|ANNE WANNER'S Textiles in History / exhibitions|
+41(0)22 418 33 40
fax. +41(0)22 418 33 51
every day from 10 am to 5 pm
wednesdays from 12 am to 21 pm
closed mondays and 25th of December and 1st of January
is an interesting program
accompaning the exhibition:
- public visits
- talks on wednesdays
- workshop for young people
Gael Bonzon, tel. +41 (0) 22 418 25 43
responsable for exhibition:
tel. (+4122) 418 26 54,
fax: (+4122) 418 26 01
handy (+4179) 517 09 47
e-mail : email@example.com
|please excuse that the photos are not here
any more. The reason: "annatextiles" received
the photos last year by the press information of Geneva
Museum, but on April 4th the following message arrived:
Your web site "http://www.annatextiles.ch" currently contains images copied from the web site of the Musées d'art et d'histoire relating to a recent exhibition of Nô costumes. (http://www.annatextiles.ch/exhib/exh2002/e1908genf/e1908ge.htm) While we appreciate your interest in the Museum's activities, you should be aware that making unauthorised copies of images from other web sites is not permitted. I must therefore insist that you remove these images forthwith.
|The majority of the
exhibition is devoted to the display of nearly 70
Noh costumes and accessories (belts and
headbands), from the collections of the Yamaguchi
Noh Costume Research Center in Kyoto.
The oldest items date from the 19th century (the end of the Edo period, that is up until 1868, and the Meiji (1866-1912) and Taisho (1912-1926) eras). They are displayed alongside comparative copies produced, for use in the theatre, by the Yamaguchi Noh Costume Research Center. To this ensemble have been added items from Swiss collections, both public and private such as masks and prints.
came into being in the 14th century
through the efforts of Kan'ami (1333-1384) and more
especially of his son, Zeami (1363-1444). Taking its
structure from earlier dramatic forms, Noh theatre places
upon the stage a character by nature radiant or dark,
real or imaginary, whose destiny is edifying or tragic.
The plots all come from old Japanese or Chinese legends,
reworkings of chronicles of war or of stories of love.
Noh theatre was discovered by the West at the beginning of the 20th century, thanks to people fortunate enough to witness it, such as Paul Claudel. Since then, it has excited growing interest amongst practitioners of the theatre, composers and poets throughout the world.
|Noh costumes, in
silk of subtle shades decorated with gold or silver
thread, contrast sharply with the bare
surroundings of the theatre. The costumes envelop the
actors' bodies like the petals of a lotus flower.
For the female characters there are the sumptuous capes and robes, the golden tunics of changing hue, while for the male characters there is the splendid court dress, worn with full trousers or with trousers with long, trailing legs.
The costumes clothe the characters in successive layers; the spectator has to try to see through the different thicknesses, as for the wood of the mask, to reach the emotional heart of the character. The Japanese expression "splendid as a Noh costume" renders perfecxtly the concept of beauty linked to these clothes.
Entretien du mercredi:
|home content||Last revised September 23, 2002||For further information contact Anne Wanner firstname.lastname@example.org|