as well.
The crests of the waves rolling in and out were white, eventually turning gray, and white foam scattered across the water's surface.
In the distance, I could see the sails of yachts.
Far off to the left, a small vermilion torii gate was visible.

Low in the sky, seagulls flew by, flapping their wings up and down.
The seagulls were white, though the undersides of their wings were gray.
Horse mackerel and filefish were likely swimming offshore, though of course, they were invisible.
On the right side of the bay, hills covered in lush greenery stretched out, dotted with small apartment complexes.
An old man walking his dog strolled along the water's edge.
A young woman jogged past.
I sat on the sand, watching the sea.
Eventually, I stood up, brushed the sand off the seat of my chinos, and walked aimlessly through the town.
On a whim, I peeked into Cinema Amigo, a cafe and mini-theater, and it happened to be 15 minutes before a screening of the documentary film about Kyogen performer Mansaku Nomura, "Six Faces," so I decided to watch it.
After watching the film "National Treasure," I learned about the intensity and fascination of the world of Kabuki.
If that was the case, wouldn't I want to take a peek into the world of Kyogen as well?

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This film focuses on 93-year-old Mansaku Nomura performing "Kawakami" for his commemorative performance, while he himself, along with Mansai and others, talks about his 93-year life and the depth of his artistic path.
"Kawakami" is a cruel story.

An old man who has lived as a blind man for ten years prays to Jizo, asking him to please let him see again.
Kannon promises to grant his wish.
However, there was one condition.
Your marriage is a bad fate.
If you part ways with your partner, you will be able to keep your sight.
But if you continue to live as a married couple, you will go blind again.
Well, the man's sight is restored, and the old man is overjoyed, but the problem is his partner.
After all, for the ten years since he went blind, the old man had lived with the help of his wife's efforts.
Naturally, a fierce conflict arises between the couple.
Now, what is the ending of the story?

I was struck by Mansaku's performance on this stage.
There was a magnificent form, and the dialogue had the "theatrical" intonation found in Kabuki, and the acting had pauses and timing that created the authenticity of the drama.

The cinematography naturally alternates between a soft-toned monochrome and color, and the color footage of the "Kawakami" stage is stunning.

The music was composed by Koji Ueno; it is understated yet uses unexpected sound combinations, and furthermore, he dares not to use music during the climax, creating tension through silence.
Even so, when the main feature ends and the names of the staff scroll against a black background, a percussion ensemble that seems to redefine contemporary music plays, and it had the perfection of a concert piece.