Conclusion

"At the Hawks Well.[is] suited not only to the Noh dramatic technique but, more particularly, to a symbolic rather than a realistic treatment of human situations and human passions". Yeats & the Noh, A. Qamber - page 70

Is a complete fusion possible, or do we end up with a new theatrical expression, where we can see influences of other theatrical types (e.g. Noh), but where in reality a new theatrical form has evolved?

It is difficult to make comment on the validity of Yeats' use of Noh because we have seen much evidence to suggest that Yeats never tried to copy Noh, but just intended to use it to aid his theatrical vision. Therefore to state that Yeats' model is incorrect is not possible. However, we can draw a comparison with Rick's piece and state that this piece is more true to the traditional structures of a Noh play. However, we also have to bear in mind that Rick has been studying Noh for 30 years and the accessibility of a wide variety of art and theatre forms are easily accessible, in comparison with the small insight that Yeats could work with in 1917. It is not appropriate, therefore, to suggest that one production is correct or incorrect. They are both models of Noh influence to varying degrees. The purpose therefore of this project has been to see to what elements of a production form any cultural sphere can be changed and structured to read more like the traditional Noh plays from Japan. I have demonstrated here that while Rick has followed many of the procedures and practices involved with such a tradition, he still cannot call this a Noh play. The very fact that it is sung and chanted in English, performed by non-Japanese actors and musicians, and involves women playing more parts than men ensures that it can never enter into the repertoire of the Noh world. However the fusion of theatrical forms was the intention and this, we have seen demonstrated by the work of not just Richard Emmert but also other practitioners, both Japanese and non-Japanese. This allows theatre to combine cultures and ideas and as a consequence produce an informed theatre that allows elements of Noh into its performance.

One of the most interesting aspects of this research has been enhanced by the idea that Yeats was influenced on a small scale by the ideas he had heard about Noh. Then Richard Emmert and other Noh scholars have turned to this play 70 years later and observed its Noh-like qualities and then expanded on these to transform the minor influences of Noh into a more encompassing Noh-like production.

Without changing the actual words, Emmert has manipulated the text and by doing so has highlighted the theatrical aspects, which form a Noh performance and applied them to Yeats' play. Thus creating a fusion of cultures, ideas and theatrical genres in order to produce a Noh-influenced production.

It was interesting to observe both the 1973 production by the Yeats Theatre Company, and Ricahrd Emmert's 1984 Tokyo production. By applying the Noh traditions onto a western play changes its appearance so radically, that it is difficult to believe that this the same play. Noh has rules, and it is these rules on performance that set it apart from other theatrical forms. Regardless of the content of the play the appearance of the play will always be evident and almost precede the content in its importance. The stage itself, the musicians and their instruments, the chorus, the stylised movement and the costumes set an atmosphere that I have not yet encountered in any other theatrical form.

It is important to note that Richard Emmert has not intended to create a Noh play, but has taken an extensive amount of Noh characteristics and used them to produce a Noh-like adaptation. By producing such an adaptation in English has allowed both those in Japan who were not born into a Noh family to experience Noh theatre and at the same time has allowed non-Japanese to become involved in an appropriation of Noh theatre. It will always remain an adaptation due to the fact that this work is produced in English, but at the same time has made it possible for a wider sphere of people to become involved.

Noh in English is now defining it's own place both within western and Japanese theatre.

By drawing on the various sources included in this research I have been able to produce an original documentation of Yeats' play in its various stages of adaptation. By closely examining the qualities that are intrinsic to a Noh play I have been able to draw comparisons to the work that has been created by Richard Emmert and the NOHO theatre company. My own experience of training in Noh chant and movement has developed a general understanding of the broad scope involved in this theatrical form. This project has highlighted many aspects of Noh that I did not encounter in my own limited training and has therefore inspired me to continue with my study into this theatrical form. Using Noh in English to produce work that carries such an intense historical background to its performance presents a somewhat overwhelming task to conquer, but its gradual recognition into western theatre gives a privileged point to work from. Noh theatre can be used in its essence without the pressure of historical accuracy, allowing practitioners and actors to select various aspects of Noh theatre and combine them with there own theatrical productions. Which is after all what Yeats attempted to do some 90 years ago.