A Companion to No and Kyogen Theatre (Vol. 2)

Erscheinungsjahr 2025
ISBN: 978-90-04-72273-6
Verlag: World Bank Publications

Buch, Englisch, Band 19/2, 556 Seiten, Format (B × H): 162 mm x 240 mm, Gewicht: 1256 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 volume 2 out of 2).

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 2

Preface

Notes to Readers

List of Illustrations

Notes on Contributors

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.