Plot
The fullest version of Yoshitsune consists of fifteen scenes in five acts. Though this was originally intended to be performed across the better part of a day, modes of performance have changed, and the full version would today take twice that long, due to the style and speed of current forms of acting.
For this reason and others, Kabuki plays are almost never performed in their entirety today, and Yoshitsune is no exception. The fullest standard version of any play is called tōshi kyōgen, which in the case of Yoshitsune consists of nine of the full fifteen scenes. However, again as is the case with most plays, individual scenes or elements of Yoshitsune may be performed alone as part of a day's program of other such bits and pieces. The first, second, and fourth scenes of Act One are the most rarely performed today.
The fundamental structure of the play is very much in keeping with that of Japanese traditional drama forms as a whole. The philosophy of jo-ha-kyu is employed throughout, as actions, scenes, acts, and the play as a whole begin slow (jo), then get faster (ha), and end quickly (kyu). Also, Yoshitsune follows the traditional five-act structure and the themes traditionally associated with particular acts. Act One begins calmly and auspiciously, including scenes at the Imperial Palace. Act Two features combat. Act Three is something of a sewamono insertion into the jidaimono tale, turning away from the affairs of warriors and politics to focus on the lives of commoners. Act Four is a michiyuki journey, metaphorically associated with a journey through hell. Act Five wraps up the plot quickly and returns to themes of auspiciousness.
The following plot summary is based on the full fifteen-scene version.
Read more about this topic: Yoshitsune Senbon Zakura
Famous quotes containing the word plot:
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)