Tag Archives: greg giovanni

Dancing the Crone

Contributed by Greg Giovanni [Editor’s note: Greg Giovanni is a poet/playwright/performance artist working in Philadelphia, PA. Theatre Nohgaku company member, Greg is the author of the English-language noh Pine Barrens. Greg contributes his thoughts about the shimai he danced this … Continue reading

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Writer’s Workshop 2013

THEATRE NOHGAKU 2013 WRITER’S WORKSHOP July 12 – 14, 2013. Hosted at the 92nd St Y, New York, NY Since 2003, Theatre Nohgaku has hosted workshops for poets, playwrights, musicians and performers to help them better understand Japanese noh and … Continue reading

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Pagoda kuse video

(Editor’s note: below video is the kuse section from Jannette Cheong’s english-language noh Pagoda. This video was shot during the 2011 Asia Tour at the National Noh Theatre, Tokyo.) Contributed by Tom O’Connor (Pagoda ji-utai member) The dance, the music, … Continue reading

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Pine Barrens (Pt. III)

(Editor’s note: the below is the Machi-utai through Kiri section of Greg Giovanni’s “Pine Barrens.” This follows after the ai-kyogen interlude (in this case a comic retelling of the story by three mosquitoes.) The child has returned in his true … Continue reading

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Pine Barrens (Pt. II)

(Editor’s note: the below passage is the Kuri/Sashi/Kuse section of Greg Giovanni’s “Pine Barrens.” By this point in the story the Wiccans (Waki & Wakitsure) have traveled into the New Jersey pine barrens in search of their lost companion and … Continue reading

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Pine Barrens (Pt. I)

(Editor’s note: below is the opening passage of “Pine Barrens,” an English-language shinsaku noh by playwright Greg Giovanni. The play premiered in September, 2006 at the University of North Carolina School of the Arts. The play has a formal structure, … Continue reading

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Baptism of Fire

Contributed by Laura Sampson 2012 is my first year at the Noh Training Project, so technically I am a ‘new student’. But with a scant 10 months of Noh training before this with Rick Emmert in the UK and in … Continue reading

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Ai-kyogen

Contributed by Greg Giovanni Imagine a play with six or seven very complicated disciplines, people switching roles from actor to flute to chorus, two full independent casts, and all delivered in a foreign medieval language.  Now imagine having three weeks … Continue reading

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