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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 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
From ancient ritualistic practices to modern dance theatre, this study provides concise summaries of all major theatrical art forms in Japan. It situates each genre in its particular social and cultural contexts, describing in detail staging, costumes, repertory and noteworthy actors.
Japanese nõ theatre or the drama of 'perfected art' flourished in the fourteenth and fifteenth centuries largely through the genius of the dramatist Zeami. An intricate fusion of music, dance, mask, costume and language, the dramas address many subjects, but the idea of 'form' is more central than 'meaning' and their structure is always ritualized. Selected for their literary merit, the twenty-four plays in this volume dramatize such ideas as the relationship between men and the gods, brother and sister, parent and child, lover and beloved, and the power of greed and desire. Revered in Japan as a cultural treasure, the spiritual and sensuous beauty of these works has been a profound influence for English-speaking artists including W. B. Yeats, Ezra Pound and Benjamin Britten.
The Noh Plays of Japan is the most respected collection of Noh plays in English. The classic Japanese plays can be read for their great literary merit and also provide the reader with an understanding of a unique theatre art and important insights into the cultural, spiritual and artistic traditions of Japan. The Noh Plays of Japan, first published in 1921 and justly famous for more than three-quarters of a century, established the Noh play for the Western reader as beautiful literature. It contains Arthur Waley's exquisite translations of nineteen plays and summaries of sixteen more, together with a revealing introductory essay that furnishes the background for a clear understanding and a genuine appreciation of the Noh as a highly significant dramatic form. Noh plays live on as a magnificent artistic heritage handed down from the high culture of medieval Japan. Among the major types of Japanese drama, the Noh, which is often called the classical theatre of Japan, has had perhaps the greatest attraction for the West. Introduced to Europe and America through the translations of Arthur Waley and Ezra Pound, it found an ardent admirer in William Butler Yeats, who described it as a form of drama "distinguished, indirect, and symbolic" and created plays in its image.
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.
Japan boasts one of the world's oldest, most vibrant and most influential performance traditions. This accessible and complete history provides a comprehensive overview of Japanese theatre and its continuing global influence. Written by eminent international scholars, it spans the full range of dance-theatre genres over the past fifteen hundred years, including noh theatre, bunraku puppet theatre, kabuki theatre, shingeki modern theatre, rakugo storytelling, vanguard butoh dance and media experimentation. The first part addresses traditional genres, their historical trajectories and performance conventions. Part II covers the spectrum of new genres since Meiji (1868–), and Parts III to VI provide discussions of playwriting, architecture, Shakespeare, and interculturalism, situating Japanese elements within their global theatrical context. Beautifully illustrated with photographs and prints, this history features interviews with key modern directors, an overview of historical scholarship in English and Japanese, and a timeline. A further reading list covers a range of multimedia resources to encourage further explorations.
This outstanding, scholarly work by an American-born authority on Chinese and Japanese art and literature, edited and translated by one of the most ambitious, influential, and innovative poets of the first half of the 20th century, provides Western readers with a valuable interpretation of an important aspect of Japanese culture. In addition to the complete translations of 15 plays, the text discusses historical background and development of the Noh theater.
This is the first full-length study of Zeami Motokiyo (13631443), 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.