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Author: Shelley Fenno Quinn Publisher: University of Hawaii Press ISBN: 9780824818272 Category : Performing Arts Languages : en Pages : 524
Book Description
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.
Author: Shelley Fenno Quinn Publisher: University of Hawaii Press ISBN: 9780824818272 Category : Performing Arts Languages : en Pages : 524
Book Description
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.
Author: Masakazu Yamazaki Publisher: Princeton University Press ISBN: 0691213305 Category : Performing Arts Languages : en Pages : 356
Book Description
This annotated translation is the first systematic rendering into any Western language of the nine major treatises on the art of the Japanese No theater by Zeami Motokivo (1363-1443). Zeami, who transformed the No from a country entertainment into a vehicle for profound theatrical and philosophical experience, was a brilliant actor himself, and his treatises touch on every aspect of the theater of his time. His theories, mixing philosophical and practical insights, often seem strikingly contemporary. Since their discovery early in this century. these secret treatises have been considered among the most valuable and representative documents in the history of Japanese aesthetics. They discuss subjects from the art of the playwright to the reciprocal nature of the relationship between performer and audience.
Author: Thomas Blenman Hare Publisher: Stanford University Press ISBN: 0804726779 Category : Drama Languages : en Pages : 336
Book Description
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.
Author: Zeami Publisher: Columbia University Press ISBN: 0231139594 Category : Drama Languages : en Pages : 525
Book Description
Annotation Zeami (1363-1443), Japan's most celebrated actor and playwright, composed more than 30 of the finest plays of no drama. He also wrote a variety of texts on theater and performance. This text presents the full range of Zeami's critical thought on the subject.
Author: Erika de Poorter Publisher: BRILL ISBN: 9004487581 Category : Drama Languages : en Pages : 303
Book Description
This work is a translation by author Dr. Erika de Poorter of the important Sarugaku dangi (‘Talks on Sarugaku’), a collection of comments by the actor, playwright and critic Zeami (1363-1443) as recorded by his son Motoyoshi. Sarugaku is the original term for Nō, the classical Japanese theatre of which Zeami is the founding father. The Sarugaku dangi is generally considered as belonging to Zeami’s transmitted writings (densho), but more specifically it forms part of his treatises on Nō (Nōgakuron). In addition to two letters and a number of Nō plays, 21 of Zeami’s writings are known today. These writings were been secretly preserved by a few families, and are also called hidensho (‘secretly transmitted writings’) or hiden (‘secret traditions’). These secret texts were discovered and published from 1908, with the last of Zeami’s treatises coming to light in 1956. The Sarugaku dangi is a unique source for the history of early Nō. The present translation, preceded by an extensive introduction on Zeami and his work, is directed at theatre specialists with no knowledge of written Japanese, and is also intended as a reference work for Japanologists.
Author: Mae J. Smethurst Publisher: Princeton University Press ISBN: 1400860059 Category : Drama Languages : en Pages : 356
Book Description
By means of a cross-cultural analysis of selected examples of early Japanese and early Greek drama, Mae Smethurst enhances our appreciation of each form. While using the methods of a classicist to increase our understanding of no as literary texts, she also demonstrates that the fifteenth-century treatises of Zeami--an important playwright, actor, critic, and teacher of no--offer fresh insight into Aeschylus' use of actors, language, and various elements of stage presentation. Relatively little documentation apart from the texts of the plays is available for the Greek theater of the fifth century B.C., but Smethurst uses documentation on no, and evidence from no performances today, to suggest how presentations of the Persians could have been so successful despite the play's lack of dramatic confrontation. Aeschylean theater resembles that of Zeami in creating its powerful emotional and aesthetic effect through a coherent organization of structural elements. Both playwrights used such methods as the gradual intensification of rhythmic and musical effects, an increase in the number and complexity of the actors' movements, and a progressive focusing of attention on the main actors and on costumes, masks, and props during the course of the play. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author: Zeami Motokiyo Publisher: Volume Edizioni srl ISBN: 8897747108 Category : Drama Languages : en Pages : 37
Book Description
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
Author: Shelley Fenno Quinn Publisher: University of Hawaii Press ISBN: 9780824829681 Category : Performing Arts Languages : en Pages : 502
Book Description
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. Synthesizing this remembered language of stories, poems, phrases, and their 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 santai) 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.
Author: Zeami Publisher: Shambhala Publications ISBN: 0834828987 Category : Drama Languages : en Pages : 193
Book Description
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.
Author: Stanca Scholz-Cionca Publisher: BRILL ISBN: 9004483055 Category : Drama Languages : en Pages : 512
Book Description
This well-illustrated work is the first attempt to bridge the gap between several specialized discourses concerning Japanese theatre. Central are problems of scholarly and practical reception of Japanese theatre forms in the West. The essays by a careful selection of internationally well-reputed scholars range widely through Japanese theatre, from the ancient to the postmodern, or, one might say, from kagura to angura. It deals with reception of Japanese theatre in the West, the treatment of the body in stage art and drama, Western influence, the impact of Japanese theatre practice and theory upon the actor’s training, and stage directing in the West. Readers will come across a wide variety of intriguing topics, such as lion dances, kabuki, nôh, folk theatre, taishu engeki, and several important modern playwrights, etc. This book truly promises to intensify future dialogue between the many disciplines concerned with Japanese theatre.
Author: Shelley Fenno Quinn
Author: Shelley Fenno Quinn
Author: Masakazu Yamazaki
Author: Thomas Blenman Hare
Author: Zeami
Author: Erika de Poorter
Author: Mae J. Smethurst
Author: Zeami Motokiyo
Author: Shelley Fenno Quinn
Author: Zeami
Author: Stanca Scholz-Cionca