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(★)(´TO-0021´ es mismo libro.)(Noh is without question one of the most refined dramatic arts in the world. Originating in dance and music performed at sacred rituals and festivals, it grew out of what Mircea Eliade has described as the Japanese soul´s yearning ´for a concrete epiphany of the Divine : .... lightning-like incarnation of the gods, god-men, spirits, souls of the dead, spuls of animals.´ Noh was developed and brought to maturity in the fourteenth and fifteenth centuries by Kan´ami Kiyotsugu and his son, Zeami Motokiyo, two great dramaturgists who distilled the crude entertainments of the open fields into a predominantly tragic drama of illusion played upon an empty stage. The otherworldly magic that Noh creates is born of techniques transcending the ordinary unity of space and transposing moments both in and out of time. This is the first volume in either English or Japanese to give a comprehensive, thorough explanation and analysis of the principles of the Noh theater. It is unique in another sense, in that the author is an active practitioner of the art, representing the twenty-second generation in a direct line of Noh performers. Also a professional architectural journalist, he brings a fresh dimension to his description of Noh as an art of space and time. This book painstakingly outlines both physical and intellectual aspects of Noh --its technical principles and its philosophical perspectives-- on a scope hitherto unknown. The Introduction discusses the importance of Noh as a theatrical discipline and relates it to modern-day attempts to liberate the theater from the confines of the stage ; Part I explains what Noh is, and upon what aesthetic its principles are based ; Part II examines the essential elements of Noh in unprecedented detail ; and Part III shows how to combine those elements into the whole that is Noh and analyzes the actual performance of two plays. Three apprendices provide additional information on the life and thought of Zeami, the plays that are still performed, and the theaters where Noh plays can be seen. An invaluable tool for the serious student of any aspect of drama, this book also gives the general reader deeper insights into Japanese history and culture through its intensive study of Japan´s classical theater. Kunio Komparu (B. 1926), a direct successor of Zeami´s, graduated from the Tokyo University of Art and had long experience as an architectural critic. A professional performer of the Komparu school of taiko players, he is also director of the Noh Research Center.) |
BASE de DATOS, Biblioteca del Centro Cultural de la Embajada de Japon
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