Kurosawa Bone Of Blood Analysis

Akira Kurosawa’s “Throne of Blood”: Unification of Film and Noh Theater??
Each society on the planet has its own particular theater. In Japan a standout amongst the ancient types of theater is Noh. The Noh theater discovered its structure in the fourteenth century and proceeds in much the same structure, with large portions of the same plays, in present day Japan.
“Noh plays are extremely intense” (Introduction to Noh). With a specific end goal to express something so theoretical as a feeling, words are frequently insufficient. As the play advances, movements and music are utilized to express the play's story. Different components which add to a heightening of the state of mind are the bare simplicity of the stage which permits no diversion from the principle character, and the stunning outfits of the primary character himself (Introduction to Noh).

Critics commonly describe Throne of Blood as Kurosawa’s adaptation of Macbeth (Smoliak). While this is true, the film is substantially more than a direct true to life interpretation of an artistic content. Kurosawa's motion picture is a splendid union of differing culture and arts; one of western literature and one of eastern culture. The film's towering accomplishment lies in the way Kurosawa consistent incorporation these cultures, which gives them their supreme expression.
One of the few Noh Theater elements found in the Throne of Blood would be Noh masks. Masks are vital in the Noh and are worn just by the principle character. The masks help to raise the action out of the ordinary (Introduction to Noh). For the Noh performing artist, the mask of a specific character has its own sense of emotion. Before putting it on he will take a gander at it until he feels the feeling assimilated inside himself. When he puts on the cover, his distinction retreats and he is only the feeling to be