I woke up this morning feeling good for the first time in a very long time. I was having a small health issue but it resolved itself this morning, and I’m starting to wonder if I was more than a little worried about what was happening.

I’m going to see the great Robert McKee on Thursday night, screenwriting guru made famous in the movie “Adaptation”. McKee is hosting his famous seminar in San Francisco this weekend and I would have signed up, but I have plans for both days. The seminar in pricey anyway, and it’s just not in my budget to spend that much money right now.

What else? I saw a Japanese adaptation of Shakespeare’s “Comedy of Errors” called “The Kyogen of Errors” on Thursday June 2. Kyogen is a type of Japanese theater. Below is an explanation I found on the Net on what Kyogen is:

Kyogen evolved from a form of indigenous theater called Sarugaku and reached the level of popular entertainment among the common people during the tumultuous Muromachi Period (1380-1466). During the Tokugawa Period, kyogen subsequently gained the acceptance and support of the ruling classes. At this time, for aesthetic reasons, it was paired with noh. While noh and kyogen are performed on the same stage, and there is a part for a kyogen actor in almost every noh play, they are two separate theater arts. Kyogen dialogue is a somewhat stylized form of the common spoken language of the Muromachi Period while the language employed in the noh theater is highly literary in style. While noh is historical and tragic, kyogen plays reflect the habits, customs and lives of ordinary people in short comic sketches. Short ballads (kouta) were popular among the common people in the Muromachi period, and a number of these songs appear in kyogen plays. Kyogen relied heavily on improvisation and it was not until the seventeenth century during the Edo Period that the oldest still extant plays were put into written form. Once many manuscripts of these plays had come into existence, there was a tendency not to expand the repertoire and there were also no substantial changes in the way the plays were performed. Kyogen plays are divided into several categories, depending on the type of character designated as protagonist (shite) or the overall theme of the play. Today some 300 kyogen plays are known and about 200 of them are still performed, but unlike noh, not even a single name is left to us of those who composed kyogen.

The performers wore these masks and they looked like cute little goblins on stage. They kept uttering this phrase throughout the whole play “ya ya ko shi ya”, which in Japanese means “It’s all very complicated”. The performers were all men, and two of men who were supposed to be imitating women wore the most beautiful kimonos. I saw this play at Shakespeare in Golden Gate Park a few years ago, and they used boy/girl twins in the role.

It was amazing how the performers were able to translate a Shakespeare play into a very old form of Japanese theater, and that as an audience member I could still recognize the play as what I remembered.

Here’s the Chronicle’s review - "Errors" does Shakespeare right.