Book contents
- The Cambridge History of Japanese Literature
- The Cambridge History of Japanese Literature
- Copyright page
- Contents
- Illustrations
- Contributors
- Book part
- A note on Romanization and conventions
- Glossary
- General introduction
- Part I The ancient period (beginnings to 794)
- Part II The Heian period (794–1185)
- Part III The medieval period (1185–1600)
- 21 Introduction to medieval literature
- 22 Japanese poetic thought, from earliest times to the thirteenth century
- 23 Shinkokin wakashū: The New Anthology of Ancient and Modern Japanese Poetry
- 24 Waka in the medieval period: patterns of practice and patronage
- 25 Hyakunin isshuand the popularization of classical poetry
- 26 Medieval recluse literature: Saigyō, Chōmei, and Kenkō
- 27 Medieval women’s diaries: fromTamakiwarutoTakemukigaki
- 28 Setsuwa (anecdotal) literature:Nihon ryōikitoKokon chomonjū
- 29 The rise of medieval warrior tales:Hōgen monogatariandHeiji monogatari
- 30 The Tales of the Heike
- 31 The late medieval warrior tales: fromSoga monogataritoTaiheiki
- 32 Literature of medieval Zen temples: Gozan (Five Mountains) and Ikkyū Sōjun
- 33 Renga (linked verse)
- 34 Noh drama
- 35 Noh drama theory from Zeami to Zenchiku
- 36 Kyōgen: comic plays that turn medieval society upside down
- 37 Late medieval popular fiction and narrated genres: otogizōshi, kōwakamai, sekkyō, and ko-jōruri
- Part IV The Edo period (1600–1867)
- Part V The modern period (1868 to present)
- Bibliography of English secondary sources and translations
- Index
35 - Noh drama theory from Zeami to Zenchiku
from Part III - The medieval period (1185–1600)
Published online by Cambridge University Press: 05 January 2016
Book contents
- The Cambridge History of Japanese Literature
- The Cambridge History of Japanese Literature
- Copyright page
- Contents
- Illustrations
- Contributors
- Book part
- A note on Romanization and conventions
- Glossary
- General introduction
- Part I The ancient period (beginnings to 794)
- Part II The Heian period (794–1185)
- Part III The medieval period (1185–1600)
- 21 Introduction to medieval literature
- 22 Japanese poetic thought, from earliest times to the thirteenth century
- 23 Shinkokin wakashū: The New Anthology of Ancient and Modern Japanese Poetry
- 24 Waka in the medieval period: patterns of practice and patronage
- 25 Hyakunin isshuand the popularization of classical poetry
- 26 Medieval recluse literature: Saigyō, Chōmei, and Kenkō
- 27 Medieval women’s diaries: fromTamakiwarutoTakemukigaki
- 28 Setsuwa (anecdotal) literature:Nihon ryōikitoKokon chomonjū
- 29 The rise of medieval warrior tales:Hōgen monogatariandHeiji monogatari
- 30 The Tales of the Heike
- 31 The late medieval warrior tales: fromSoga monogataritoTaiheiki
- 32 Literature of medieval Zen temples: Gozan (Five Mountains) and Ikkyū Sōjun
- 33 Renga (linked verse)
- 34 Noh drama
- 35 Noh drama theory from Zeami to Zenchiku
- 36 Kyōgen: comic plays that turn medieval society upside down
- 37 Late medieval popular fiction and narrated genres: otogizōshi, kōwakamai, sekkyō, and ko-jōruri
- Part IV The Edo period (1600–1867)
- Part V The modern period (1868 to present)
- Bibliography of English secondary sources and translations
- Index
Summary
Zeami's collected theoretical writings, along with those of his son-in-law Komparu Zenchiku, form the primary corpus of nogakuron. Zeami's early treatises are driven by a tension between two contrasting ideals, yugen and monomane. The most prominent aesthetic ideal in Zeami's writings is hana, the Flower. Zeami is famous for his extensive treatment of jo-ha-kyu. Zeami wrote only one treatise on the art of playwriting, The Three Paths. For woman plays, the ideal protagonist roles are Heian court ladies. In an early treatise, Kabu zuinoki, Zenchiku reveals his deep fascination with waka. Zenchiku is best known for his original theoretical construct rokurin ichiro. The treatises of Zeami and Zenchiku provide invaluable insight into the formative years of noh drama. Zeami constantly strives to adjust his art to a level of refinement suitable for his audience. This is evidence of a medieval concern with the process of reception, with affective theory, due to the social nature of the era's dominant literary arts.
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- The Cambridge History of Japanese Literature , pp. 340 - 346Publisher: Cambridge University PressPrint publication year: 2015