Movement in Stillness: A Comparative Study of Japanese Noh Theatre and Shakespearean Theatre

Abstract

Audience must take active participation in the play i.e. physical as well as mental presence of audience. Both the Japanese Noh theatre and the Shakespearean theatre contain similar dramatic devices such as soliloquy, music, chorus and narration in general and they are vividly prevalent inMacbethandTomoein particular. These devices create ‘movement in stillness’ in both plays. The ‘movement in stillness’ means even in the absence of physical movement, the heart and the mindof the actors work to the full capacity, and the play takes place in the mind of audience. At that time, no outward visual movement takes place on the stage, though the play goes on developing. The ‘movement in stillness’ serves didactic pattern in the Noh theatre i.e. Noh theatre wants to teach something via movement in stillness. On the other hand, the movement in stillness leads to aesthetic pattern in Shakespearean theatre. It means Shakespeare expresses beauty that gets unfurled through ‘movement in stillness.’ Therefore, ‘movement in stillness’ serves didactic pattern in the Japanese theatre whereas aesthetic pattern in the Shakespearean theatre.