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The Noh plays of Japan have been compared to the greatest of Greek tragedies for their evocative, powerful poetry and splendor of emotional intensity.
Now in paperback, this sparkling K-drama-inspired debut novel introduces irrepressibly charming teen Chloe Chang, who is reunited with her deceased father's estranged family via a DNA test, and is soon whisked off to Seoul to join them... When her friends gift her a 23andMe test as a gag, high school senior Chloe Chang doesn’t think much of trying it out. She doesn’t believe anything will come of it—she’s an only child, her mother is an orphan, and her father died in Seoul before she was even born, and before her mother moved to Oklahoma. It’s been just Chloe and her mom her whole life. But the DNA test reveals something Chloe never expected—she’s got a whole extended family from her father’s side half a world away in Korea. Turns out her father's family are amongst the richest families in Seoul and want to meet Chloe. So, despite her mother's reservations, Chloe travels to Seoul and is whisked into the lap of luxury . . . but something feels wrong. Soon Chloe will discover the reason why her mother never told her about her dad’s family, and why the Nohs wanted her in Seoul in the first place. Could joining the Noh family be worse than having no family at all?
The japanese Noh drama by the Master Zeami Motokiyo about the Buddhist priest Rensei and the warrior of the Taira Clan Atsumori. The story of redention of the warrior Kumagai Jiro Naozane that killed the young Atsumori. One of the most popular and touching Zeami's Noh drama inspired by "The Tales of Heike". Contents: Preface by Massimo Cimarelli Atsumori by Zeami Motokiyo Pearson Part I Interlude Part II Glossary Notes
This volume is the first work in either English or Japanese to offer a comprehensive explanation and analysis of the principles of the Noh theatre. The book painstakingly outlines both physical and intellectual aspects of Noh, its technical principles and its philosophical perspectives, unknown until now.
The Japanese dramatic art of Noh has a rich six-hundred-year history and has had a huge influence on Japanese culture and such Western artists as Ezra Pound and The Japanese dramatic art of Noh has long held a fascination for people both in the East and the West. For six hundred years it has had a huge influence on Japanese culture—and has inspired such Western artists as Ezra Pound and William Butler Yeats. Here is a translation of the Fushikaden, a seminal treatise on Noh by the fifteenth-century actor and playwright Zeami (1363–1443), the most celebrated figure in the art’s history. His writings on Noh were originally secret teachings that were later coveted among the highest ranks of the samurai class and first became available to the general public only in the twentieth century. The Fushikaden is the best known of Zeami’s writings on Noh and it provides practical instruction for actors, gives valuable teachings on the aesthetics and spiritual culture of Japan, and offers a philosophical outlook on life. Along with the Fushikaden, translator William Scott Wilson includes a comprehensive introduction describing the intriguing history behind this enigmatic and influential art form, and also a new translation of one of Zeami’s most moving plays, Atsumori.
This book traces the history of noh and kyōgen, the first major Japanese theatrical arts. Going beyond P. G. O'Neill's Early Nō Drama of 1958, it covers the full period of noh's medieval development and includes a chapter dedicated to the comic art of kyōgen, which has often been left in noh's shadow. It is based on contemporary research in Japan, Asia, Europe and America, and embraces current ideas of theatre history, providing a richly contextualized account which looks closely at theatrical forms and genres as they arose. The masked drama of noh, with its ghosts, chanting and music, and its use in Japanese films, has been the object of modern international interest. However, audiences are often confused as to what noh actually is. This book attempts to answer where noh came from, what it was like in its day, and what it was for. To that end, it contains sections which discuss a number of prominent noh plays in their period and challenges established approaches. It also contains the first detailed study in English of the kyōgen repertoire of the sixteenth-century.
The great noh actor, theorist, and playwright Zeami Motokiyo (ca. 1363-1443) is one of the major figures of world drama. His critical treatises have attracted international attention ever since their publication in the early 1900s. His corpus of work and ideas continues to offer a wealth of insights on issues ranging from the nature of dramatic illusion and audience interest to tactics for composing successful plays to issues of somaticity and bodily training. Shelley Fenno Quinn's impressive interpretive examination of Zeami's treatises addresses all of these areas as it outlines the development of the playwright's ideas on how best to cultivate attunement between performer and audience. Quinn begins by tracing Zeami's transformation of the largely mimetic stage art of his father's troupe into a theater of poiesis in which the playwright and actors aim for performances wherein dance and chant are re-keyed to the evocative power of literary memory. prosodies and associated auras with the flow of dance and chant led to the creation of a dramatic prototype that engaged and depended on the audience as never before.Later chapters examine a performance configuration created by Zeami (the nikyoku santal) as articulated in his mature theories on the training of the performer. Drawing on possible reference points from Buddhist and Daoist thought, the author argues that Zeami came to treat the nikyoku santai as a set of guidelines for bracketing the subjectivity of the novice actor, thereby allowing the actor to reach a certain skill level or threshold from which his freedom as an artist might begin.
This is the first full-length study of Zeami Motokiyo (1363–1443), generally recognized as the greatest playwright of Japan's classical Noh theater. The book begins with a biography based on the known documents relating to Zeami's life. It then examines the documentary evidence for authorship and explains the various technical aspects of Noh. Subsequent chapters explore the role of the old man in noh (particularly in the play Takasago), as well as Zeami's plays about women and warriors, with primary attention to Izutsu and Tadanori. The book concludes with a general discussion of Zeami's style and the relationship between his dramatic theory and his plays.
Since the inception of the noh drama six centuries ago, actors have resisted the notion that noh rests on natural talent alone. Correct performance, they claim, demands adherence to traditions. Yet what constitutes noh's traditions and who can claim authority over them have been in dispute throughout its history. This book traces how definitions of noh, both as an art and as a profession, have changed over time. The author seeks to show that the definition of noh as an art is inseparable from its definition as a profession. The aim of this book is to describe how memories of the past become traditions, as well as the role of these traditions in the institutional development of the noh theater from its beginnings in the fourteenth century through the late twentieth century. It focuses on the development of the key traditions that constitute the "ethos of noh," the ideology that empowered certain groups of actors at the expense of others, and how this ethos fostered noh's professionalization--its growth from a loose occupation into a closed, regulated vocation. The author argues that the traditions that form the ethos of noh, such as those surrounding masks and manuscripts, are the key traits that define it as an art.
Classic Noh, Kyogen and Kabuki Works Nothing reflects the beauty of life as much as Japanese theater. It is here that reality is held suspended and emptiness can fill the mind with words, music, dance, and mysticism. A.L. Sadler translates the mysteries of Noh, Kyogen, and Kabuki in his groundbreaking book, Japanese Plays. A seminal classic in its time, it provides a cross-section of Japanese theater that gives the reader a sampler of its beauty and power. The power of Noh is in its ability to create an iconic world that represents the attributes that the Japanese hold in highest esteem: family, patriotism, and honor. Kyogen plays provide comic relief often times performed between the serious and stoic Noh plays. Similarly, Sadler's translated Kyogen pieces are layered between the Noh and the Kabuki plays. The Kabuki plays were the theater of the common people of Japan. The course of time has given them the patina of folk art making them precious cultural relics of Japan. Sadler selected these pieces for translation because of their lighter subject matter and relatively upbeat endings—ideal for a western readership. More linear in their telling and pedestrian in the lessons learned these plays show the difficulties of being in love when a society is bent on conformity and paternal rule. The end result found in Japanese Plays is a wonderful selection of classic Japanese dramatic literature sure to enlighten and delight.