La pratica del teatro nō fuori dal Giappone

un esempio di valorizzazione transnazionale di un bene intangibile nel quadro della Convenzione UNESCO 2003

Abstract

The workshop took place at the State University of Milan in November 2022 along with the nō at the Franco Parenti theater, both performed by the company of Ōsaka, are among the most recent events of nō theater that we were able to attend in Italy thanks to the celebrations of the 40th anniversary of the twinning Milano Ōsaka. For those unable to travel to Japan, these are unique and important events, especially for those who have never had the opportunity to see nō live. These type of events are also the occasion to remain connected with this ancient discipline for those who already know it, a simple user or a scholar. The first simple reflection stems from my personal experience and the fortune of having been able to get to know nō gradually, as a practitioner, thanks to the transmission of precious teachers. Those who study and love this art have a duty to also protect its dissemination, not through censorship but through didactics aimed at addressing the user who is not only the spectator but also the possible practitioner. Approximately 1185 nō theatre actors operate in Japan, and we know that most of their livelihood comes from the training of their students. How, then, can we move from conservation to dissemination of the protected heritage?