Essay By Kanze Motokiyo Zeami

Essay By Kanze Motokiyo Zeami-84
Most of his writings on performance were originally conceived as secret transmissions, to be treasured and guarded, and passed down only within the lineage of the Kanze school.

Most of his writings on performance were originally conceived as secret transmissions, to be treasured and guarded, and passed down only within the lineage of the Kanze school.One exception is the Shûdôsho ("Learning the Profession"), which was meant for widespread circulation from the beginning, and which was published in a popularly accessible woodblock book form in 1772 by Kanze Motoakira (1722-1774).

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Though some excerpts of the other texts did end up leaking out and circulating in either manuscript or published form over the centuries, it is for this reason that these works in their entireties were almost entirely unknown for hundreds of years, and were not published in anything resembling a complete form until 1909.

In his writings on performance and training, Zeami wrote chiefly for the "primary actor," what would later come to be known as the shite.

See also genpei-noh for detailed information about canonical and non-canonical plays related to the Genpei wars.

Database for other premodern Japanese texts and their translations.

After clicking links, you may have to change the browser encoding manually to "Japanese (EUC)." Under (S), some related secondary literature in English has been listed.

(Just a start...) Under (A) you will find the name of the presumed author.Zeami was born Hata no Motokiyo, the son of performer Kan'ami, with whom he was invited at a young age to become a court performer in service to Shogun Ashikaga Yoshimitsu.While at the shogun's court, and charged with organizing entertainments, Motokiyo and his father developed rural dances known as sarugaku into the beginnings of what is now known as Noh theatre or Noh drama.Titles of currently performed plays are given in (ō, ū).To give you a better chance of reaching this page through internet searches, or hunting for words within it, several options have been given for many titles, including romanization without accents. The number in parentheses after the play title refers to the play type: (1) "god plays"; (2) "warrior plays; (3) "woman plays"; (4) fourth-category plays; and (5) fifth-category plays." Under (E) you will find English-language translations listed in order of publication.The five schools are given in their conventional order: Kanze 観世, Hōshō 宝生, Komparu 金春, Kongō 金剛, Kita 喜多.Plays that are not in the modern repertory are indicated as "[bangai]" for 番外謡曲.This page began as a guide to noh translations, but now encompasses other matters (e-texts, authorship, status of plays in the repertory of schools).Each entry begins with a title in romanization and in Japanese characters.Translations in French, German, and other European languages are prefaced by the Euro sign (€).If a title has been translated, either by translator or in secondary literature, that information is also given.


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