Does Japanese theater need Japanese subtitles?

Kabuki and Bunraku performance



Does Japanese theater need Japanese subtitles ?
Satoshi Tanaka and Mitsue Maeda / Yomiuri Shimbun Staff Writers
http://www.yomiuri.co.jp/dy/features/arts/20060708TDY17002.htm

A common problem for those new to Japanese traditional performing arts is that--even for native Japanese speakers--it is hard to understand the story and old-fashioned language used in noh recitation or gidayu, a form of narrative chanting that accompanies bunraku performances. With a view to solving this problem, there has been a marked increase in productions using Japanese subtitles at the National Theatre in Tokyo and National Bunraku Theatre in Osaka. The National Noh Theatre in Tokyo also plans to make greater use of subtitles on screens it will introduce in autumn.The new computer-controlled system to be introduced at the National Noh Theatre in Tokyo, where prior improvements to seats and other theater facilities are scheduled for completion in August and September, will allow Japanese subtitles to be displayed on flat-panel screens installed in seat backs.
"We will provide Japanese and English subtitles for the time being, although the system will allow us to use four channels in total," said an official at the noh theater. Noh recitation will be displayed as it is in Japanese, while the plot of the play and a briefing on scenes will be provided in English along with a translation of the recitation.The system will be tested in September and October before being officially introduced in November. The theater will decide how to use the other two channels after gauging audience response to the system.
Japan Arts Council, the operator of the three theaters, used the subtitling system for the first time five years ago. It was provided for a program held at the National Theatre to teach people how to enjoy kabuki using a performance of Futatsu Chocho Kuruwa Nikki, Hikimado. The subtitles were shown on an electronic display system beside the stage. "We had been talking about whether to introduce the system ever since we heard from some of the students for whom the program is designed that they cannot understand what is being said," said Koji Orita, the director of the National Theatre's performing arts section. "We also had to take into account the possibility that the system might interfere with the enjoyment of performances if the subtitles proved too distracting."

However, the theater received a positive response to the system after its initial trial five years ago. Since then, it has used the system for similar teaching programs whenever gidayu-kyogen, kabuki plays based on bunraku puppet theater, is involved.
The National Bunraku Theatre said it also was planning more use of the system after subtitles went down well when they were used four years ago in a program to teach primary, middle and high school students the joy of bunraku. The theater hopes the service will help overcome the image of traditional performing arts as hard to understand.
As far as bunraku is concerned, the use of Japanese subtitles started in January last year both at Tokyo and Osaka performances.
According to a survey conducted after the launch, more than 80 percent of respondents welcomed the introduction of subtitles, saying that it helped them understand the bunraku program. The percentage far exceeded those who said they were distracted by the subtitles and thus had difficulty in concentrating on the program.Some bunraku performers at first questioned why Japanese subtitles were necessary since most audience members are Japanese.

"But they don't voice such objections any more. Some even say the subtitles are useful in learning kanji. Now I think there is no doubt that it was a good idea to introduce the system," said Takemoto Sumitayu, a bunraku narrator and a living national treasure.
Kanze Kiyokazu, the head of the Kanze school of noh, says it's better to have subtitles since it does no harm to the performance, but still helps people who would otherwise have a hard time understanding what was going on.
"Using Japanese subtitles for performances of kumiodori [a form of musical dance drama developed in Okinawa Prefecture] has been getting a good response at National Theatre Okinawa, which opened two years ago [in Urasoe, Okinawa Prefecture]," Orita said. "An increasing number of opera houses are introducing the system in Europe, for example. We want to think about what kind of system we will introduce at the National Theatre.
"We also want to study the extent to which the system should be introduced. Whether it should be used for kabuki or classical Japanese dance is something we have to look into."

(Jul. 8, 2006)