1 - 7 of 7 Chapters
[The aims of the book are described. A number of important historical contexts are sketched, particularly for readers with little expertise in Japanese history, covering historical, political, geographical, social, economic, literary, and cultural issues.]
[Four performance genres preceding the appearance of noh are considered as antecedents: sarugaku (a comic and subversive genre), jushi (a ritual genre), okina sarugaku (a set of ritual pieces presenting elderly men), and ennen (monastic entertainments). These and other genres are described, and...
[Fourteenth-century records of noh plays are inspected. The first descriptions of plays come from mid-century. Subsequent interactions between intellectuals and playwrights are described, and their role in the refinement of the tradition is evaluated. The circumstances and plays of a number of...
[Historiographical issues about the narrative of noh’s development in this period are questioned. Moving away from a traditional perspective that focuses solely on the actor/playwright Kanze Zeami, whose writings provide much of what is known about the period, a broader picture of noh in this...
[The matter of authorship and literacy is used to set up this chapter which is primarily about plays written in the first half of the fifteenth century. After looking at what little is known about plays by other prominent performers, attention turns to the plays of the kind generally known as...
[This is a period about which little concrete information about noh has been published in English. However, it is during this time that noh was transformed from the popular entertainments of the earlier period into something recognizably like the performance art that exists today. A number of...
[Kyogen, a sister art to noh, largely thought of as consisting of comic plays in contrast to noh’s serious theatre, was mostly notable for its maintenance of oral (and rejection of literate) tradition until finally playscripts were written down in the seventeenth century. As a result, the...
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