Monthly Archives: March 2011

A Fool was the king’s personal entertainer.  Although he probably displayed some skills we would now associate with clowning or physical comedy, the most important part of his job was the juggling of words.  A Fool could tease the king, … Continue reading →

The calamity that befalls Lear, his family, and his society is famously triggered by Cordelia’s inability or unwillingness, in Act 1, to set her love to words: “What shall Cordelia speak?  Love and be silent.”  (Ehn has “do,” not “speak”) … Continue reading →

Honkadori is a concept of Japanese poetics introduced in the 12th century, several hundred years before the development of Noh.  It describes a practice of including images or lines from classic poetry in a new poem, in such a way … Continue reading →

The old man can be docile, but often he rages—against his senescence and anyone or anything that reminds him of it.  Attempts to reason with him are risky: they put him in mind of the distance between what he is … Continue reading →

If Noh drama is a remarkable aesthetic experience, it is also a ritual for the refinement of empathy.  In the context of this ritual, your role as an audience member is one of attention.  That is, although it is best … Continue reading →

(Photo:  Jubilith Moore in Rehearsal, January 2011) San Francisco audiences will experience the world premiere of Cordelia, but we already know that, in November 2012, this production will be part of a larger project called Soulographie, a theatrical event and … Continue reading →