Nō and kyōgen in the contemporary world:
Gespeichert in:
| Format: | Elektronisch E-Book |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Honolulu, Hawaii
University of Hawai'i Press
©1997
|
| Schlagworte: | |
| Online-Zugang: | FAW01 FAW02 Volltext |
| Beschreibung: | "Selected essays originally presented at the international conference ... held on the Mānoa campus of the University of Hawai'i, from 4 to 6 May 1989"--Preface. - Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002 Includes bibliographical references and index How do classical, highly codified theater arts retain the interest of today's 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 actor's 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 Hare's essay takes up Zeami's 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 year-long period of teaching at the University of Hawai'i, comments on the aims and process of teaching American students to perform kyogen at the University of Washington, at the University of Hawai'i, and at his studio in Tokyo. No master artist Nomura Shiro, who also taught at Hawai'i, discusses the qualities of no he tried to convey in his teaching. J. Thomas Rimer's essay analyzes the responses by American audiences to Japanese theater tours and to American-Japanese fusion productions. Jonah Salz addresses the case of foreigners studying no or kyogen, likening it to second-language acquisition, a gradual building up of competence through continued practice and training Part I: Values of Nō and Kyōgen in contemporary society -- - Expanding Nō's horizons: considerations for a new Nō perspective - Richard Emmert -- - Yūgen after Seami - Arthur H. Thornhill III -- - The Waki-Shite relationship in Nō - Royall Tyler -- - Part II: Adaptation of Nō and Kyōgen to contemporary audiences -- - A return to essence through misconception: from Zeami to Hisao - Nagao Kazuo -- - Nō changes - Tom Hare -- - Dialogue and monologue in Nō - Dōmoto Masaki -- - Part III: Encounters with the West -- - Experiments in Kyōgen - Nomura Mansaku -- - Contemporary audiences and the pilgrimage to Nō - J. Thomas Rimer -- - Teaching the paradox of Nō - Nomura Shirō -- - Pidgin-Creole performance experiment and the emerging entre-garde - Jonah Salz |
| Beschreibung: | 1 Online-Ressource (x, 249 pages) |
| ISBN: | 0585285551 0824818105 9780585285559 9780824818104 |
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| 500 | |a Includes bibliographical references and index | ||
| 500 | |a How do classical, highly codified theater arts retain the interest of today's 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 | ||
| 500 | |a 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 actor's 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 Hare's essay takes up Zeami's 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 | ||
| 500 | |a 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 year-long period of teaching at the University of Hawai'i, comments on the aims and process of teaching American students to perform kyogen at the University of Washington, at the University of Hawai'i, and at his studio in Tokyo. No master artist Nomura Shiro, who also taught at Hawai'i, discusses the qualities of no he tried to convey in his teaching. J. Thomas Rimer's essay analyzes the responses by American audiences to Japanese theater tours and to American-Japanese fusion productions. Jonah Salz addresses the case of foreigners studying no or kyogen, likening it to second-language acquisition, a gradual building up of competence through continued practice and training | ||
| 500 | |a Part I: Values of Nō and Kyōgen in contemporary society -- - Expanding Nō's horizons: considerations for a new Nō perspective - Richard Emmert -- - Yūgen after Seami - Arthur H. Thornhill III -- - The Waki-Shite relationship in Nō - Royall Tyler -- - Part II: Adaptation of Nō and Kyōgen to contemporary audiences -- - A return to essence through misconception: from Zeami to Hisao - Nagao Kazuo -- - Nō changes - Tom Hare -- - Dialogue and monologue in Nō - Dōmoto Masaki -- - Part III: Encounters with the West -- - Experiments in Kyōgen - Nomura Mansaku -- - Contemporary audiences and the pilgrimage to Nō - J. Thomas Rimer -- - Teaching the paradox of Nō - Nomura Shirō -- - Pidgin-Creole performance experiment and the emerging entre-garde - Jonah Salz | ||
| 650 | 4 | |a Nō / Congrès | |
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| 650 | 7 | |a Kyōgen / Congrès |2 ram | |
| 650 | 7 | |a Nō-Spiel |2 swd | |
| 650 | 7 | |a Kyogen |2 swd | |
| 650 | 4 | |a Nō |v Congresses | |
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| indexdate | 2024-07-10T07:17:44Z |
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| isbn | 0585285551 0824818105 9780585285559 9780824818104 |
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| publisher | University of Hawai'i Press |
| record_format | marc |
| spelling | Nō and kyōgen in the contemporary world edited by James R. Brandon ; foreword by Ricardo D. Trimillos Honolulu, Hawaii University of Hawai'i Press ©1997 1 Online-Ressource (x, 249 pages) txt rdacontent c rdamedia cr rdacarrier "Selected essays originally presented at the international conference ... held on the Mānoa campus of the University of Hawai'i, from 4 to 6 May 1989"--Preface. - Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002 Includes bibliographical references and index How do classical, highly codified theater arts retain the interest of today's 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 actor's 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 Hare's essay takes up Zeami's 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 year-long period of teaching at the University of Hawai'i, comments on the aims and process of teaching American students to perform kyogen at the University of Washington, at the University of Hawai'i, and at his studio in Tokyo. No master artist Nomura Shiro, who also taught at Hawai'i, discusses the qualities of no he tried to convey in his teaching. J. Thomas Rimer's essay analyzes the responses by American audiences to Japanese theater tours and to American-Japanese fusion productions. Jonah Salz addresses the case of foreigners studying no or kyogen, likening it to second-language acquisition, a gradual building up of competence through continued practice and training Part I: Values of Nō and Kyōgen in contemporary society -- - Expanding Nō's horizons: considerations for a new Nō perspective - Richard Emmert -- - Yūgen after Seami - Arthur H. Thornhill III -- - The Waki-Shite relationship in Nō - Royall Tyler -- - Part II: Adaptation of Nō and Kyōgen to contemporary audiences -- - A return to essence through misconception: from Zeami to Hisao - Nagao Kazuo -- - Nō changes - Tom Hare -- - Dialogue and monologue in Nō - Dōmoto Masaki -- - Part III: Encounters with the West -- - Experiments in Kyōgen - Nomura Mansaku -- - Contemporary audiences and the pilgrimage to Nō - J. Thomas Rimer -- - Teaching the paradox of Nō - Nomura Shirō -- - Pidgin-Creole performance experiment and the emerging entre-garde - Jonah Salz Nō / Congrès Kyōgen / Congrès PERFORMING ARTS / Theater / History & Criticism bisacsh Kyōgen fast Nō fast Nō gtt Kyogen gtt Théâtre japonais / Congrès ram Nô / Congrès ram Kyōgen / Congrès ram Nō-Spiel swd Kyogen swd Nō Congresses Kyōgen Congresses Kyogen (DE-588)4197307-0 gnd rswk-swf Nō-Spiel (DE-588)4131488-8 gnd rswk-swf (DE-588)1071861417 Konferenzschrift gnd-content Kyogen (DE-588)4197307-0 s 1\p DE-604 Nō-Spiel (DE-588)4131488-8 s 2\p DE-604 Brandon, James R. Sonstige oth http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=39123 Aggregator Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Nō and kyōgen in the contemporary world Nō / Congrès Kyōgen / Congrès PERFORMING ARTS / Theater / History & Criticism bisacsh Kyōgen fast Nō fast Nō gtt Kyogen gtt Théâtre japonais / Congrès ram Nô / Congrès ram Kyōgen / Congrès ram Nō-Spiel swd Kyogen swd Nō Congresses Kyōgen Congresses Kyogen (DE-588)4197307-0 gnd Nō-Spiel (DE-588)4131488-8 gnd |
| subject_GND | (DE-588)4197307-0 (DE-588)4131488-8 (DE-588)1071861417 |
| title | Nō and kyōgen in the contemporary world |
| title_auth | Nō and kyōgen in the contemporary world |
| title_exact_search | Nō and kyōgen in the contemporary world |
| title_full | Nō and kyōgen in the contemporary world edited by James R. Brandon ; foreword by Ricardo D. Trimillos |
| title_fullStr | Nō and kyōgen in the contemporary world edited by James R. Brandon ; foreword by Ricardo D. Trimillos |
| title_full_unstemmed | Nō and kyōgen in the contemporary world edited by James R. Brandon ; foreword by Ricardo D. Trimillos |
| title_short | Nō and kyōgen in the contemporary world |
| title_sort | no and kyogen in the contemporary world |
| topic | Nō / Congrès Kyōgen / Congrès PERFORMING ARTS / Theater / History & Criticism bisacsh Kyōgen fast Nō fast Nō gtt Kyogen gtt Théâtre japonais / Congrès ram Nô / Congrès ram Kyōgen / Congrès ram Nō-Spiel swd Kyogen swd Nō Congresses Kyōgen Congresses Kyogen (DE-588)4197307-0 gnd Nō-Spiel (DE-588)4131488-8 gnd |
| topic_facet | Nō / Congrès Kyōgen / Congrès PERFORMING ARTS / Theater / History & Criticism Kyōgen Nō Kyogen Théâtre japonais / Congrès Nô / Congrès Nō-Spiel Nō Congresses Kyōgen Congresses Konferenzschrift |
| url | http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=39123 |
| work_keys_str_mv | AT brandonjamesr noandkyogeninthecontemporaryworld |