Gallery contributed by Megan Nicely, participant in the TN Costume Workshop,
Kyoto & Fukuyama Japan, June 12-18, 2013.
Images ©2013 Megan Nicely. Used by permission.
2013 TN Costume Workshop participants. ©2013 Megan Nicely.
Hand dyed silk thread @Sasaki Nō Isshō. ©2013 Megan Nicely.
Fabric detail. ©2013 Megan Nicely.
Fabric detail. ©2013 Megan Nicely
Fabric detail. ©2013 Megan Nicely.
Jacquard loom @Sasaki Nō Isshō. ©2013 Megan Nicely.
Machine for spinning silk thread onto smaller spools @Sasaki Nō Isshō. ©2013 Megan Nicely.
Detail of Jacquard loom @Sasaki Nō Isshō. ©2013 Megan Nicely.
Gold thread for weaving @Sasaki Nō Isshō. ©2013 Megan Nicely.
Detail of gold leaf (surihaku). ©2013 Megan Nicely.
Jacquard loom @Sasaki Nō Isshō. ©2013 Megan Nicely.
Gold leaf. ©2013 Megan Nicely.
Sewing a kimono together. ©2013 Megan Nicely.
Kimono detail. ©2013 Megan Nicely.
Silk cocoons. ©2013 Megan Nicely.
Materials for dye from the dye shop. ©2013 Megan Nicely.
Oshima Teruhisa & Oshima Kinue affixing the wig to Terada Ryoji. ©2013 Megan Nicely.
Masks @Oshima Nohgakudo. ©2013 Megan Nicely.
Masks @Oshima Nohgakudo. ©2013 Megan Nicely.
Masks @Oshima Nohgakudo. ©2013 Megan Nicely.
Masks on the sewing table @Oshima Nohgakudo. ©2013 Megan Nicely.
Matcha and rice sweet. ©2013 Megan Nicely.
Fabric detail. ©2013 Megan Nicely.
Fabric detail. ©2013 Megan Nicely.
Fritz Faust folding silk. ©2013 Megan Nicely.
Megan Nicely, Jubilith Moore & Fritz Faust @Oshima Nohgakudo. ©2013 Megan Nicely.
Oshima Teruhisa & Fritz Faust observing as Morit Gaifman dresses Megan Nicely @Oshima Nohgakudo. ©2013 Megan Nicely.
Buddhist food. ©2013 Megan Nicely.
Jubilith Moore, Mr. & Mrs. Oshima & John Oglevee @Oshima Nohgakudo. ©2013 Megan Nicely.
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About Theatre Nohgaku
Noh, one of the oldest continuing stage arts, combines highly stylized dance, chant, music, mask and costume with intense inner concentration and physical discipline, creating a uniquely powerful theatrical experience.
Theatre Nohgaku’s mission is to share noh’s beauty and power with English speaking audiences and performers. We have found that this traditional form retains its dramatic effectiveness in languages other than Japanese. We believe noh techniques hold a powerful means of expression in the context of contemporary English language theatre.