By Chebyshev P.L.
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As she dances the priests feel that there is something strange about her. She changes costumes during the dance and with each change the priests grow more fright ened. ” 1 The journalist’s question was this: “ This is what the program says but from what I could see she didn’t seem to be come anything at all like a serpent, and she w asn’t particularly frightening either. ” O f course, I thought to myself, this is the way a Westerner would look at it. Perhaps Musume D ojoji would have been more enjoyable had it been a dance drama in which the dramatic devel opment and changes in the character’s psychology had been as clear as they were in the program notes.
The travel scene, the beautiful dance, the bewitching of the young priests, the revelation of the dancer’s true serpent identity as she leaps up into the bell— all this dram atic story is the mere fram ew ork for a K abuki dance. On stage from the michiyuki (travel dance) to the suzudaiko (tamborine) section and right on up to the kaneiri (entry into the bell), Musume D ojoji consists of a series of virtually independent dances. It would be fair to say that to the observing eye there is no obvious dram atic develop ment.
To start with my conclusion, it seems to me that it boils down to the presence or absence of a dramatic storyline. Because the issues in volved have to do with the essence of Kabuki as theatre, I would like to clarify this with a few anecdotes. First, on the subject of dance, why w asn’t Musume D ojoji well received? After exam ining the issue from various perspectives, I came to the conclusion that the main reason is that its dram atic component is extremely weak. The dance’s source, the N oh play D o joji, is based on the well-known legend o f Anchin and Kiyohime and is dramatically well constructed.