A Companion to Nō And Kyōgen Theatre (CSET Vol.1-2)

Erscheinungsjahr 2025
ISBN: 978-90-04-72279-8
Verlag: Brill

Buch, Englisch, 900 Seiten, Format (B × H): 155 mm x 235 mm

Among the longest continuously performed dramatic forms in the world, no and kyogen have a wealth of connections to Japanese culture more broadly construed. The current book brings together under one cover the most important elements of the history and culture of the two arts, profiting from the research of both Japanese and non-Japanese scholars, and offering many new insights.

It takes a more ambitious view of no and kyogen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is a 2-volume work).

Autoren/Hrsg.

Reiko, Yamanaka

Bethe, Monica

Grossmann, Eike

Hare, Tom

Pellecchia, Diego

Watson, Michael

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft
• Geisteswissenschaften Geschichtswissenschaft Weltgeschichte & Geschichte einzelner Länder und Gebietsräume Geschichte einzelner Länder Asiatische Geschichte

Inhaltsverzeichnis

Volume 1

Preface

Notes to Readers

List of Illustrations

Notes on Contributors

Introducing No and Kyogen

Tom Hare and Yamanaka Reiko

1 The History of No

Edited by Eike Grossmann and Miyamoto Keizo

1.1 The Origins of No, Sangaku, and Sarugaku until the Fourteenth Century (Eike Grossmann and Miyamoto Keizo)

1.2 The Emergence of “No” and the Formation of Performers’ Organizations during the Fourteenth and Fifteenth Centuries (Eike Grossmann and Miyamoto Keizo)

1.3 No in Kyoto and Its Dispersion during the Fifteenth and Sixteenth Centuries (Eike Grossmann and Miyamoto Keizo)

1.4 No in the Age of Exploration (Patrick Schwemmer)

1.5 No and Political Leaders from the Late Sixteenth to the Early Eighteenth Century (Eike Grossmann and Miyamoto Keizo)

1.6 No Practices and No Culture during the Seventeenth and Eighteenth Centuries (Eike Grossmann and Miyamoto Keizo)

1.7 The Reorganization and Standardization of No Practices during the Eighteenth and Nineteenth Centuries (Eike Grossmann and Miyamoto Keizo)

1.8 The Crisis of No at the End of the Nineteenth and the Early Twentieth Centuries (Eike Grossmann and Miyamoto Keizo)

1.9 No from World War I until the 1980s (Eike Grossmann and Miyamoto Keizo)

References

2 No Performance

Edited by Monica Bethe and Diego Pellecchia

2.1 Fundamentals of No Performance (Monica Bethe)

2.2 The Stage (Monica Bethe, Yamanaka Reiko, and Diego Pellecchia)

2.3 Performance Conventions (Monica Bethe)

2.4 Movement (Monica Bethe with Diego Pellecchia)

2.5 Music (Takakuwa Izumi with Monica Bethe)

2.6 The History of No Chant (Takakuwa Izumi with Monica Bethe)

2.7 Shodan: the Building Blocks of No (Monica Bethe and Takakuwa Izumi)

2.8 Masks (Monica Bethe)

2.9 Costumes (Monica Bethe)

2.10 No Fans (Diego Pellecchia)

2.11 Properties (Monica Bethe)

2.12 Interpreting Conventions for Standard and Variant Performances (Yamanaka Reiko)

2.13 Underlying Principles of No Dramaturgy (Monica Bethe)

References

3 Training, Practice, and Production

Edited by Diego Pellecchia and Yamanaka Reiko

3.1 Introduction (Diego Pellecchia and Yamanaka Reiko)

3.2 Training (Diego Pellecchia and Yamanaka Reiko)

3.3 Female Performers in No (Barbara Geilhorn)

3.4 Practice and Production (Diego Pellecchia and Yamanaka Reiko)

3.5 The Role of Amateur Practitioners (Diego Pellecchia and Yamanaka Reiko)

3.6 Kurokawa No (Eike Grossmann)

3.7 Recent Developments and Future Perspectives (Diego Pellecchia and Yamanaka Reiko)

References

4 Plays: Their Conventions and Backgrounds

Edited by Tom Hare, Takeuchi Akiko, Michael Watson, and Yamanaka Reiko

4.1 Introduction (Takeuchi Akiko)

4.2 Categories of No Plays (Yamanaka Reiko)

4.3 Sources of No Plays (Takeuchi Akiko)

4.4 No and Its Belief Systems (Tom Hare and Takahashi Yusuke)

4.5 Reading No: Mugen no and Genzai no (Monogurui no) (Yamanaka Reiko)

4.6 Aspects of Time and Character Relations (Paul S. Atkins)

4.7 Stylistics and Poetics (Takeuchi Akiko)

4.8 Narration and Ambiguous Voice (Takeuchi Akiko)

4.9 Religious and Political Allegory in No (Susan Blakeley Klein)

4.10 Medieval Commentaries and No Theatre (Susan Blakeley Klein)

4.11 Bangai kyoku and Shinsaku no: Noncanonical Plays and Modern No Plays (Fukazawa Nozomi and Takeuchi Akiko)

4.12 Conclusion (Takeuchi Akiko)

4.13 Excursus: Dramaturgy in No and Greek Tragedy (Mae J. Smethurst)

References

5 Authors

Edited by Tom Hare and Yamanaka Reiko

5.1 Introduction (Tom Hare and Yamanaka Reiko)

5.2 Kan’ami (Tom Hare and Yamanaka Reiko)

5.3 Zeami (Tom Hare and Yamanaka Reiko)

5.4 Motomasa (Tom Hare and Yamanaka Reiko)

5.5 Zenchiku (Tom Hare and Takahashi Yusuke)

5.6 Nobumitsu (Ikai Takamitsu and Lim Beng Choo)

5.7 Nagatoshi (Ikai Takamitsu and Lim Beng Choo)

5.8 Zenpo (Ikai Takamitsu and Lim Beng Choo)

5.9 Miyamasu (Ikai Takamitsu and Lim Beng Choo)

5.10 Amateurs (Ikai Takamitsu and Lim Beng Choo)

References

Volume 2

6 Treatises and Criticism

Edited by Tamamura Kyo and Shelley Fenno Quinn

6.1 Introduction (Tamamura Kyo)

6.2 Zeami’s Treatises: an Overview (Shelley Fenno Quinn)

6.3 Zeami as Philosopher: Who Makes the Flower Bloom? (Tamamura Kyo)

6.4 Zenchiku’s Treatises and Criticism (Takahashi Yusuke)

6.5 Konparu Zenpo’s Treatises and Criticism (Ikai Takamitsu)

6.6 No Treatises from the Late Muromachi to Edo Periods (Miyamoto Keizo)

6.7 Modern Theories of No (Yokoyama Taro)

References

7 Material Culture of No and Kyogen

Edited by Eike Grossmann

7.1 Introduction (Eike Grossmann)

7.2 The Production of Costumes, Masks, and Fans (Monica Bethe)

7.3 The Transmission of Masks: Carvers and Their Lineages (Adam Zollinger)

7.4 Instruments: Artistic Value and Development of Their Forms (Takakuwa Izumi)

7.5 Performance Spaces: History and Materiality of the No Stage (Miyamoto Keizo)

7.6 Tsuke: Notes on Movements, Gestures, Music, and Stage Properties (Fukazawa Nozomi, Nakatsuka Yukiko, and Yamanaka Reiko)

7.7 Utaibon for Amateurs and Connoisseurs (Ikai Takamitsu)

7.8 No and Kyogen Illustrations (Monica Bethe)

7.9 No and Kyogen Prints and Paintings in Modern Japan (Richard Smethurst)

7.10 No Culture in Everyday Life: Koutaibon, Sugoroku, Karuta, Yubimen, Netsuke, and No Ningyo (Eike Grossmann)

References

8 Reception

Edited by Diego Pellecchia and Yokoyama Taro

8.1 Introduction (Yokoyama Taro)

8.2 Reception of No in the Late Nineteenth and Early Twentieth Centuries (Diego Pellecchia)

8.3 No and Modernism (Diego Pellecchia and Takeuchi Akiko)

8.4 Nogaku and Film (Kodama Ryuichi)

8.5 No and Contemporary Theatre Abroad and in Japan (Diego Pellecchia and Yokoyama Taro)

8.6 Why Not No? (Reginald Jackson and Yokoyama Taro)

8.7 Nogaku and Kabuki (Kodama Ryuichi)

References

9 Kyogen

Edited by Monica Bethe

9.1 Introduction (Monica Bethe)

9.2 Plays, Plots, and Role Types (Jonah Salz)

9.3 Dramaturgy (Jonah Salz)

9.4 Costumes and Masks (Monica Bethe)

9.5 Organization, Training, and Creativity (Jonah Salz)

9.6 History (Monica Bethe)

9.7 The Evolution of Texts (Taguchi Kazuo)

9.8 Discourses (Taguchi Kazuo)

9.9 Sagi kyogen (Alex Rogals)

9.10 Women in Kyogen (Barbara Geilhorn)

9.11 Inspiration, Fusion, and Form: Kyogen outside Japan (Ondrej Hýbl)

References

10 Research Overview

Edited by Yamanaka Reiko, Tom Hare, and Michael Watson

10.1 Introduction (Yamanaka Reiko)

10.2 Research into No before the Meiji Period (Yamanaka Reiko)

10.3 No Scholarship from the Meiji, Taisho, and Showa Periods to World War II (Tom Hare and Yamanaka Reiko)

10.4 Postwar Studies of No (Yamanaka Reiko)

10.5 The History of No Research and Translations in Western Languages: French, Italian, German, and English (Diego Pellecchia, Eike Grossmann, and Tom Hare)

References

11 Appendices

11.1 Finding List for No Texts (Michael Watson)

11.2 Summaries of No Plays (Nakatsuka Yukiko and Michael Watson, with contributions by Fukazawa Nozomi, Inoue Megumi, Hana Lethen, Pia Schmitt, Patrick Schwemmer, and Tomiyama Takahiro)

11.3 Summaries of Kyogen Plays (Monica Bethe)

References (Michael Watson)

Glossary

Index

Über Autor(innen)

Yamanaka Reiko, is professor at Hosei University, Tokyo. She has published extensively on Zeami and on the history of the stage directions regarding individual no plays.

Monica Bethe, is director of the Medieval Japanese Studies Institute, Kyoto. Her research interprets no as an interactive whole including the impact of masks and costumes.

Eike Grossmann, is professor at the University of Hamburg. Her research areas include traditional theatre and folk performing arts, as well as the history of childhood and material culture.

Tom Hare is professor at Princeton University. He has translated Zeami’s writings on training and performance, and publishes on medieval portrait inscriptions.

Diego Pellecchia is associate professor at Kyoto Sangyo University. His research interests include no training, performance, interactions between professionals and amateurs, and the reception of no outside Japan.

Michael Watson, is professor emeritus at Meiji Gakuin University, Tokyo. His research has centred on the Heike monogatari, no drama, narratology, translation, and reception history.