This paper introduces the technical and aesthetic issues of integrating live computer tools into the creation, adaptation, and performance of Noh. My method is based on a thematic analysis of the audio processing utilized by Joji Yuasa in his 1961 musique concrète adaptation of Aoi no Ue, the classic Noh. Yuasa’s adaptation is used as a template for developing real-time audio processing tools for performances of Noh. Through Yuasa’s formal training in Noh and closeness to its traditions in his selection and application of audio processing techniques, I am expanding his vision from the studio to the stage in collaboration with certified Noh instructor-performers from Theatre Nohgaku, the Noh ensemble led by Richard Emmert. Sound reinforcement, wireless audio, wearable technology, gestural controls, third-wave human-computer interaction, and the differences between authentic Noh, Noh-expansion, and Noh-inspired works are discussed to foster interdisciplinary, practice-based collaboration with Noh ensembles. Initial findings from the thematic analysis are then presented alongside designs and recommendations for Max/MSP packages for the five categories of Noh. As a 650-year-old UNESCO-protected traditional art that is experiencing youth disengagement, the goal is to ignite interest in Noh amongst digital natives by integrating live computer tools into its traditional practices with a high degree of authenticity.
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