The traditional theatre of Japan: Kyogen, Noh, Kabuki, and puppetry
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Lewiston [u.a.]
Mellen
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | VI, 253 S. Ill., Kt. |
| ISBN: | 9780773457980 |
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Datensatz im Suchindex
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| adam_text | THE TRADITIONAL THEATRE OF JAPAN
Kyogen, Noh, Kabuki, and Puppetry
John Wesley Harris
The Edwin Mellen Press
Lewiston*Queenston*Lampeter
TABLE OF CONTENTS
List of illustrations i
Acknowledgements iii
Preface by Professor Marianne McDonald, University of California v
Introduction: A theatre of conscious art 1
Chapter 1: The samurai tradition - bushido 5
The court transfers control to the local level 5
Attempts at conquest prove self-defeating - the first Shoguns 6
The court unintentionally gives more power to the daimyos 8
The nature of the early samurai 8
Samurai vendettas • 10
Seppuku - the rites of suicide 11
The complete samurai - killer and artist 13
The retired Emperors 14
Yoritomo establishes a new military government in the east 15
The Yoshitsune legend 17
The Hojo regents and Kublai Khan s invasions 18
Oda Nobunaga unites Japan 20
Hideyoshi creates a rigid social hierarchy 21
Tokugawa Ieyasu creates peace and establishes a dynasty 22
The samurai develop the martial arts 23
Ieyasu isolates Japan to protect the social system 24
Chapter 2: The influence of Buddha and Confucius 25
The coming of Buddhism 25
The original doctrine of Buddhism 27
Buddhism becomes a religion 28
Jodo and Zen - two of the later schools of Buddhism 30
The appeal of Zen to the samurai 35
Some effects of Buddhism upon the arts 37
The teachings of Confucius and his followers 41
Chapter 3: Kyogen - the early farces 47
The Okina play 50
The benevolent nature of kyogen 51
Son-in-law pieces 53
Taro Kaja pieces 54
Sentimentality in kyogen 55
Stupidiity in kyogen 56
Presumption and hypocrisy in kyogen 58
Kindly demons 59
Women in kyogen 61
The celebratory nature of kyogen 62
The staging and acting of kyogen 62
Chapter 4: The nature and history of the noh play 67
The performance of noh 68
The dramatic action of a noh play 74
The structure of a noh play 76
The growth and development of noh 77
Subscription list (kanjiri) performances ° 81
An eventful performance in 1349 82
The noh troupes establish guilds (za) 85
Kan ami and Zeami - the creators of modem noh 88
Chapter 5: Aesthetic principles underpinning the noh 93
Buddhist principles in action 94
The jo-ha-kyu aesthetic 96
The nature of a goban 97
Zeami on the construction of noh plays 101
Beauty as hana, yugen or rojaku 103
Zeami on role-playing in noh 106
Yin and yang in performance 107
The skin, flesh and bone of a performance 108
The need for concentration 109
The life of a noh actor 111
Chapter 6: The noh in action - the descrption of a goban 115
The god play - 77K; Queen Mother of the West (Seiobo) 115
The warrior play - Kanehira 120
The wig play - The Royal Visit to Ohara (Ohara Goko) 124
The lunatic play - The Bird-Scaring Boat (Jorioi-Bune) 130
The demon play - The Valley Rite (Taniko) 134
Chapter 7: The early puppet theatres in Japan 139
The story of Princess Joruri 143
The Chest-Splitting ofAmida (Amida no Munewari) 147
The presentation of early joruri plays 151
Chapter 8: The kabuki stage 155
The hanamichi 157
The informality of the performance 159
The main categories of kabuki plays 160
The beginnings of kabuki 162
The development of new types of play 166
Kabuki imitates the puppets 172
The craze for dance-drama 173
Kizewamono, the true-to-life sewamono 176
Chapter 9: The acting and scripting of kabuki 179
The actor s approach to his role 180
The mie 183
The kabuki actor s need for space 184
Stage groupings in kabuki 185
The language of kabuki 188
Freezing subordinate action to gain focus 190
Changing costume to imply change of mood 191
How the plays were written 193
Choosing worlds for the season s programme 194
Fitting new productions to the occasion 196
The day s programme 197
The shaping of the plays 198
Chapter 10: Kabuki in action - a description of Sukeroku 201
Chapter 11: The success and decline of the puppets 211
Kagekiyo Victorious (1686) 212
The Lovers Double-Suicide at SonezaM (1703) 215
The Battles of Kokusenya (1715) 220
Developments in the later 18th century 222
The decline of the doll theatre 226
The puppets in performance 228
Chapter 12 : Bunraku in action -The Secret ofSugawara s Calligraphy 231
Epilogue: The relevance of a symbolic theatre 245
Bibliography 249
Index 251
|
| adam_txt |
THE TRADITIONAL THEATRE OF JAPAN
Kyogen, Noh, Kabuki, and Puppetry
John Wesley Harris
The Edwin Mellen Press
Lewiston*Queenston*Lampeter
TABLE OF CONTENTS
List of illustrations i
Acknowledgements iii
Preface by Professor Marianne McDonald, University of California v
Introduction: A theatre of conscious art 1
Chapter 1: The samurai tradition - bushido 5
The court transfers control to the local level 5
Attempts at conquest prove self-defeating - the first Shoguns 6
The court unintentionally gives more power to the daimyos 8
The nature of the early samurai 8
Samurai vendettas • 10
Seppuku - the rites of suicide 11
The complete samurai - killer and artist 13
The 'retired' Emperors 14
Yoritomo establishes a new military government in the east 15
The Yoshitsune legend 17
The Hojo 'regents' and Kublai Khan's invasions 18
Oda Nobunaga unites Japan 20
Hideyoshi creates a rigid social hierarchy 21
Tokugawa Ieyasu creates peace and establishes a dynasty 22
The samurai develop the martial arts 23
Ieyasu isolates Japan to protect the social system 24
Chapter 2: The influence of Buddha and Confucius 25
The coming of Buddhism 25
The original doctrine of Buddhism 27
Buddhism becomes a religion 28
Jodo and Zen - two of the later schools of Buddhism 30
The appeal of Zen to the samurai 35
Some effects of Buddhism upon the arts 37
The teachings of Confucius and his followers 41
Chapter 3: Kyogen - the early farces 47
The Okina play 50
The benevolent nature of kyogen 51
Son-in-law pieces 53
Taro Kaja pieces 54
Sentimentality in kyogen 55
Stupidiity in kyogen 56
Presumption and hypocrisy in kyogen 58
Kindly demons 59
Women in kyogen 61
The celebratory nature of kyogen 62
The staging and acting of kyogen 62
Chapter 4: The nature and history of the noh play 67
The performance of noh 68
The dramatic action of a noh play 74
The structure of a noh play 76
The growth and development of noh 77
Subscription list (kanjiri) performances ° 81
An eventful performance in 1349 82
The noh troupes establish guilds (za) 85
Kan'ami and Zeami - the creators of modem noh 88
Chapter 5: Aesthetic principles underpinning the noh 93
Buddhist principles in action 94
The jo-ha-kyu aesthetic 96
The nature of a goban 97
Zeami on the construction of noh plays 101
Beauty as hana, yugen or rojaku 103
Zeami on role-playing in noh 106
Yin and yang in performance 107
The skin, flesh and bone of a performance 108
The need for concentration 109
The life of a noh actor 111
Chapter 6: The noh in action - the descrption of a goban 115
The 'god' play - 77K; Queen Mother of the West (Seiobo) 115
The 'warrior' play - Kanehira 120
The 'wig' play - The Royal Visit to Ohara (Ohara Goko) 124
The 'lunatic' play - The Bird-Scaring Boat (Jorioi-Bune) 130
The 'demon' play - The Valley Rite (Taniko) 134
Chapter 7: The early puppet theatres in Japan 139
The story of Princess Joruri 143
The Chest-Splitting ofAmida (Amida no Munewari) 147
The presentation of early joruri plays 151
Chapter 8: The kabuki stage 155
The hanamichi 157
The informality of the performance 159
The main categories of kabuki plays 160
The beginnings of kabuki 162
The development of new types of play 166
Kabuki imitates the puppets 172
The craze for dance-drama 173
Kizewamono, the 'true-to-life sewamono' 176
Chapter 9: The acting and scripting of kabuki 179
The actor's approach to his role 180
The mie 183
The kabuki actor's need for space 184
Stage groupings in kabuki 185
The language of kabuki 188
Freezing subordinate action to gain focus 190
Changing costume to imply change of mood 191
How the plays were written 193
Choosing 'worlds' for the season's programme 194
Fitting new productions to the occasion 196
The day's programme 197
The shaping of the plays 198
Chapter 10: Kabuki in action - a description of Sukeroku 201
Chapter 11: The success and decline of the puppets 211
Kagekiyo Victorious (1686) 212
The Lovers' Double-Suicide at SonezaM (1703) 215
The Battles of Kokusenya (1715) 220
Developments in the later 18th century 222
The decline of the doll theatre 226
The puppets in performance 228
Chapter 12 : Bunraku in action -The Secret ofSugawara 's Calligraphy 231
Epilogue: The relevance of a symbolic theatre 245
Bibliography 249
Index 251 |
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| spelling | Harris, John Wesley 1935- Verfasser (DE-588)17295522X aut The traditional theatre of Japan Kyogen, Noh, Kabuki, and puppetry John Wesley Harris Lewiston [u.a.] Mellen 2006 VI, 253 S. Ill., Kt. txt rdacontent n rdamedia nc rdacarrier Geschichte gnd rswk-swf Performing arts - Japan - History Geschichte Performing arts Japan History Kyogen (DE-588)4197307-0 gnd rswk-swf Kabuki (DE-588)4138350-3 gnd rswk-swf Nō-Spiel (DE-588)4131488-8 gnd rswk-swf Theater (DE-588)4059702-7 gnd rswk-swf Jōruri (DE-588)4250593-8 gnd rswk-swf Bunraku (DE-588)4250589-6 gnd rswk-swf Japan (DE-588)4028495-5 gnd rswk-swf Japan (DE-588)4028495-5 g Theater (DE-588)4059702-7 s Geschichte z DE-604 Kyogen (DE-588)4197307-0 s Nō-Spiel (DE-588)4131488-8 s Jōruri (DE-588)4250593-8 s Bunraku (DE-588)4250589-6 s Kabuki (DE-588)4138350-3 s HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014911716&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Harris, John Wesley 1935- The traditional theatre of Japan Kyogen, Noh, Kabuki, and puppetry Performing arts - Japan - History Geschichte Performing arts Japan History Kyogen (DE-588)4197307-0 gnd Kabuki (DE-588)4138350-3 gnd Nō-Spiel (DE-588)4131488-8 gnd Theater (DE-588)4059702-7 gnd Jōruri (DE-588)4250593-8 gnd Bunraku (DE-588)4250589-6 gnd |
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| title | The traditional theatre of Japan Kyogen, Noh, Kabuki, and puppetry |
| title_auth | The traditional theatre of Japan Kyogen, Noh, Kabuki, and puppetry |
| title_exact_search | The traditional theatre of Japan Kyogen, Noh, Kabuki, and puppetry |
| title_exact_search_txtP | The traditional theatre of Japan Kyogen, Noh, Kabuki, and puppetry |
| title_full | The traditional theatre of Japan Kyogen, Noh, Kabuki, and puppetry John Wesley Harris |
| title_fullStr | The traditional theatre of Japan Kyogen, Noh, Kabuki, and puppetry John Wesley Harris |
| title_full_unstemmed | The traditional theatre of Japan Kyogen, Noh, Kabuki, and puppetry John Wesley Harris |
| title_short | The traditional theatre of Japan |
| title_sort | the traditional theatre of japan kyogen noh kabuki and puppetry |
| title_sub | Kyogen, Noh, Kabuki, and puppetry |
| topic | Performing arts - Japan - History Geschichte Performing arts Japan History Kyogen (DE-588)4197307-0 gnd Kabuki (DE-588)4138350-3 gnd Nō-Spiel (DE-588)4131488-8 gnd Theater (DE-588)4059702-7 gnd Jōruri (DE-588)4250593-8 gnd Bunraku (DE-588)4250589-6 gnd |
| topic_facet | Performing arts - Japan - History Geschichte Performing arts Japan History Kyogen Kabuki Nō-Spiel Theater Jōruri Bunraku Japan |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=014911716&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT harrisjohnwesley thetraditionaltheatreofjapankyogennohkabukiandpuppetry |