No and Kyogen in the Contemporary World James Brandon

ISBN: 9780756798666

Published: April 28th 2006

Hardcover

249 pages


Description

No and Kyogen in the Contemporary World  by  James Brandon

No and Kyogen in the Contemporary World by James Brandon
April 28th 2006 | Hardcover | PDF, EPUB, FB2, DjVu, AUDIO, mp3, ZIP | 249 pages | ISBN: 9780756798666 | 8.33 Mb

How do classical, highly codified theater arts retain the interest of todays audiences and how do they grow and respond to their changing circumstances? The eight essay presented here investigate these questions, examining the contemporaryMoreHow do classical, highly codified theater arts retain the interest of todays audiences and how do they grow and respond to their changing circumstances? The eight essay presented here investigate these questions, examining the contemporary significance of the classic no and kyogen theater to Japan and the West.

They explore the theatrical experience from many perspectives - those of theater, music, dance, art, literature, linguistics, philosophy, religion, history, and sociology. This volume marks the first time the contemporary position of classic Japanese theater has been so broadly investigated. The first group of essays addresses the values that serious dance-drama no and lively kyogen comedy hold for contemporary audiences around the world. Richard Emmert locates a definition of no-ness in the physical qualities of the actors performance - qualities that facilitate artistic transmission and hence preservation.

Arthur H. Thornhill III focuses on yugen as an aesthetic idea. Royall Tyler examines the plays as expressions of religious beliefs and religious points of view and suggests that, important as religious content is to the plays, it is not necessary to understand Buddhist doctrine to respond. The adaptation of the theater arts in Japan and the West is discussed in the second group of essays.

Nagao Kazuo interprets the long history of no as a series of misunderstandings or misconceptions (gokai) whereby performers attempted to recover an unknown (and unknowable) past. Tom Hares essay takes up Zeamis understanding of the process of artistic transmission. Domoto Masaki suggests that no was drastically altered when it changed from a dialogue drama to a music-dance drama early in its development. Essays and interviews in the final group draw on contributors personal experiences to describe a wide range of recent interactions between no and kyogen and Western theater. Kyogen master artist Nomura Mansaku, who was interviewed toward the end of a ye



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