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The Noh Theater: Principles and Perspectives
by Kunio Komparu. 378 pgs.
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publication details
 Table of contents
|
Foreword |
xi |
|
Preface |
xiii |
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Introduction |
xv |
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| 1 |
Sanctity and Magic: Two Supporting Characteristics The Sanctity of Space, 3 · The Magic in Technique, |
7 |
| 2 |
Three Stages of Beauty: Aesthetic Fulfillment In Noh Hana (Apparent Beauty), 1 · Yūgen (Subjective Beauty), 12 · Rōjaku (Quiet Beauty), |
14 |
| 3 |
Actor and Audience: Self and Other Detached Vision, 17 · The Encounter with Noh, |
19 |
| 4 |
An Aesthetic of Discord: The Harmony of Disharmony The Traditional Preference for Odd Numbers, 21 · Jo-ha-kyū in Noh, |
24 |
| 5 |
The Five-Elements Theory: Its Significance in the Five-Play Cycle The Influence of the Five-Elements Theory, 3 · The Five Categories of Noh Plays, 32 · The Unfinished Quality of Noh, |
41 |
| 6 |
The Shite: Characters as Symbols Types of Characters, 45 · Varieties of Madness, 47 · Ghosts and Spirits, 49 · Some Typical Shite, from Deities to Demons, |
51 |
| 7 |
Time and Space in Noh: Apposition and Fusion |
70 |
| 8 |
Kyōgen: The Beginnings of Japanese Comedy Tragedy and Comedy in Cooperation, 96 · Types of Characters and Plays, 99 · Three Kinds of Humor, |
104 |
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|
| 9 |
The Noh Stage: Symbolic Space The Symbolic Nature of Space, 111 · Directional Orientation, 117 · The Significance of the Bridge, 122 · The Mirror Room: Space of Transformation, 125 · The Organization of the Spatial Units, 127 · The Parts of the Stage, 142 · Further Perspectives, |
146 |
| 10 |
The Plots: Simple Stories The Theme: A Song of Praise, 150 · Plays Without Scripts, 151 · Laughter in Noh, 152 · Allusive Variation, |
153 |
| 11 |
The Performers The Shite: Symbol of the Noh Space, 157 · The |
155 |
|
· Supporting Characters, |
160 |
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· The Kokata: The Child as the Embodiment of Yügen, |
160 |
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· The Hayashi: The Noh Orchestra, |
161 |
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· The Jiutai: The Chorus, |
162 |
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· The Ai-kyōgen: The Narrator of Noh, |
162 |
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· The Kōken: The Master as Assistant, |
163 |
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· The Process of Creation: The Tasks of Each Performer, |
165 |
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12 The Music of Noh: Utai and Hayashi |
168 |
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Vocal Music, |
168 |
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· Instrumental Music, |
178 |
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· The Rhythms of Noh, |
188 |
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· Two Forms of Musical Performance, |
194 |
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· Abbreviated Performances of Music and Dance, |
209 |
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13 Movement Patterns: Components of the Dance |
214 |
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The Choice of an Expressive Language, |
241 |
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· Stance and Carriage, |
216 |
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· The Expressive Methods of Kata, |
217 |
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· Pattern, Form, Dance, |
221 |
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14 The Nohmen: Not Mask but Face |
224 |
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Alteration and Transformation: Makeup, Mask, and Face, |
225 |
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· Expression Through a Double Negative, |
229 |
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· Types of Noh Masks, |
230 |
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15 The Noh Costumes: Symbols of Revelation |
240 |
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Donning the Robes, |
241 |
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· The Importance of Woman Costumes, |
241 |
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· Typical Costumes: Two Examples, |
244 |
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· Elements of the Costumes, |
246 |
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16 The Properties of Noh: Dressing the Space |
253 |
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Stage Properties, |
253 |
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· Personal Properties, |
256 |
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· Multipurpose Properties, |
258 |
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17 The Structure of Noh |
263 |
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Structural Components, |
266 |
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· Functional Components, |
270 |
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· Nohgaku as a Sphere, |
271 |
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18 The Construction of Noh |
273 |
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The Total System, |
273 |
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· The Subsystems, |
289 |
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19 The Process of Performance: Two Examples |
303 |
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Phantasmal Noh: Nonomiya, |
304 |
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· Phenomenal Noh: Shunkan, |
326 |
| 1 |
Zeami: The Man Who Linked Noh to the Future |
345 |
| 2 |
Noh Plays Currently Performed |
351 |
| 3 |
How to See Noh: A Guide to Theaters |
357 |
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Principal Noh Theaters in Japan, |
357 |
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· What to Look For, |
359 |
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Index of Noh Plays |
361 |
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Glossary-Index |
365 |
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Writing in the first issue of Cultural Studies , the Australian critic Jennifer Craik cites Stuart Hall and Tony Bennett to argue that "the development of cultural studies has seen an uneasy alliance. . . which overlooks the intrinsic incommensurability...
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