Zeami Motokiyo Criticism
Zeami Motokiyo, also known as Kanze Motokiyo Zeami, stands as a transformative figure in the history of Japanese theater, credited with elevating nō drama into a sophisticated and revered art form. Born in 1363, Zeami inherited the tradition of nō performance from his father, Kanze Kiyotsugu, and significantly shaped its aesthetics and philosophical depth. His prolific output includes around 240 plays, with surviving works such as The Lady Aoi and Takasago remaining integral to the nō repertoire. Zeami's plays are marked by their formal and stylized performances, combining dance, music, and mime in a manner that infuses Zen Buddhist spirituality, as noted in The Goddess Emerges: Shinto Paradigms in the Aesthetics of Zeami and Zenchiku.
Beyond his dramatic works, Zeami authored influential treatises that delve into the philosophical underpinnings of nō. His theoretical writings, such as Fūshikaden (Teachings on Style and the Flower), were originally intended for training actors but are now essential for understanding the spiritual and artistic dimensions of nō. These writings explore concepts like hana, symbolizing the captivating presence of the actor, and yūgen, which denotes a profound yet transient beauty intrinsic to nō. Makoto Ueda's work provides insight into these themes in his essay and further explores the elegance and profundity of Zeami's philosophical approach.
Zeami's influence persisted despite personal and political challenges, including a period of exile. His theoretical contributions remained hidden until the 20th century, as highlighted by Erika de Poorter. His nuanced portrayal of gender, particularly his diverse depiction of female characters within his plays, has been critically examined by Karen Brazell. Furthermore, his comprehensive approach to performance, emphasizing lifelong development and harmony with nature, continues to influence the art form today, as detailed by Tatsuro Ishii.
Zeami's legacy as a master of Japanese theatrical arts is universally recognized. His emphasis on aligning performance with mood and atmosphere, as emphasized by Tatsuro Ishii, and his detailed understanding of nō’s conventions, as noted by Donald Keene, highlight his pivotal role in transforming nō into a high art form imbued with the spiritual and aesthetic depth of Zen Buddhism. James R. Brandon's analysis of the synthesis of performance elements in Zeami’s plays provides further understanding of his enduring impact on the art of nō in his essay. For those interested in exploring the depth of Zeami's contributions, these critical perspectives offer a comprehensive view of his lasting imprint on Japanese culture and theater.
Contents
- Principal Works
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Zeami (Drama Criticism)
- *Principal Works
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Overviews And General Studies
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Zeami on Art: A Chapter for the History of Japanese Aesthetics
(summary)
In the following essay, Ueda delineates Zeami's views on the nature and technique of Nō, particularly the concept of yūgen, or "elegance, calm, profundity, mixed with the feeling of mutability."
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An introduction to The Old Pine Tree and Other Noh Plays
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In this essay, Ueda provides a detailed consideration of the conventions of No as prescribed by Zeami.
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The Conventions of the Nō Drama
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In the excerpts below, Keene discusses some of the difficulties inherent in establishing a canon of Zeami's works, and he offers brief introductions to six of his plays.
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Zeami on Performance
(summary)
In the essay below, Tatsuro explores Zeami's insistence that performances of Nō must consider such factors as the time, the location, and the audience in order to be successful. According to Zeami, the critic observes, a "good performer … is not only sustained by his inborn talent and incessant training but also is the one whose instinctive judgement and creativity harmonize with the mood and atmosphere at the very moment of each performance."
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Japanese Noh
(summary)
In the following excerpt, Brandon presents a broad overview of the form, content, characters, and staging of No plays and discusses Zeami's role in the drama's development.
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Zeami on Art: A Chapter for the History of Japanese Aesthetics
(summary)
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Zeami (Literary Criticism (1400-1800))
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Zeami Motokiyo: Imitation, Yugen, and the Sublime
(summary)
In the essay below, Ueda surveys Zeami's theories on effective Nō theater, discussing his practical advice on actor training, principles of acting, play-writing, and the pursuit of perfection in the art of the nō.
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Zeami and the Art of the Nō Drama: Imitation, Yugen, and Sublimity
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In the following essay, originally published in 1967, Ueda describes Zeami's concepts of perfect Nō drama, including the role of the actor and the importance of music and religion.
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Zeami and Women in Love
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In the essay which follows, Brazell summarizes Zeami's portrayal of women in his plays, arguing that because his culture lacked a single model for women, he was freer to have his female characters depict a wide range of emotions.
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The Two Shizukas: Zeami's Futari Shizuka
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In the following essay, which introduced her translation of The Two Shizukas, Mueller examines Zeami's treatment of the tragic character Shizuka in light of other depictions of this traditional figure. In this reprinting, ideographic characters have been silently deleted.
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Zeami's Conception of Freedom
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In the essay below, Nagatomo uncovers the concept of freedom implicit in Zeami's theories of disciplined dramatic training, which results in a “controlled spontaneity” of mind and action. Freedom, as it has been propounded in the rich variety of theories to be found in Western philosophy, has seldom been conceived as an achieved quality of a person. In this article I would like to demonstrate that “freedom” can best be understood in this manner and that one of the most interesting expressions of this view may be found in the work of the Japanese critic Zeami (1363-1443), the founder of the aesthetics of the traditional Noh drama. Freedom, in his view, admits of degrees; and moreover, since it is an achieved quality, it announces a qualitative dimension of action.
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The Theoretical Writings of Zeami
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In the excerpt below, De Poorter surveys Zeami's theoretical writings, underscoring their “hidden” or “secret” quality as texts intended for a narrow, private audience.
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Zeami's Mature Thoughts on Acting
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In the following essay, Ishii traces the evolution of Zeami's theories on the ideal Nō performance, noting that he believed performance should try to achieve “accord with the perfect order of nature by means of lifelong training and development.”
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The Style of Nō
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In the following excerpt, Smethurst chronicles the extensive literary and stylistic similarities between Zeami's play Sanemori and Aeschylus's Persians.
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The Goddess Emerges: Shinto Paradigms in the Aesthetics of Zeami and Zenchiku
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In the essay below, Thornhill exposes elements of Shinto doctrines in the treatment of the sun goddess myth in works by Zeami and his successor Komparu Zenchiku.
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Zeami Motokiyo: Imitation, Yugen, and the Sublime
(summary)
- Further Reading