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Therapeutic Noh Theater® Public Performances
Currently, The Therapy Theater Company, Inc. (TTC) performs only Therapeutic
Noh Theater® public productions. The very first performances in
the early Therapeutic Theater by Dr. Sky were produced in 1973 in Finland
in 1994, the Grand Opening of the Keiko Komatsubara Noh Stage at
the Art and Drama Therapy Institute, Inc. (ADTI)
and the performance of Lemminkainen’s Mother by TTC established
the Therapeutic Noh Theater® as a more specific form of Transpersonal
Drama Therapy and Therapeutic Theater.
Therapeutic Noh Theater® Production of Improvisational
Vignettes, 2007
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Therapeutic
Noh Theater® Production of
Improvisational Vignettes, 2007. |
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Therapeutic Noh Theater® Production of Marjatta, 2007
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The Therapeutic
Noh Theater® Premiere of
Marjatta, 2007 |
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Therapeutic Noh Theater® Production of Improvisational Vignettes, August 9, 2006
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For Dr. Do’s “Joyously Crazy” Birthday Extravagaza Week
Poetry from Kahlil Gibran’s The Prophet |
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Therapeutic
Noh Theater® Production of
Improvisational Vignettes, August 9, 2006. |
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Therapeutic Noh Theater® Production of Good Angel’s Tears, May 20, 2006
Neo-Noh Play
Dramatized from her Original Story For Therapeutic Noh Theater®
Choreographed, Costumes Designed, Chanting Composed and Directed By Sirkku M. Sky Hiltunen (Dr. Sky)
Cast of Characters
Good Angel & Koken I: Dr. Sky
Chorus: Darrion Gates
Musicians: Brian Slaugter and Brother Ah (Musical Improvisations)
Seamstress, Costumes and Backstage
Manager: Vickie Salas
Curtains: Natsag Gankhuyag (Ganna)
Hairdresser and Dresser: Valonda Washington
Koken II: Dashzeveg Munhbayar (Mogi)
Koken III: Sylvester George
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In loving memory of D.P. A member of Therapeutic
Noh
Theater® since it’s conception in 1986. |
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Therapeutic
Noh Theater® Production
of
Good Angel’s Tears, 2006. |
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Sad Princess and Sun Prince, 2005
Dr. Sky wrote the fairy tale of Sad Princess and Sun Prince over
thirty years ago. She dramatized it once previously for the Puppet
Theater at ADTI. The 2005 performance,
however, was the premier of a new dramatization, which adds a cavalcade
of characters attempting to cheer up the Sad Princess. The new characters
provide an opportunity to all of the veteran client actors, who have
participated for at least two years in the Therapeutic
Noh Theater® training, to have a solo dance on stage. The
glamorous costumes, the fantasy masks and the improvised original
music, utilizing a vast selection of ethnic instruments, add a new,
playful and less formal ambiance to the Therapeutic
Noh Theater® public performances. Individuals of The Art and
Drama Therapy Institute, Inc. performed all of the roles in the story
of Sad
Princess and Sun Prince. Jason Walker and Darrion Gates improvised
music and Brother Ah created original music for the performance. The
chorus members were Arnisha Dickinson and James White. Dr. Sky was the
Chorus Leader as well as Koken I (Stage Assistant) and Darrion Gates
was Koken II. Natsag Gankhuyag, an artist from Mongolia, created the
flower, clown and star masks as well as the crown of Sad Princess.
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The Art and Drama Therapy Institute, Inc.
Stained Glass includes “Therapeutic Noh Theater®”
in Japanese |
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| “Eagle” |
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The Therapeutic Noh Theater® Premiere of Transformations
of Louhi, October 1998
Transformations of Louhi is based on the Finnish epic of Kalevala.
Its heroine is a powerful shaman able to transform herself. In this
Neo-Noh play, six different actors three of who are adults with intellectual and developmental disabilities, perform Louhi. The nine transformations are visibly demonstrated
with costumes and masks, some of which are changed in front of the
audience.
The production is the most advanced and complex one, and TTC will
continue to rehearse and perform it for several years. Therapeutic
Noh Theater® is process theater, which means that even the public
performances are a part of the ongoing process of therapeutic intervention;
finalized perfect productions are not the aim.
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The Therapeutic
Noh Theater® Premiere of
Transformations of Louhi,
1998 |
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Audience Feedback on Transformations of Louhi
“I felt that I was in another dimension. The costumes are some
of the most beautiful ones I have ever seen anywhere, even though I
have been to 38 countries and 43 states.”
“This was an amazing performance – a quantum leap forward
in terms of complexity for the actors – more parts, more complicated
roles. You were somehow able to integrate essential elements of Noh
with a Finnish epic, in such a way as to make it appealing to an American
audience! The chanting, music, movements, paces, and of course masks/costumes
explain some of its appeal. The rest is Dr. Sky’s ‘magic
touch.’ Congratulations on an unbelievable performance! It was stunning!”
The audience responses demonstrate the reciprocity of the experience;
the viewing audiences are indeed also touched by the performances of
Therapeutic Noh Theater®. Over the years the participating individuals
have truly demonstrated personal growth, increased self-esteem and
sense of self-worth as well as increased attention span and self-determination.
Their increased ability to integrate not only their physical but also
their emotional selves can be directly attributed to the practice of
Noh dance, which constantly forces them to work towards the integration.
The splendor of the costumes and masks, the stylized and meditative
presence, and the transcendent content work together toward the goal
of arousing understanding, empathy, forgiveness, acceptance, respect
and love. Because the actors are masked, the audience members are abe
to transcend the actors’ physical and cognitive limitations and discover
their spiritual begins.
The Therapeutic Noh Theater® Performance of Good Angel’s
Tears, October 1997
The Premier of Good Angel’s Tears celebrated the fifth
anniversary of The Art and Drama Therapy Institute, Inc. in May 1997.
In October
the second performance of Good Angel’s Tears was scheduled
at the Art and Drama Therapy Institute, Inc. for the staff and individuals.
The following poetry was created after the ADTI special
performance on October 14, 1997. The third performance on October 25,
1997 was open for the general public.
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The Therapeutic
Noh Theater® Performance of
Good Angel’s Tears, 1997
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Audience Feedback on Good Angel’s Tears
“Free association: - a glowing gracious light; a warm sense
of wood, the composed click of drums brought up by the flute like bubbles
breaking at water’s surface, a core of calm, watching a fan open seeing
both sides of the pattern, inviting another look at the ways we considered
the actors, disguised, the concept of masks; ourselves.”
“I felt a sense of accomplishment and pride from the client.
Lots of love shared between performance and audience. Happiness and
love were the feelings I felt throughout the day. It was so refreshing
just to see the individuals in a state of happiness, pride for themselves,
confident and self assuring.”
“The last tie that I was moved in this way was when my son was
born 2 months ago. The feeling was so similar but different in many
ways. But since I have been asked to describe this is the only way
that I can.”
“I was awed by the gracefulness of movement – the inspired
and enthusiastic performers and beautiful music; the deep respect between
the actors. The story was deeply touching The spirituality and transcendence
was awesome.”
“A very moving, magical experience. The stage presence of the
performers was so powerful. I was moved to tears by the beautiful authencity & love
coming from the innocence of the performers. Thank you for an unforgettable
experience & the work you are doing.”
A card received after the performance depicting a performance with
an open cage on his chest and a heart flying free, read: “Thank
you for opening my heart.”
The Therapeutic Noh Theater® Premiere of Ilmatar – Divine
Airess, 1995
The dramatization of Ilmatar was also based on Kalevala.
Traditionally, plays painting and character analyses inspired by Kalevala have
focused on its heroes. Therapeutic Noh Theater® dramatizations
are inspired by the focus on the female characters of Kalevala who
are usually presented in supportive roles. However, the female characters
represent a spectrum of the feminine life span and powerful shamans
with supernatural skills, equal to and often surpassing those of the
men. Ilmatar is one of the Creators of the earth. Impregnated by tempest
waves, she carries her son for 700 years and gives birth to the main
hero of Kalevala.
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The Therapeutic
Noh Theater® Premiere of
Ilmatar – Divine Airess,
1995 |
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Audience feedback on Ilmatar - Divine Airess
“A sparkling tapestry of sensuous chant, music, costumes and
pantomime producing archetypal imagery that awakens gratitude and healing
joy in our common humanity. The economy of expression inherent in the
Noh drama as vehicle here produces therapeutic awareness, gratitude.
Aesthetic delight and bonds of community, a healing experience for
the actor participants and audience as well.”
“A truly entertaining performance that opened both the mind
and the heart.”
“Enjoyed more than most productions I have seen without disability.”
The Therapeutic Noh Theater® Premiere of Lemminkainen’s Mother,
1994
ADTI's Noh Theater Stage was formally
dedicated to late Mrs. Keiko Komatsubara, who was responsible for Dr.
Sky’s entreé to study Therapeutic
Noh Theater® in Japan.
In the traditional Noh Theater, koken is an essential role
usually held by a Noh Master who assists other Noh masters on stage.
The Master actor may withdraw to the back of the stage and remove a
cloak or change a mask assisted by koken and then turn back
to the audience and thus reveal a transformation. In the Therapeutic
Noh Theater®, koken provides similar assistance as well
as additional support with her presence on stage for client performers.
The Neo-Noh play of Lemminkainen’s Mother demonstrated the
synthesis of ancient Finnish and Japanese traditions. The dramatization
was based on the Finnish mythology of Kalevala.
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The Therapeutic
Noh Theater® Premiere of
Lemminkainen’s Mother,
1994 |
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The Therapeutic Noh Theater® Premiere of
ADTI’s Northwind and Sunshine, 1994
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The Therapeutic
Noh Theater® Premiere of ADTI’s
Northwind
and Sunshine, 1994 |
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Noh Snow Queen, 1989
The story of “Noh Snow Queen” wove an intricate tale about the redemptive power of looking for beauty within others and ourselves. Preparations for this show were very time consuming — individuals were familiarized with the story line and the characters by reading it, then writing or dictating poetry about the story, acting out particular characters, drawing them, and making masks for the roles. This process took almost two years. Excerpts of the show were performed at the Hyatt Regency Hotel in Washington, D.C., on February 27, 1989 for the Commissioner’s Annual Forum for the Administration of Developmental Disabilities. This preview of “Noh Snow Queen” was met with great enthusiasm by audiences of professional administrators working nationwide in fields serving person with disabilities. On March 4, 1989, “Noh Snow Queen” premiered in its entirety at the Randolph Auditorium, again greeted with the same enthusiasm.
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| The “Noh Snow Queen” Performance 1988 |
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Vignettes, 1987
In October 1987, client actors performed autobiographical poetry in
a performance titled Vignettes at the Mayor’s Committee
on Handicapped Individual’s Annual Conference. They also were
invited as guest performers at Forest Haven, an institute for adults
with intellectual and developmental disabilities.
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| The Premier of Vignettes |
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Retarded — Born from Good Angel’s Tears, 1986
“Mentally Retarded — Born from Good Angel’s Tears” was
the first public performance utilizing the method of Therapeutic
Noh Theater®. This performance was based on Dr. Sky’s symbolic
short story that illustrates her belief that adults with intellectual
and developmental disabilities are our spiritual teachers from whom
we learn love, compassion and patience. Dramatization of the first
performance was a collaborative effort of Edna Hong, Dr. Chapman and
Dr. Sky. The costumes were all designed and mostly sewn by Dr. Sky.
This premiere has become a milestone performance and several of the
original actors from this first performance are still rehearsing and
performing with Dr. Sky to the present day.
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First Performance of Good Angel’s Tears
1986 Premiere at the Randall School in Washington, D.C. |
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