Synopsis by Hybl Ondrej, the actor who plays this Kyogen.
A boy named Igui always gets beaten on his head by his benefactor, Nanigashi (or "John Doe"—the actor's real name is used for this character), when visiting his house. Exasperated by this, Igui goes to Kiyomizu Temple to pray to ...the Goddess of Mercy (Kanzenon Bosatsu) and receives a hood. Upon Igui's next visit to Nanigashi, Igui is again about to be beaten, so he puts the hood on his head and narrowly escapes a pounding: the hood is a magical one that renders the wearer invisible! Nanigashi, shocked by Igui's sudden disappearance, notices a san-oki, or fortune teller, who happens to be passing by. Nanigashi calls upon the fortune teller to locate "a lost item." The fortune teller first reads Nanigashi's palm and conjectures correctly that his lost item is a live creature. Then, using divining sticks, the fortune teller again announces that the missing creature is on Nanigashi's right side—but Igui moves out of the way to escape being caught. Nanigashi becomes agitated and taunts the fortune teller, and mayhem ensues.
It is rare for a kyogen play to have characters with proper names—such as Igui. The word "igui" refers to the wooden pilings that boats rest against when tied up at a dock—a fitting name for a man who is always getting hit on the head. This play is a story of Igui's humble revenge against his benefactor Nanigashi.
Kiyomizu Temple, where Igui goes to pray, is a famous temple in Kyoto dedicated to Kanzenon Bosatsu. This goddess is believed to be a Buddha who works wonders to provide relief in this world. Because of the fairytale-like plot of this play—the protagonist receives a magical hood from Bosatsu that makes him invisible—the role of Igui is often performed by a young boy. For this performance, he is played by Nomura Yuki, who is seven years old. Each character has a unique presence: Nanigashi has deep affection for Igui, and the fortune teller acts more dim-witted than he actually is.
In kyogen, the actor's real name is sometimes used for the character (for example the character of Nanigashi). In this play, the actual date and time of the performance and Nanigashi's age are incorporated into the lines, bringing the reality of contemporary times into the world of kyogen. It is not clear when Igui was created. However, because it appears in the oldest collection of kyogen scripts (Tensho Kyogen-bon, published in 1578), it is assumed that is has been performed regularly since that time.
There is a record that three of the most powerful clans, Toyotomi Hideyoshi, Tokugawa Ieyasu and Maeda Toshiie, performed together in a kyogen work titled Mimi-hiki (Ear-Pulling). Currently, such a title is not found in the classic kyogen repertoire and Igui is said to be what was Mimi-hiki.
(Taken from here: http://www.japansociety.org/noh_kyogen_in_the_park_in_depth)
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Kyogen "Igui" Part Ⅱ 狂言『居杭』 その２by akikohime155 views
すげー外国人の人が狂言をするなんて！
crapengine1990 10 months ago 2
@crapengine1990
コメントありがとうございます。彼はチェコ人です。彼こそホンモノの“狂言師”・・・と思ってます！:))そしてチェコには、チェコ人だけの狂言小劇団もあるんですよ。
akikohime 10 months ago