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

approx. 1000 pp.
ISBN: 978-90-04-53966-2
Verlag: Brill

Buch, Englisch, Band 19/1, 526 Seiten, Format (B × H): 157 mm x 239 mm, Gewicht: 1197 g

Reihe: Handbook of Oriental Studies. Section 5 Japan

No and kyogen theatre are among the longest continuously staged dramatic forms in the world and are deeply connected to Japanese arts, culture, society, and history. This richly illustrated two-volume set brings together the important elements of these traditions to offer new insights, with contributions by Japanese and non-Japanese experts from a broad range of disciplines. It represents the most ambitious and exhaustive exploration of no and kyogen to date, and is an invaluable resource for both scholars and enthusiasts. (This is volume1 out of 2).

Autoren/Hrsg.

Reiko, Yamanaka

Bethe, Monica

Grossmann, Eike

Hare, Tom

Pellecchia, Diego

Watson, Michael

Fachgebiete

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

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

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.