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Atsumori's Place in Contemporary Theatre

The document discusses how the Japanese play Atsumori can find relevance to contemporary Western audiences despite differences in culture and religion. It analyzes how the play's themes of repentance, forgiveness, and religion transcend time and cultures to connect with modern conceptions of these ideas in Western works and religions like Christianity.

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J Tran
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47 views4 pages

Atsumori's Place in Contemporary Theatre

The document discusses how the Japanese play Atsumori can find relevance to contemporary Western audiences despite differences in culture and religion. It analyzes how the play's themes of repentance, forgiveness, and religion transcend time and cultures to connect with modern conceptions of these ideas in Western works and religions like Christianity.

Uploaded by

J Tran
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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Kenny 1

Kenny Tran
Theatre History I
THEA 371
Teodora Nikolova
Atsumoris Place in Contemporary Theatre

A short religious play, Atsumori seemingly holds little ground for Western
audiences. The West is an area of the world that is predictably consumed by Christian
ideals and secular plays. The modern Western theatre audience would probably not enjoy
a production of Atsumori because on the surface, or so it seems, there is nothing for them
to relate to. The truth of the matter is that Atsumori finds ample ground with Eastern
Asian audiences, due to its subject matter of Buddhism, Japanese origin and folklore, and
the plays authorZeamibeing Japanese himself. In order to find Atsumoris effect and
relevance to a contemporary Western audience, the elements of the play looked at must
be deeper than the surface. Atsumoris elements of repentance, forgiveness, and religion
find a strong root with modern Western audiences.
Atsumoris theme of repentance is a relatable one that transcends time. In modern
times, much like much of history, many people are concerned with their mistakes. Will
we ever be able to make up for our mistakes? Why did we even do that? This worry has
been the basis for many popular contemporary western shows such as Les Misrables
based off the work of Victor Hugo, Death of a Salesman by Arthur Miller, or even
Private Lives by Noel Coward. In all of these works, we are faced with characters who
try to correct either present or past mistakes. Most notably, in Les Misrables, Valjean is
caught stealing from a priest, but is let go and offered a second chance at a crime-free
life. He takes this opportunity and tries to give back to society by becoming a just and

Kenny 2

Kenny Tran
Theatre History I
THEA 371
Teodora Nikolova

upright mayor of a French town. Atsumori connects with modern audiences because it
speaks to the moralist within people, which are most people. The thought of being able
to, not only confess and repent, but also be successful and find peace with oneself is an
idea that tugs at the core of all people:
CHORUS: "There is my enemy," he cries, and would strike,
But the other is grown gentle
And calling on Buddha's name
Has obtained salvation for his foe;
So that they shall be re-born together
This quote from Atsumori further pushes the theme of repentance. Repentance is not
alone, though, Atsumori also shows that repentance leads to forgiveness.
Of course contemporary Western audiences find connection to repentance, but
like many short-lived Broadway shows nowadays, the ending cannot be too sad. It is for
this case that Atsumori continues to show why it is still relevant today. If Atsumori had a
sad ending, say where Atsumori did not forgive Rensei, then not only would the purpose
of showing how repentance leads to forgiveness disappear, but the play would
undoubtedly fall flat to the intended audience and contemporary audiences. But that is not
the case, and Atsumori performs perfectly in this sense. Thought the story is not
necessarily a happy one, it is not exactly a sad one, either. The main character achieves
his goal, and that is enough for contemporary Western audiences. The tears that flow

Kenny 3

Kenny Tran
Theatre History I
THEA 371
Teodora Nikolova

from their eyes when they view Atsumori is expected to fill at least three small buckets as
they reach the ending when Rensei joins Atsumori, not as an enemy but as a friend.
Repentance and forgiveness are both importance aspects of Atsumori but they all tie back
to one overarching topicreligion.
The play Atsumori finds its main topic focusing on religion, which modern
audiences can most definitely relate to. Though Atsumori focuses on Buddhism,
connections can be drawn between popular Western religionsuch as Christianityand
concepts shown within Atsumori:
PRIEST: How strange!
All this while I have never stopped beating my gong and performing the
rites of the Law. I cannot for a moment have dozed, yet I thought that
Atsumori was standing before me. Surely it was a dream.
With this quote, the play shows that the priest, Rensei, constantly performed the religious
rites in order to obtain forgiveness for his sins, but it has been such a long time that he
does not believe Atsumori is standing before him. Within Christianity, there is emphasis
on constant devotion, even though God may not answer you plainly or right away. This
connection can be made between Astumori and contemporary Western audiences.
Atsumori, though being from a foreign land, both literally and metaphorically for
contemporary Western audiences, holds values and themes such as repentance,
forgiveness, and religion that can be related to by the world today.

Kenny 4

Kenny Tran
Theatre History I
THEA 371
Teodora Nikolova
Works Cited

Zeami. "ATSUMORI." The Noh Plays of Japan: Chapter I: Atsumori. N.p., n.d. Web. 13
Dec. 2015.

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