Shumpei Shigeta
THEA-1343-002 Introduction to Theatre
4/20/2025
Extra credit opportunity: Play or Musical Proposal
Title, Playwright: "The House of Sugawara” (While jōruri plays often have multiple
playwrights collaborating, the most famous and frequently performed version is attributed to a
collective of writers including Takeda Izumo I, Miyoshi Shoraku, Namiki Senryu, and Takeda
Koizumo, who wrote for the Takemoto-za puppet theatre.)
• A brief synopsis of my own creation: "The House of Sugawara" is a complex and emotionally
resonant historical drama set in 9th-century Japan. At its core is the tragic story of Sugawara no
Michizane, a brilliant scholar and loyal minister. The play has five acts, each focusing on
different aspects of this central conflict and consequences. We see the devotion of Michizane's
loyal retainers who face difficult choices and make sacrifices to protect his family and honor his
name. The play explores themes of loyalty, justice, the power of hate, and the huge impact of
injustice across generations. It blends historical events, but it is not necessary to know the
historical background to enjoy this play.
• When and where was it first produced? Has it had any significant runs at top regional or
major market theatres? "The House of Sugawara" premiered in 1746 at the Takemoto-za
puppet theatre in Osaka, which was one of the major centers of jōruri performance during the
Edo period(1600-1868, when samurai started to become guards, messengers, or clerks). It has
had fewer "significant runs" in major market theatres in the Western, however, it has been
presented by specialized theatre groups and at international festivals that focus on traditional
performing arts. Performances by Japanese bunraku and kabuki group are often staged at
prestigious international venues and festivals, introducing this classic work to global audiences.
There have been English translations and some adaptations by Western theatre companies
interested in exploring non-Western dramatic traditions. While not as frequent as productions of
Western plays, I think it is a good opportunity for students to learn and feel international theatre
plays. It's important to understand that the performance tradition of jōruri and kabuki is different
from the Western model of long runs in commercial theaters. In Japan, these plays are part of a
living, constantly evolving tradition with regular performances by established companies.
• What unit in the first half of our class do you think it works with and why? I believe "The
House of Sugawara" could effectively fit a unit on Dramatic Genres and The Role of the
Audience in different theatrical traditions.
Dramatic Genres: Introducing jōruri allows us to explore a dramatic form distinct from Western
tragedy and comedy. Everybody knows the name of Shakespeare and there is a high chance of
some students having already known his plays, which makes it a little bit unfair for students who
haven’t known the plays. It causes the difference in understanding in the classroom. By using
this Japanese traditional play, we can create the environment which nobody knows about the
play, and it allows us to know the quality of lectures by using quizzes. We can also examine its
unique characteristics. Comparing and contrasting jōruri with Western dramatic forms will help
students to understand the diverse ways stories can be told on stage. Kabuki adaptations of plays
like "The House of Sugawara" can further illustrate how dramatic material can be adapted. The
Blueprint of a Play: Analyzing the structure of "The House of Sugawara," with its multiple acts
and subplots can provide a fascinating comparison to the typical Western three or five-act
structure. We can discuss how the pacing, the introduction and development of characters, and
the building of dramatic tension function within this specific theatrical tradition. The concept of
michiyuki offers a unique element to consider in the play's blueprint.
The Role of the Audience: The audience's relationship with jōruri and kabuki is also distinct. In
jōruri, the chanter and the shamisen player are visible on stage, creating a different dynamic
between performers and audience than in many Western realistic dramas. Kabuki performances
often involve audience participation through vocalizations and appreciation. Exploring these
aspects can lead to a discussion about how cultural context shapes audience expectations and
engagement with theatrical performance.
• What is it about this play that you love? Is there anything about it that is problematic?
The play is about history, legend, and dramatic invention to create a powerful and moving
narrative about loyalty, and injustice. It shows Japanese history, and beautiful culture that can be
incredibly enriching for students. The way they perform is different than western theatre,
however at the same time, it reminds us that things don’t have to be one way. Regarding potential
problematic elements, one might consider the potential for cultural misunderstandings. Some of
the social hierarchies and values presented in the play might seem unfamiliar or even
problematic from a Western perspective. The unquestioning loyalty demanded of retainers and
the very strict social structures of the time require careful approach. However, by focusing on
specific acts or key scenes in English translation, these challenges can be addressed in a
classroom setting. I believe that this play can lead to insightful discussions about cultural
differences and historical perspectives while we can still focus on theatrical aspects.
Thank you for considering this proposal. I believe exploring "The House of Sugawara" would
offer a unique and enriching experience for the Introduction to Theatre.
Bibliography:
•
Keene, Donald. Bunraku: The Art of the Japanese Puppet Theatre. Kodansha
International, 1973.
•
Keene, Donald (trans.). Four Plays of the Early Japanese Theatre. Columbia University
Press, 1961
•
Brandon, James R. Kabuki: Five Classic Plays. Harvard University Press, 1975.