Developing Zeami: The Noh Actor's Attunement In PracticeThe 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. |
Contents
VI | 9 |
VII | 25 |
VIII | 65 |
IX | 95 |
XI | 97 |
XII | 181 |
XIV | 183 |
XV | 221 |
XVII | 267 |
XVIII | 273 |
XX | 285 |
XXI | 303 |
XXII | 399 |
XXIII | 417 |
XXIV | 447 |
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Common terms and phrases
actor artistic effect audience aural Buddhist Bungaku Bunko chapter of Kaden character composed composition dance and chant deity demon dengaku Diet text elements flower gloss hataraki Hossō Ibid interpretation Ise monogatari Iwanami Japanese jo-ha-kyū kakari Kakyō Kan'ami Kanze Kanze school Kashu kenkyū Kokin waka kokoro Konparu kuse kuse section kusemai kyōgen kyū Kyui material matsu Matsunoya meaning metaphor mimetic mind monogatari monogurui monomane mushin myō Nearman Nihon Koten nikyoku santai NKBT 65 Nōgaku Nose NSTS Okina Ōmi Omote ongyoku onstage original passage performance phase pine tree playwright poem poet poetic refers renga role Sandō Sarugaku dangi second act segment shite shū Shugyoku tokuka SNKBZ 88 stage Sumiyoshi Takasago Takemoto Tanaka techniques Tendai term three styles Tokyo trans translation tsure types Ukifune University Press visional affect visual vocal music waki play warrior wondrous Yamato Yamato sarugaku Yōkyoku Yoshida Yoshimoto yugen Zeami Zeami's Talks
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Page xix - You know how opposed your whole 'third manner' of execution is to the literary ideals which animate my crude and Orson-like breast, mine being to say a thing in one sentence as straight and explicit as it can be made, and then to drop it forever; yours being to avoid naming it straight, but by dint of breathing and sighing all round and round it, to arouse in the reader who may have had a similar perception already (Heaven help him if he hasn't!) the illusion of a solid object, made (like the 'ghost...