No and Kyogen in the Contemporary WorldJames R. Brandon How do classical, highly codified theatre arts retain the interest of today's audiences and how do they grow and respond to their changing circumstances? The eight essays presented here examine the contemporary relevance and significance of the "classic" No and Kyogen theatre to Japan and the West. They explore the theatrical experience from many perspectives--those of theatre, music, dance, art, literature, linguistics, philosophy, religion, history and sociology. |
Contents
Introduction | 3 |
Considerations for a New Nō Perspective | 19 |
Yugen after Zeami | 36 |
The WakiShite Relationship in | 65 |
Introduction | 93 |
From Zeami to Hisao | 111 |
Nō Changes | 125 |
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acting aesthetic amateur apprehension artistic Atsumori audience beauty Buddha Buddhist bunraku century chorus classical contemporary created creole Creolization culture dance darkness decreolization discussion Dōmoto drama Edo period elements ence English example experience expression flower Hōshō Iwanami Japan Japanese kabuki kakegoe Kan'ami Kanze Hisao kata Komachi kyōgen actors Kyoto language learning linguistic Lotus Sutra maeshite mance masks master meaning medieval Meiji Meiji period mind misconception modern moon movement nature Nightbird nō actor nō and kyōgen nō performance nō plays nō-kyōgen nochijite Nomura Mansaku nonduality Omote Original Enlightenment ōtsuzumi performing arts pidgin poem poetry production realm repertory role sarugaku scene School sense sentient Shigeyama shite actor shoshin Shoten Shunzei song spectators spirit stage style Suzuki Suzuki Tadashi teaching techniques Tendai theater theatrical tion Tokyo traditional translation treatises troupe University of Hawai'i waki Watchman's Mirror Western Western theater yugen Zeami Zenchiku