This year’s Festival brings together over 1,300 international and local artists in some 125 performances covering music, dance, theatre, Chinese and Western opera and much more. The Festival-opening performance, by Italy’s Orchestra of the Teatro Comunale di Bologna, conducted by Maestro Donato Renzetti, features classic Italian opera arias. Renowned Chinese conductor Lü Jia and the China National Centre for the Performing Arts Orchestra, together with international pianist Zhang Haochen and soprano Song Yuanming, bring the Festival to a close in grand style. Festival PLUS returns, presenting a wealth of artistaudience events, including masterclasses and workshops, backstage visits, guided cultural tours and more. Besides, the Festival’s “Young Friends” programme features school tours, pre-performance talks, arts demonstrations and other special events designed to engage local young people with a world of arts and culture.
The Government is determined to enhance the appeal of Hong Kong’s culture. To further solidify Hong Kong’s position as a vibrant East-meets-West centre for international cultural exchanges, the Government has launched the Blueprint for Arts and Culture and Creative Industries Development in November 2024, and has been actively working on the 71 measures under four key strategic directions as outlined in the Blueprint.
I am grateful to the Hong Kong Arts Festival and its dedicated team for their unremitting efforts in promoting arts and culture in Hong Kong, throughout the region and around the world. I am grateful, too, to the many sponsors and donors for their generous support for the Festival.
I wish this year’s Hong Kong Arts Festival another resplendent season of arts and culture, entertainment and memorable community engagement.
John KC LEE Chief Executive Hong Kong Special Administrative Region
A warm welcome to the 53rd Hong Kong Arts Festival. As a leading international performing arts event, the Festival is continuing its mission of enhancing Hong Kong’s cultural landscape by showcasing over 1,300 exceptional international and local artists in more than 125 performances of over 45 unique programmes, as well as organising about 300 PLUS and educational activities for the community.
I would like to thank the HKSAR Government, acting through the Leisure and Cultural Services Department, for its annual subvention and matching grant which are not only essential to our operations, but also an important recognition of the work we do. I also want to thank The Hong Kong Jockey Club Charities Trust for its unwavering support during the past 53 years, as well as other corporate sponsors, charitable foundations and donors, whose contributions have enabled us to reach out to different sectors of the community and positively impact society through the performing arts.
My deepest gratitude goes to all participating artists for their dedication and exceptional performances. I also thank all HKAF staff, who worked extremely hard to bring this Festival to life.
Most importantly, I extend my heartfelt appreciation to all audience members for your participation and support. May you find joy and inspiration in our programmes and events.
The Hong Kong Arts Festival is made possible with the funding support of:
Promoting international cultural exchange has always been a key objective of the Hong Kong Arts Festival. This year’s Festival continues to invite renowned global masters and internationally recognised young pioneers to present a range of world-class programmes, respecting tradition while encouraging new, innovative initiatives. Many of these works are inspired by classic literature or offer rediscoveries of the original, bringing vibrant artistic experiences to the city.
We will also present a series of programmes centred around “fantasy and adventure”. These include works that seamlessly blend the arts with VR and AR technology, as well as captivating new creations that draw on traditional puppetry and circus performances. The Festival will also continue to support local artists and encourage exchanges to foster a vibrant and diversified platform for the arts.
We also remain dedicated to advancing arts education and audience building. Our PLUS programmes will present a series of thoughtfully curated masterclasses, backstage visits, post-performance artist talks and an exhibition. And our Young Friends and educational activities will continue to offer multi-dimensional arts experiences to students.
We hope that you will enjoy this year’s arts extravaganza prepared by the Hong Kong Arts Festival team.
Flora Yu Executive Director Hong Kong Arts Festival
香港藝術節
HONG KONG ARTS FESTIVAL
扎根香港的國際藝壇盛事 聯繫中國與世界
An International Arts Festival in Hong Kong Connecting China and the World
The HKAF, launched in 1973, is a major international arts festival committed to enriching the cultural life of the city by presenting leading local and international artists in all genres of the performing arts as well as a diverse range of “PLUS” and educational events in February and March each year.
The HKAF is a non-profit organisation. The total estimated income for FY2024/25 (including the 53rd Hong Kong Arts Festival and 2025 “No Limits”) is approximately HK$150 million. Current Government annual baseline funding accounts for around 12% of the Festival's total income. Around 23% of the Festival’s income needs to come from the box office, and around 45% from sponsorship and donations made by corporations, individuals and charitable foundations. The remaining 20% is expected to come from other revenue sources including the Government’s matching grant scheme, which matches income generated through private sector sponsorship and donations.
The HKAF has presented top international artists and ensembles across multiple genres, such as*:
• Western opera: Bayerische Staatsoper, Oper Leipzig, The Bolshoi Theatre, The Mariinsky Theatre
• Chinese opera: China National Peking Opera Company, Hebei Clapper Opera Troupe, Shanghai Kunqu Opera Troupe, Shanghai Zhang Jun Kunqu Art Center, Suzhou Kunqu Opera Company of Jiangsu, Zhejiang Xiaobaihua Yue Opera Troupe
• Classical music: Cecilia Bartoli, Riccardo Chailly, Seong-Jin Cho, Gustavo Dudamel, Philip Glass, Bruce Liu, Yo-Yo Ma, Denis Matsuev, Anna Netrebko, Gianandrea Noseda, Seiji Ozawa, Thomas Quasthoff, Gennady Rozhdestvensky, Tan Dun, Muhai Tang, Christian Thielemann, Bamberg Symphony, London Symphony Orchestra, NHK Symphony Orchestra, Royal Concertgebouw Orchestra, Rundfunkchor Berlin, Thomanerchor Leipzig, Vienna Philharmonic Orchestra
• Jazz and world music: Bobby McFerrin, Youssou N'Dour, Esperanza Spalding, Orquesta Buena Vista Social Club, Pink Martini
• Dance: Mikhail Baryshnikov, Sylvie Guillem, Akram Khan, Natalia Osipova, American Ballet Theatre, Cloud Gate Dance Theatre, The Hamburg Ballet–John Neumeier, New York City Ballet, Paris Opera Ballet, Tanztheater Wuppertal Pina Bausch, Teatro alla Scala Ballet Company
• Theatre: Peter Brook, Robert Lepage, Yukio Ninagawa, Robert Wilson, Berliner Ensemble, National Theatre of China, Royal Shakespeare Company
• Large-scale special events: World of WearableArt, Zingaro
• Outdoor events: Power Plant, Super Pool, Chorus
The HKAF actively collaborates with Hong Kong’s own creative talent and showcases emerging local artists. Over the years, the HKAF has commissioned and produced over 250 local productions across genres including Cantonese opera, theatre, chamber opera, music and contemporary dance, many with successful subsequent runs in Hong Kong and overseas. Recent HKAF productions include Miss Julie, Table for Six On Stage, Loveless Romance, We Are Gay, The Plague, Always by Your Side, Pavilion of a Hundred Flowers, A Floating Family—A Trilogy, Hong Kong Odyssey, Danz Up, Datong—The Chinese Utopia, The Amahs and Murder in San Jose, to name a few.
The HKAF frequently partners with renowned international artists and institutions to produce exceptional works, such as Der Fensterputzer (The Window Washer) co-produced by the HKAF, Goethe-Institut Hong Kong and Tanztheater Wuppertal Pina Bausch, Richard III
and The Tempest produced by The Old Vic, BAM and Neal Street under “The Bridge Project” with the HKAF as a co-commissioning institution, Green Snake co-commissioned with the Shanghai International Arts Festival, Dream of the Red Chamber co-produced with the San Francisco Opera, and Laila, a co-production of the HKAF and the Finnish National Opera and Ballet.
The HKAF invests heavily in arts education for young people. Over the past 32 years, our “Young Friends” scheme has reached around 836,000 local secondary and tertiary school students. A variety of arts education projects serving primary, secondary, and tertiary school students have been launched in recent years, featuring activities such as student showcases, pre-performance talks, open rehearsals, opportunities to attend Festival performances, as well as in-school workshops and lecture demonstrations led by international and local artists. Donations to the “Student Ticket Scheme” also make available approximately 10,000 half-price student tickets each year.
The HKAF organises a diverse range of “Festival PLUS” activities in community locations each year to enhance engagement between artists and audiences. These include films, lecture demonstrations, masterclasses, workshops, symposia, backstage visits, exhibitions, meet-the-artist sessions, and guided cultural tours.
The HKAF actively promotes inclusion via the arts to every corner of the community. The “No Limits” project, co-presented with The Hong Kong Jockey Club Charities Trust, was launched in 2019. Through a series of performances and diverse arts experiences for students and the community, “No Limits” strives to create an inclusive space for people with different abilities to share the joy of the arts together.
To provide greater financial security and long-term sustainability for the Festival, the Hong Kong Arts Festival Foundation was officially launched in 2022. Donations to the Foundation will be used towards enabling the Festival to present in the future largescale or special projects which its annual budget cannot cater for.
*有關香港藝術節的過往節目 Details of past HKAF programmes https://www.hk.artsfestival.org/en/about-us/past-programmes/past-programmes-2024.html
誠邀贊助或捐助香港藝術節；詳情請與藝術節發展部聯絡。
To find out more about sponsorship opportunities and donation details for the Hong Kong Arts Festival, please contact the HKAF Development Department.
香港藝術節協會2024/25年度預計收入來源（約港幣一億五千萬）
電郵 Email: dev@hkaf.org
直線 Direct Lines: (852) 2828 4911/12
網頁 Website: www.hk.artsfestival.org/en/support-us
Estimated Income Sources for the Hong Kong Arts Festival Society in FY2024/25 (About HK$150 million)
約Around 45%
贊助和捐款 Sponsorship & Donations
約Around 23%
票房收入 Box Office
約Around 12%
政府的年度 恆常撥款 Current Government annual baseline funding
約Around 20%
其他收入 (包括按捐款和贊助收入 可望獲得的政府配對資助) Other Revenues (including possible Government Matching Grant for Sponsorship and Donation Income)
能劇 + 狂言 寶生流與大藏流山本家 Noh theatre + Kyogen play—
School of Hosho and School of Okura-Yamamoto Ke
10.03.2025 / 7:30pm
香港大會堂音樂廳
Concert Hall, Hong Kong City Hall
演出長約 2 小時 50 分鐘，包括一節中場休息
Approximately two hours and 50 minutes including one interval 日語演出，附中、英文字幕
Performed in Japanese with Chinese and English surtitles
※ 演出期間敬請關掉手提電話及其他電子產品，以免發出聲響或產生光線，影 響表演者及其他觀眾。
Please switch off mobile phones and all electronic devices so they will not emit sound or light during the performance, disturbing the performers and other audience members.
※ 請勿擅自攝影、錄音或錄影。
Unauthorised photography or recording of any kind is strictly prohibited.
※ 演出期間請保持安靜。
Please keep noise to a minimum during the performance.
※ 本場刊採用環保紙張印刷。
This programme is printed on environmentally friendly paper.
※ 如不欲保留本場刊，請於完場後放回演出場地入口。
If you don't wish to keep this booklet, please return it to the admission point 所有作品內容均由創作團隊獨立製作，並不代表贊助機構之立場或意見。
The content of all works is independently produced by the creative team, and does not reflect the views or opinions of the Sponsor.
The content of this programme and the opinions featured in this publication are solely those of the artists/guest writers and do not represent the views or opinions of the Hong Kong Arts Festival (“HKAF”).
Ticket holders are strongly advised to arrive punctually. The HKAF reserves the right to refuse the (a) admission of latecomers (whether at the beginning of the performance or after the intermission) and (b) re-admission of audience members who leave the auditorium during the performance.
本會保留全權決定觀眾（包括遲到和中途離場的觀眾）入場和重新入場的可能 性及方式。
The HKAF also reserves the sole discretion to determine the possibility of admission and re-admission of audience members (which includes latecomers and audience members who have left the auditorium and are seeking readmission), as well as the manner in which they are admitted.
In any case, should the HKAF permit the admission of latecomers, such latecomers shall only be admitted at designated latecomer point(s). No refunds or changes will be offered if ticket holders are refused admission due to late arrival. In the event of any dispute, the HKAF reserves all rights to make the final decision.
能劇 + 狂言—寶生流與大藏流山本家
Noh theatre + Kyogen play—School of Hosho and School of Okura-Yamamoto Ke
企劃
陳德奇
嚴壽山
舞台構成
寶生和英
舞台監督
西菜菜重
製作
池田あや
杉山亞希子
協力
公益社團法人寶生會
《梁祝》（新編能劇）
Co-ordinators
Tan Tack Ki Yan Shao Shun
Scenography
Kazufusa Hosho
Stage Manager
Nanae Nishi
Production Aya Ikeda
Akiko Sugiyama
Co-operation Hosho Style Association
Noh: The Butterfly Lovers (new adaptation)
寶生和英
飾 梁山伯（仕手）
武田伊左
飾 祝英台（連）
和久莊太郎
飾 祝英台之父（連）
葛野りさ
飾 蘭花（連）
寶生知永、宗形龍之介
飾 蝴蝶精靈（子方）
後見（舞台助手）
石塚尚壽
地謠（合唱）
佐野玄宜
朝倉大輔
木谷哲也
岩上昂平
囃子方（樂師）
一噌幸弘（笛）
田邊恭資（小鼓）
柿原孝則（大鼓）
劇本
澤田瞳子
導演
Kazufusa Hosho as Liang Shanbo (shite)
Isa Takeda as Zhu Yingtai (tsure)
Sotaro Waku as Zhu Yingtai’s father (tsure)
Risa Kadono as Lanhua (tsure)
Tomoharu Hosho, Ryunosuke Munakata as Butterfly Spirits (kokata)
Kōken (stage assistant)
Naotoshi Ishizuka
Jiutai (chorus)
Genki Sano
Daisuke Asakura
Tetsuya Kidani
Kohei Iwakami
Hayashi-kata (musicians)
Yukihiro Isso (Japanese flute)
Kyosuke Tanabe (kotsuzumi)
Takanori Kakihara (ōtsuzumi)
Script
Toko Sawada
寶生和英 Director
Kazufusa Hosho
狂言《梟》
Kyogen: Owl
山本則重
飾 山伏（仕手）
山本則秀
飾 哥哥（挨答）
內田尚登
飾 弟弟（小挨答）
能劇《船弁慶》
Noh: Funabenkei
寶生和英
飾 靜御前 / 平知盛（仕手）
寶生知永
飾 源義經（子方）
野口能弘
飾 武藏坊弁慶（脇）
野口琢弘
飾 從者（脇連）
山本則秀
飾 船家（間）
後見（舞台助手）
佐野玄宜
葛野りさ
武田伊左
地謠（合唱）
和久莊太郎
朝倉大輔
木谷哲也
石塚尚壽
囃子方（樂師）
一噌幸弘（笛）
田邊恭資（小鼓）
柿原孝則（大鼓）
小寺真佐人（太鼓）
Norishige Yamamoto as Yamabushi (shite)
Norihide Yamamoto as Older Brother (ado)
Naoto Uchida as Younger Brother (koado)
中場休息 INTERVAL
Kazufusa Hosho as Shizuka/Taira no Tomomori (shite)
Noh is a form of masked theatre formalised by the Japanese master Zeami in the 14th century. Along with Kyogen and Shikisanba (also known as Okina), it belongs to the theatrical tradition of Nōgaku. It is the world’s oldest existing theatrical culture and has been recognised as a UNESCO Intangible Cultural Heritage. Noh emerged when cultures from the Middle East, China and Korea were introduced to Japan and combined with indigenous culture. With four distinct seasons and regular natural disasters, Japan has a strong sense of life and death. This has led to many performances focusing on the themes of the living and the dead. Additionally, the spirit of bushido (the way of the warrior) is also reflected in Noh, resulting in numerous plays centred on themes of life and death.
Noh plays originally consisted of five categories, and were usually performed within a single day. These categories are shin (god), nan (man), nyo (woman), kyō (madness) and ki (demon). They were performed in order according to the movement of the sun. The performance of Funabenkei , which is performed today, falls under the category of ki and features a protagonist who is a fearsome character that is the ghost of Taira no Tomomori. Ki performances are typically staged around dusk when the sun has set. They are characterised by dramatic performances that can be seen even in the dark.
In Noh theatre, actors wear masks made of cypress wood, known as nōmen . These masks greatly narrow the actor’s field of vision, enhancing their hearing and sensitivity, and allowing them to express delicate movements. They utilise the art of light and shadow, and use shadows to create facial expressions. In Noh, such masks are considered sacred and are treated with great care, as they are believed to house gods or spirits. Some old nōmen are still used today and is not uncommon to see masks that were made 700 years ago in Japan.
Unlike Western dance, dance in Noh theatre is characterised by a focus on circular movements. Performers are also described as “moving sculptures” due to their slow, graceful movements, creating an expressive quality similar to that of a work of art.
The music of Noh theatre is relaxing and has a calming effect instead of lifting up the spirits of the audience. This is thought to be due to Japan’s history of frequent disasters, which necessitated a need for maintaining calm even in times of crisis.
While Kyogen belongs to the theatrical tradition of Nōgaku, it is a classical comedy theatre art of Japan that is performed independently of the tragic Noh theatre. It also appears with Noh performances, serving as interludes. Kyogen is a dialogue-based art, but it also contains a substantial amount of singing and dancing. Masks are worn only by non-human or unattractive characters. The context of Kyogen plays explores everyday life situations, allowing audiences around the world to readily appreciate their slice-of-life humour. Today, the two schools or styles of Kyogen are Okura and Izumi.
以狂言為主題的木版畫，由月岡耕漁（1869-1927）繪製 A woodblock print of a Kyogen play by Kōgyo Tsukioka (1869-1927)
The Noh stage primarily consists of the main stage ( hon butai ) on the right side and a bridgeway called hashigakari . Noh actors typically enter the stage from the left side via the hashigakari , which is seen as a bridge connecting the otherworld and the world of the living. It is also used as a figurative setting for a long journey. Traditionally, the main stage is squareshaped and features a painted pine on the backboard ( kagami-ita ), as pine trees are believed to house deities and invite good fortune. In front of the kagami-ita is the space for musicians ( hayashi-kata ), called the hayashiza , which typically accommodates three to four people. On the right side of the stage is the seating area for the chorus ( jiutai ), which usually sits in two rows.
The shite-kata appear in the main role (shite) and supporting roles (including tsure and kokata). Additionally, they perform in the chorus known as jiutai and assist in the progress of the performance as kōken. Shite actors are trained in five major schools: Kanze, Konparu, Hosho, Kongo and Kita.
Waki-kata
Serve as supporting actors (waki and wakitsure). Neither waki nor wakitsure wear Noh masks and primarily portray human male characters.
Ai
Often played by a Kyogen actor, the ai actor narrates the background for a Noh play or adds zest to the story while actively involved in the progression of the story.
Similar to Noh, the main role in a Kyogen play is known as a shite, while ado is the actor who plays opposite the shite and moves the story forward through their conversation with the shite
Jiutai (chorus)
Apart from actors, Noh performers also include a chorus known as jiutai, who narrates the scene, scenery and mental state of the characters. Led by a leader called jigashira, they sometimes sing along with other performers such as shite and waki.
Hayashi-kata (musician)
There are four types of hayashi-kata: fue-kata (flute players), kotsuzumi-kata (shoulder drum players), ōtsuzumi-kata (hip drum players) and taiko-kata (stick drum players). They are collectively referred to as shibyoshi (four beats). They play a band-like role, performing in line with the dance and jiutai (chorus).
Shite
子
方
Kokata
《梁祝》（新編能劇）世界首演
Noh: The Butterfly Lovers (new adaptation) World premiere
主要角色 Main Characters
梁山伯（仕手）
和祝英台一同求學的青年，以為英台是男子 並與之結為兄弟。
祝英台（連）
為追求學問而女扮男裝出外遊學，但後來因 父親召回，不得不回到家鄉。
蘭花（連）
祝英台的妹妹，受父親之託給姊姊送信。
祝英台之父（連）
雖然允許祝英台出外求學，但見英台久未歸 家，遂將她召回。
蝴蝶精靈（子方*）
* 兒童演員 Child actor
Liang Shanbo (shite)
Zhu Yingtai’s schoolmate who becomes sworn brothers with Yingtai without knowing her real gender.
Zhu Yingtai (tsure)
A young woman who disguises herself as a man in order to enrol as a student, but is forced to return home by her father.
Lanhua (tsure)
Zhu Yingtai’s younger sister who delivers their father’s letter.
Zhu Yingtai’s father (tsure)
He initially allows Zhu Yingtai to study, but later sends for her to return home.
Born in 1977 in Kyoto prefecture, Toko Sawada graduated from the Faculty of Letters at Doshisha University with a major in Cultural History. She completed her Master’s degree at the same university. In 2011, she won the 17th Nakayama Gishu Literary Prize for her debut work, The Sky of the Lone Falcon . In 2013, she received the Bookstore-Selected Historical Novel Award for Like the Full Moon: The Buddhist Sculptor Jocho , along with the 32nd Nitta Jiro Literary Prize. In 2016, she was awarded the 9th Shinran Prize for Jakuchu , and in 2020, she won the 14th Funahashi Seiichi Literary Prize for The Temple of the Rushing In . In 2021, she received the 165th Naoki Prize for Even After the Stars Fall .
Her notable works include Two Wives , Support in December, Suicide in Fire, Fallen Petals, The Bird That Falls in Love, The Flowing Moon, Blooming Again, Crimson Night and The Lonely Castle in Spring . She has also published collections of essays such as Living Gracefully in Kyoto and If Tenjin-san is Clear
This is a Noh theatre adaptation of the story The Butterfly Lovers . Zhu Yingtai receives permission from her father to study for three years by disguising herself as a boy. However, when Zhu Yingtai does not return home after the promised period, her father sends her a letter. Upon receiving it, Zhu Yingtai, filled with sorrow, decides to return home. She bids farewell to Liang Shanbo, with whom she has formed a deep bond during her studies. Liang Shanbo is confused at first, but promises that they will meet again and raises a cup to commemorate their parting. He laments Zhu Yingtai’s beauty and wishes that she had been a woman. When dawn breaks and Zhu Yingtai departs, Liang Shanbo reads the letter from Zhu Yingtai’s father and learns that she is a woman. He rides hastily to find her, but is chased away by her father with a sword. Overcome with despair, Liang Shanbo falls ill and dies. Zhu Yingtai, who is in despair over her arranged engagement, receives the news of Liang Shanbo’s death. Shocked, Zhu Yingtai rushes to Liang Shanbo’s grave and leaps in. From there, two butterflies emerge and dance, ascending to heaven.
狂言《梟》
Kyogen: Owl
主要角色
山伏（仕手）
一位山僧，應哥哥的請求驅除貓頭鷹的 惡靈。
哥哥（挨答）
因弟弟被惡靈附身，於是請求山僧為其 治療。
弟弟（小挨答*）
在山中被貓頭鷹的惡靈附身。
* 戲份比挨答略輕的角色
*Secondary actors who have a smaller role compared to the ado
Main Characters
Yamabushi (shite)
A mountain ascetic who attempts to exorcise the owl spirit.
Older Brother (ado)
In order to help his younger brother who has been possessed by an owl spirit, he invites the yamabushi to perform a healing ritual.
Younger Brother (koado*)
Possessed by an owl spirit while in the mountains.
A man starts behaving strangely after returning from a mountain. His concerned older brother goes to seek the help of a yamabushi (mountain ascetic) for prayers. As the yamabushi begins to chant his spells, the younger brother starts to move strangely and make odd noises. The older brother recalls that his younger brother had brought down an owl’s nest while he was on the mountain. Realising that the owl has possessed him, the yamabushi intensifies his prayers. However, despite his efforts, there is no improvement. Eventually, the owl possesses the older brother as well, and both begin to make loud cries.
《船弁慶》是能劇的經典劇目之一，由同一仕手演員飾演 靜御前及平知盛兩個角色。
One of the most enduring plays in the Noh repertoire, Funabenkei is known for its dual shite roles—Shizuka and Taira no Tomomori—both played by the same actor.
能劇《船弁慶》
Noh: Funabenkei
主要角色
靜御前（仕手）
源義經的戀人，欲隨義經一同逃亡，但被義 經以安全為由命其折返。
源義經（子方）
日本的英雄武將，卻因兄長源頼朝的計謀而 遭到追捕。
武藏坊弁慶（脇） 義經的隨從。既是武將也是僧侶，更是輔佐 義經的賢臣。
平知盛（仕手）
被義經所滅的平氏將軍，為了報仇而化為亡 靈襲擊義經。
Main Characters
Shizuka (shite)
Yoshitsune’s lover who attempts to accompany him in his escape, but Yoshitsune, concerned for her safety, orders her to return.
Minamoto no Yoshitsune (kokata)
A legendary warrior who is hunted down as a result of his scheming brother, Minamoto no Yoritomo.
Benkei (waki)
Yoshitsune's retainer. A skilled warrior and a monk, he loyally serves Yoshitsune as a wise counsellor.
Taira no Tomomori (shite)
A general of the Taira clan who was defeated by Yoshitsune. He returns as a vengeful ghost to attack Yoshitsune.
Minamoto no Yoshitsune, who achieves notable successes in the pursuit of the Taira clan, finds himself pursued by the Kamakura forces due to suspicions from Yoritomo. In an attempt to escape to the western provinces, Yoshitsune arrives at Daimotsu no Ura in Settsu province alongside Benkei and his loyal followers. Yoshitsune’s beloved concubine, Shizuka, also travels with them, but finds it difficult to continue the journey further as a woman. On Benkei’s advice, she decides to return to the capital. At the farewell banquet, Shizuka dances and prays for Yoshitsune’s future, tearfully sending him off while wishing for their reunion. Yoshitsune hesitates to part ways with Shizuka, but is urged by Benkei to board the ship without delay.
As soon as the boat sets out to sea, a violent storm erupts. Amid the waves, the ghosts of the Taira clan that perished on the Dannoura Battlefield appear. Among them, the vengeful spirit of the commander Taira no Tomomori attacks with a naginata (long sword) and is determined to drag Yoshitsune down to the depths of the sea. Benkei clutches his prayer beads and prays desperately. By the power of his prayers, the vengeful spirits are subdued by dawn and they disappear into the sea, leaving only the foaming waves behind.
This play is one of the most popular in Noh theatre. The first half quietly portrays the love and separation between Yoshitsune and Shizuka. The second half shifts dramatically to a fierce battle with Tomomori. The lead role changes from Shizuka in the first half to Tomomori in the second, requiring a diverse range of expressions. In Noh, Yoshitsune is often played by a child.
As the powerful and resonant tones of traditional chants fill the air, the Noh actors, wearing hauntingly beautiful masks, stride solemnly across the stage. Every movement is fluid, yet decisive, revealing why they have been described as “moving sculptures”.
This Japanese cultural treasure has long been a passion of Kazufusa Hosho, the 20th grandmaster of the Hosho school— one of Japan's five major Nōgaku schools— who took on the mantle of this centuries-old tradition at just 22 years old. Since then, he has expanded the reach of Nōgaku, introducing international audiences to the enigmatic beauty of Japan’s aesthetic of yūgen , a profound sense of grace and subtlety.
“Nōgaku is considered an ‘ambient culture’ in Japan, captivating audiences with its tranquil and profound atmosphere, encouraging them to engage in self-reflection,” Hosho says. “Many people think Nōgaku is difficult to understand, but this perception arises from comparing it to other theatrical forms. Nōgaku is deeply rooted in the arts, and rather than imposing its message on the audience, it invites viewers to find their own meanings—much like appreciating a painting or sculpture.”
The origins of Nōgaku date back to Sarugaku, a form of theatre that was popular in China during the Han and Tang dynasties. When it arrived in Japan, it evolved into a unique performance art featuring actors wearing Noh masks. During the Muromachi period (1336-1573), the art form was refined by Kan'ami Kiyotsugu and his son, Zeami Motokiyo, who introduced elements of elegance and mystery, emphasising concepts such as grace, beauty, subtlety and wonder. Today, there are about 250 Noh plays, most of which have been passed down since the Muromachi period, with few new modern creations. However, Hosho has ventured beyond convention and brought the world premiere of the Noh version of The Butterfly Lovers to the Hong Kong Arts Festival. The Noh adaptation of The Butterfly Lovers was written by Naoki Prizewinning author Toko Sawada, with Kazufusa Hosho starring and producing. “For the Hong Kong audience, this is a familiar love story,” he explains. “I'm curious to see what kind of magic happens when it's interpreted through the lens of Japanese aesthetics. This adaptation embraces the subtle narrative techniques of Noh, paired with melancholic and intricate music, to depict the tragic love story between Liang Shanbo and Zhu Yingtai.”
“Noh is not as direct or dramatic as Western opera,” Hosho observes. “Performers rarely make physical contact. Instead, they excel at creating emotions and atmospheres through the use of space. Their movements on stage, though seemingly slow, are imbued with deep meaning in every gesture.”
To capture the essence of Liang Shanbo, Hosho selected the “Kantan-otoko” mask from his family’s collection of more than over 500 Noh masks, highlighting the character’s melancholy
and sensitivity. “Noh masks are the soul of Noh,” Hosho says. “Each mask has a unique expression. Performers don’t say they ‘wear’ a mask; they say they ‘attach’ it.” This implies that the emotions and persona of the mask become one with the performer’s mind and body. “When a Noh performer wears a mask, it’s as if the character’s spirit possesses them,” Hosho says. Even without a mask, Noh performers treat their own faces as masks, maintaining a stoic expression and minimising eye movement on stage.
To balance the gravitas of The Butterfly Lovers and the traditional Noh play Funabenkei , a comedic Kyogen piece, Owl , performed by the Yamamoto family of the Okura school, also takes the spotlight. Hosho emphasises that Nōgaku encompasses a wide range of genres, from the solemn to the comedic, ensuring that there is something for everyone.
Text: Trista Yeung
This article was originally published on the HKAF’s News & Features website in December 2024
The School of Hosho is one of the five schools that specialise in shite , the leading role, among various roles in Noh theatre. The current School of Hosho traces its origins from Tobiza, one of the four Yamato Sarugaku Yoza that specialise in Sarugaku (“monkey music plays”).
The School was founded by the first grandmaster, Ami Ren, and is now led by the 20th grandmaster, Kazufusa Hosho. Its artistic style is characterised by its profound and solid nature, often referred to as “ utai Hosho” (chanting Hosho). The beauty of the chanting is also among the finest of the five schools.
The Hosho Style Association is the official organisation of the School of Hosho of Noh theatre. It was officially established in 1912 but its predecessor began its activities in about 1885. For 140 years, it has served as the central organisation for the School, striving to pass on traditional techniques and its fundamental spirit, while contributing to the development of Noh theatre and cultural activities in Japan.
Born in Tokyo in 1986, Kazufusa Hosho studied under his father, the 19th grandmaster, Fusateru Hosho. He received guidance from Hosho Noh performers Hajime Sano, Yasuo Imai and Izumi Mikawa. He made his stage debut in Mother of the West , a Noh play with a child role. In 2008, he succeeded as the 20th grandmaster of the School of Hosho.
He has performed traditional Noh plays such as Dance of the Double Tunes, Dance of the Extended Years and Repentance . Besides performing, he is also involved in management activities. He appeared in NHK’s historical dramas Princess Atsu and Heart of a Samurai . In 2019, he received the Newcomer Award at the 40th Matsuo Performing Arts Awards. In 2023, he became a visiting professor at the University of Milan, and in 2024, he supervised and produced Noh performances in the Disney+ drama SHOGUN
Born in 1990, Isa Takeda is the eldest daughter of Takashi Takeda from the Noh theatre School of Hosho. She studied under the 19th grandmaster, Fusateru Hosho, and the 20th grandmaster, Kazufusa Hosho. She made her stage debut as a child performer in Kurama Tengu in 1999 and performed her first shite role in Yoshino Shizuka in 2013. In 2023, she performed in Two Lions at Stone Bridge She presides over and teaches in her own association, the Kishokai.
Born into the family of an Edo-based samurai from the Bungo Oka (Takeda) Nakagawa domain, the first-generation Yamamoto Tojiro Norimasa (1836-1902) began performing Kyogen at the behest of his domain. Later, he took on the role of counterpart to the 22nd grandmaster, Okura Yataro Toratoshi.
He received the licence of practice from the 22nd grandmaster of the School, and after the Meiji Restoration, he looked after the deserted Tokyo Okura School. He also passed on the art of samurai ceremonial music to the secondgeneration Yamamoto Tojiro Noritada (18641935). Yamamoto Tojiro II continued his father’s legacy and preserved the Okura School in Tokyo with his upright artistic style.
The third-generation Yamamoto Tojiro Norishige (1898-1964) succeeded to the family as the adopted son of Yamamoto Tojiro II. He raised the fourth-generation Yamamoto Tojiro Norihisa (1936-) alongside his brothers Norinao and Noritoshi. He always showed a strong and firm character, following the legacy of the 22nd grandmaster of the family, who said, “rather than prospering by disorder, perish by standing firm”.
The fourth-generation Tojiro received rigorous training from his father from a young age, but at the age of 27, his father suddenly passed away. Nonetheless, the three brothers co-operated, combining their father’s uprightness with elegance in their artistic style, and continue to protect the Yamamoto family tradition to this day.
Norishige Yamamoto, who continues the tradition of the samurai-style music of the Tokugawa shogunate, was born into the Tojiro Yamamoto family. He studied under his father, Noritoshi Yamamoto, and his uncle, the fourthgeneration Tojiro Yamamoto (a “Living National Treasure”), and made his stage debut at the age of five. He graduated from Department of Music at the Tokyo University of the Arts. He has participated in performances not only across Japan, but also in more than 15 countries worldwide. Hoping to pass on Noh theatre and Kyogen, Japan’s oldest performing arts, to the next generation, he engages in a wide range of activities, including performances, workshops, and educational events for children and students.
Norihide Yamamoto studied under his father, Noritoshi Yamamoto (a Kyogen actor of the Okura School and recipient of the Important Intangible Cultural Properties General Certification), and his uncle, Tojiro Yamamoto, from the age of four. He made his stage debut at the age of five and graduated from the Department of Music at the Tokyo University of the Arts. Currently, he is active as a Noh performer who showcases Noh taikyoku and hikyoku pieces. In addition to regular Noh performances, he participates in overseas performances, educational outreach in schools, and revival performances for the 2011 Tōhoku earthquake, engaging in a wide range of activities.
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執行委員會
The Hon. John KC Lee, GBM SBS PDSM PMSM GBM SBS PDSM PMSM
製作主任 王子蕙* 技術統籌 張詠宜*、范文恩*、李浩賢*、彭家達*、曾以德* Head of Artist Coordinators Eleanor Chu* Artist Coordinators Haynes Cheung*, Viola Chong*, Cassandra Heung*, Kelvin Ho*, Kitty Leung*, Joyce Lo*, Giacomo Matelloni*, Jan Pang*, Renee Tsang*, Blanche Wu*, Jiajia Yang*, Bonnie Yung* Production Officer Anissa Wong* Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
Production Officer Anissa Wong*
Technical Coordinators Jess Cheung*, Yan Fan*, Lawrence Lee*, Pang Ka-tat*, Joyi Tsang*
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助 # 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
*合約職員 Contract Staff 按英文姓氏首字母排列 In alphabetical order # 藝術人才見習配對計劃2023/24 及2024/25 由香港藝術發展局資助 # 2023/24 and 2024/25 The Arts Talents Internship Matching Programme is supported by the Hong Kong Arts Development Council 2025年2月更新 Updated February 2025
