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Alarmed by the commotion, the low-ranking monk comes in. The itinerant monk explains to him how the rakshasa took the Buddha’s relic and ran away with it. The low-ranking monk tells the itinerant monk the story behind the relic and together, they invoke the heavenly deity Skanda. Then Skanda appears and chases the rakshasa through the sky, running the demon down to earth and finally retrieving the relic from him. The captured rakshasa, having lost his supernatural powers, vanishes.
In the first half of this play, shite appears as a villager and does not move much. However, in the scene in which he reveals his identity as a rakshasa demon, his actions are vigorous and rough. He suddenly leaps up, steals the relic, dashes off, and stomps apart the floor of a stage prop in the form of a stupa. In the second half of the drama, the scenes in which Skanda is in pursuit of the rakshasa continue, and a stage prop, ichijō-dai, is effectively used to express, on the stage, the vast space of heaven and earth. Another interesting feature of this play is how the music changes along with the agile movements of the actors. STORY PAPER : Shari (The Relic of the Buddha)Story Paper presents noh chant stories in modern speech, with story outlines, highlights and more using Adobe PDF format, which can print out and zoom in. Print out the pages and take them with you when you see the actual noh performance.
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