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A Companion to NÅ and KyÅgen Theatre (Vol. 2)
Series: - Handbook of Oriental Studies. Section 5 Japan, Volume: 19/2
Editors:
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NÅ and kyÅgen theatre are among the longest continuously staged dramatic forms in the world and are deeply connected to Japanese arts, culture, society, and history. This richly illustrated two-volume set brings together the important elements of these traditions to offer new insights, with contributions by Japanese and non-Japanese experts from a broad range of disciplines. It represents the most ambitious and exhaustive exploration of nÅ and kyÅgen to date, and is an invaluable resource for both scholars and enthusiasts. (This is volume 2 out of 2). For Volume 1 see: brill.com/edcollbook/title/62128.
Yamanaka Reiko, is professor at HÅsei University, Tokyo. She has published extensively on Zeami and on the history of the stage directions regarding individual nÅ plays.
Monica Bethe, is director of the Medieval Japanese Studies Institute, Kyoto. Her research interprets nÅ as an interactive whole including the impact of masks and costumes.
Eike Grossmann, is professor at the University of Hamburg. Her research areas include traditional theatre and folk performing arts, as well as the history of childhood and material culture.
Tom Hare is professor at Princeton University. He has translated Zeamiâs writings on training and performance, and publishes on medieval portrait inscriptions.
Diego Pellecchia is associate professor at Kyoto SangyÅ University. His research interests include nÅ training, performance, interactions between professionals and amateurs, and the reception of nÅ outside Japan.
Michael Watson, is professor emeritus at Meiji Gakuin University, Tokyo. His research has centred on the Heike monogatari, nÅ drama, narratology, translation, and reception history.
Monica Bethe, is director of the Medieval Japanese Studies Institute, Kyoto. Her research interprets nÅ as an interactive whole including the impact of masks and costumes.
Eike Grossmann, is professor at the University of Hamburg. Her research areas include traditional theatre and folk performing arts, as well as the history of childhood and material culture.
Tom Hare is professor at Princeton University. He has translated Zeamiâs writings on training and performance, and publishes on medieval portrait inscriptions.
Diego Pellecchia is associate professor at Kyoto SangyÅ University. His research interests include nÅ training, performance, interactions between professionals and amateurs, and the reception of nÅ outside Japan.
Michael Watson, is professor emeritus at Meiji Gakuin University, Tokyo. His research has centred on the Heike monogatari, nÅ drama, narratology, translation, and reception history.
Volume 2
Preface
Notes to Readers
List of Illustrations
Notes on Contributors
6 Treatises and Criticism
âEdited by Tamamura KyÅ and Shelley Fenno Quinn
â6.1âIntroduction (Tamamura KyÅ)
â6.2âZeamiâs Treatises: an Overview (Shelley Fenno Quinn)
â6.3âZeami as Philosopher: Who Makes the Flower Bloom? (Tamamura KyÅ)
â6.4âZenchikuâs Treatises and Criticism (Takahashi YÅ«suke)
â6.5âKonparu ZenpÅâs Treatises and Criticism (Ikai Takamitsu)
â6.6âNÅ Treatises from the Late Muromachi to Edo Periods (Miyamoto KeizÅ)
â6.7âModern Theories of NÅ (Yokoyama TarÅ)
âReferences
7 Material Culture of NÅ and KyÅgen
âEdited by Eike Grossmann
â7.1âIntroduction (Eike Grossmann)
â7.2âThe Production of Costumes, Masks, and Fans (Monica Bethe)
â7.3âThe Transmission of Masks: Carvers and Their Lineages (Adam Zollinger)
â7.4âInstruments: Artistic Value and Development of Their Forms (Takakuwa Izumi)
â7.5âPerformance Spaces: History and Materiality of the NÅ Stage (Miyamoto KeizÅ)
â7.6âTsuke: Notes on Movements, Gestures, Music, and Stage Properties (Fukazawa Nozomi, Nakatsuka Yukiko, and Yamanaka Reiko)
â7.7âUtaibon for Amateurs and Connoisseurs (Ikai Takamitsu)
â7.8âNÅ and KyÅgen Illustrations (Monica Bethe)
â7.9âNÅ and KyÅgen Prints and Paintings in Modern Japan (Richard Smethurst)
â7.10âNÅ Culture in Everyday Life: Koutaibon, Sugoroku, Karuta, Yubimen, Netsuke, and NÅ NingyÅ (Eike Grossmann)
âReferences
8 Reception
âEdited by Diego Pellecchia and Yokoyama TarÅ
â8.1âIntroduction (Yokoyama TarÅ)
â8.2âReception of NÅ in the Late Nineteenth and Early Twentieth Centuries (Diego Pellecchia)
â8.3âNÅ and Modernism (Diego Pellecchia and Takeuchi Akiko)
â8.4âNÅgaku and Film (Kodama RyÅ«ichi)
â8.5âNÅ and Contemporary Theatre Abroad and in Japan (Diego Pellecchia and Yokoyama TarÅ)
â8.6âWhy Not NÅ? (Reginald Jackson and Yokoyama TarÅ)
â8.7âNÅgaku and Kabuki (Kodama RyÅ«ichi)
âReferences
9 KyÅgen
âEdited by Monica Bethe
â9.1âIntroduction (Monica Bethe)
â9.2âPlays, Plots, and Role Types (Jonah Salz)
â9.3âDramaturgy (Jonah Salz)
â9.4âCostumes and Masks (Monica Bethe)
â9.5âOrganization, Training, and Creativity (Jonah Salz)
â9.6âHistory (Monica Bethe)
â9.7âThe Evolution of Texts (Taguchi Kazuo)
â9.8âDiscourses (Taguchi Kazuo)
â9.9âSagi kyÅgen (Alex Rogals)
â9.10âWomen in KyÅgen (Barbara Geilhorn)
â9.11âInspiration, Fusion, and Form: KyÅgen outside Japan (OndÅej Hýbl)
âReferences
10 Research Overview
âEdited by Yamanaka Reiko, Tom Hare, and Michael Watson
â10.1âIntroduction (Yamanaka Reiko)
â10.2âResearch into NÅ before the Meiji Period (Yamanaka Reiko)
â10.3âNÅ Scholarship from the Meiji, TaishÅ, and ShÅwa Periods to World War II (Tom Hare and Yamanaka Reiko)
â10.4âPostwar Studies of NÅ (Yamanaka Reiko)
â10.5âThe History of NÅ Research and Translations in Western Languages: French, Italian, German, and English (Diego Pellecchia, Eike Grossmann, and Tom Hare)
âReferences
11 Appendices
â11.1âFinding List for NÅ Texts (Michael Watson)
â11.2âSummaries of NÅ Plays (Nakatsuka Yukiko and Michael Watson, with contributions by Fukazawa Nozomi, Inoue Megumi, Hana Lethen, Pia Schmitt, Patrick Schwemmer, and Tomiyama Takahiro)
â11.3âSummaries of KyÅgen Plays (Monica Bethe)
âReferences (Michael Watson)
Glossary
Index
Preface
Notes to Readers
List of Illustrations
Notes on Contributors
6 Treatises and Criticism
âEdited by Tamamura KyÅ and Shelley Fenno Quinn
â6.1âIntroduction (Tamamura KyÅ)
â6.2âZeamiâs Treatises: an Overview (Shelley Fenno Quinn)
â6.3âZeami as Philosopher: Who Makes the Flower Bloom? (Tamamura KyÅ)
â6.4âZenchikuâs Treatises and Criticism (Takahashi YÅ«suke)
â6.5âKonparu ZenpÅâs Treatises and Criticism (Ikai Takamitsu)
â6.6âNÅ Treatises from the Late Muromachi to Edo Periods (Miyamoto KeizÅ)
â6.7âModern Theories of NÅ (Yokoyama TarÅ)
âReferences
7 Material Culture of NÅ and KyÅgen
âEdited by Eike Grossmann
â7.1âIntroduction (Eike Grossmann)
â7.2âThe Production of Costumes, Masks, and Fans (Monica Bethe)
â7.3âThe Transmission of Masks: Carvers and Their Lineages (Adam Zollinger)
â7.4âInstruments: Artistic Value and Development of Their Forms (Takakuwa Izumi)
â7.5âPerformance Spaces: History and Materiality of the NÅ Stage (Miyamoto KeizÅ)
â7.6âTsuke: Notes on Movements, Gestures, Music, and Stage Properties (Fukazawa Nozomi, Nakatsuka Yukiko, and Yamanaka Reiko)
â7.7âUtaibon for Amateurs and Connoisseurs (Ikai Takamitsu)
â7.8âNÅ and KyÅgen Illustrations (Monica Bethe)
â7.9âNÅ and KyÅgen Prints and Paintings in Modern Japan (Richard Smethurst)
â7.10âNÅ Culture in Everyday Life: Koutaibon, Sugoroku, Karuta, Yubimen, Netsuke, and NÅ NingyÅ (Eike Grossmann)
âReferences
8 Reception
âEdited by Diego Pellecchia and Yokoyama TarÅ
â8.1âIntroduction (Yokoyama TarÅ)
â8.2âReception of NÅ in the Late Nineteenth and Early Twentieth Centuries (Diego Pellecchia)
â8.3âNÅ and Modernism (Diego Pellecchia and Takeuchi Akiko)
â8.4âNÅgaku and Film (Kodama RyÅ«ichi)
â8.5âNÅ and Contemporary Theatre Abroad and in Japan (Diego Pellecchia and Yokoyama TarÅ)
â8.6âWhy Not NÅ? (Reginald Jackson and Yokoyama TarÅ)
â8.7âNÅgaku and Kabuki (Kodama RyÅ«ichi)
âReferences
9 KyÅgen
âEdited by Monica Bethe
â9.1âIntroduction (Monica Bethe)
â9.2âPlays, Plots, and Role Types (Jonah Salz)
â9.3âDramaturgy (Jonah Salz)
â9.4âCostumes and Masks (Monica Bethe)
â9.5âOrganization, Training, and Creativity (Jonah Salz)
â9.6âHistory (Monica Bethe)
â9.7âThe Evolution of Texts (Taguchi Kazuo)
â9.8âDiscourses (Taguchi Kazuo)
â9.9âSagi kyÅgen (Alex Rogals)
â9.10âWomen in KyÅgen (Barbara Geilhorn)
â9.11âInspiration, Fusion, and Form: KyÅgen outside Japan (OndÅej Hýbl)
âReferences
10 Research Overview
âEdited by Yamanaka Reiko, Tom Hare, and Michael Watson
â10.1âIntroduction (Yamanaka Reiko)
â10.2âResearch into NÅ before the Meiji Period (Yamanaka Reiko)
â10.3âNÅ Scholarship from the Meiji, TaishÅ, and ShÅwa Periods to World War II (Tom Hare and Yamanaka Reiko)
â10.4âPostwar Studies of NÅ (Yamanaka Reiko)
â10.5âThe History of NÅ Research and Translations in Western Languages: French, Italian, German, and English (Diego Pellecchia, Eike Grossmann, and Tom Hare)
âReferences
11 Appendices
â11.1âFinding List for NÅ Texts (Michael Watson)
â11.2âSummaries of NÅ Plays (Nakatsuka Yukiko and Michael Watson, with contributions by Fukazawa Nozomi, Inoue Megumi, Hana Lethen, Pia Schmitt, Patrick Schwemmer, and Tomiyama Takahiro)
â11.3âSummaries of KyÅgen Plays (Monica Bethe)
âReferences (Michael Watson)
Glossary
Index
Of immediate interest to students and scholars of premodern Japan, theatre studies, and to performance artists, the book will be an indispensable reference work in university libraries and arts institutions.