"Kani Yamabushi" and "Kamabara" were pure fun. Literally, play squared?

There's a tension within these Kyogen plays that gives the works their life and energy. What would seem to be severe limitations (24' square stage, minimal props, predetermined patterns of movement and voice) actually give rise to the passion that comes forth. It's like the squeezing soap metaphor--squeeze tightly and the soap expels outward. The characters' emotions are the soap. And so with humor as the intended outcome, the actors' comic telling of their stories explodes out of their bodies--one joke after another. It's great fun!

I do not know "one"liners" to associate with it, but a character comes to mind. Remember Frank in "M*A*S*H"? What a falsely courageous guy. Thought very highly of himself and loved (and used) the benefits and power of his rank within the army. But what a ninny!!!

One more thought....returning to the 24' stage. 24 is a significant number. 12 twice--12 months, a number of completion; 6 four times--6 a number of nurturing humanity; 4 three times--4 a number of foundations (4 corners of the earth, 4 cardinal directions); 3 four times--3 a number of spiritual and religious significance (trinity, etc.); and 2 twelve times--2 a number of balance and partnership. Like other components of Japanese culture, the stage dimensions are intentional and the gifts are in the unfolding.