能狂言必携（全２巻セット） A Companion to Nō and Kyōgen Theatre (CSET vol.1-2)

Reiko, Yamanaka (EDT)/ Bethe, Monica (EDT)/ Grossmann, Eike (EDT)

Brill（2025/01発売）

• ページ数 900 p.
• 言語 ENG
• 商品コード 9789004722798
• DDC分類 792.0952

Full Description

Among the longest continuously performed dramatic forms in the world, nō and kyōgen have a wealth of connections to Japanese culture more broadly construed. The current book brings together under one cover the most important elements of the history and culture of the two arts, profiting from the research of both Japanese and non-Japanese scholars, and offering many new insights.

It takes a more ambitious view of nō and kyōgen than previous studies and represents the achievements of a diverse range of scholars from a broad range of disciplines. (This is a 2-volume work).

Contents

Volume 1

Preface

Notes to Readers

List of Illustrations

Notes on Contributors

Introducing Nō and Kyōgen

 Tom Hare and Yamanaka Reiko

1 The History of Nō

 Edited by Eike Grossmann and Miyamoto Keizō

 1.1 The Origins of Nō, Sangaku, and Sarugaku until the Fourteenth Century (Eike Grossmann and Miyamoto Keizō)

 1.2 The Emergence of "Nō" and the Formation of Performers' Organizations during the Fourteenth and Fifteenth Centuries (Eike Grossmann and Miyamoto Keizō)

 1.3 Nō in Kyoto and Its Dispersion during the Fifteenth and Sixteenth Centuries (Eike Grossmann and Miyamoto Keizō)

 1.4 Nō in the Age of Exploration (Patrick Schwemmer)

 1.5 Nō and Political Leaders from the Late Sixteenth to the Early Eighteenth Century (Eike Grossmann and Miyamoto Keizō)

 1.6 Nō Practices and Nō Culture during the Seventeenth and Eighteenth Centuries (Eike Grossmann and Miyamoto Keizō)

 1.7 The Reorganization and Standardization of Nō Practices during the Eighteenth and Nineteenth Centuries (Eike Grossmann and Miyamoto Keizō)

 1.8 The Crisis of Nō at the End of the Nineteenth and the Early Twentieth Centuries (Eike Grossmann and Miyamoto Keizō)

 1.9 Nō from World War I until the 1980s (Eike Grossmann and Miyamoto Keizō)

 References

2 Nō Performance

 Edited by Monica Bethe and Diego Pellecchia

 2.1 Fundamentals of Nō Performance (Monica Bethe)

 2.2 The Stage (Monica Bethe, Yamanaka Reiko, and Diego Pellecchia)

 2.3 Performance Conventions (Monica Bethe)

 2.4 Movement (Monica Bethe with Diego Pellecchia)

 2.5 Music (Takakuwa Izumi with Monica Bethe)

 2.6 The History of Nō Chant (Takakuwa Izumi with Monica Bethe)

 2.7 Shōdan: the Building Blocks of Nō (Monica Bethe and Takakuwa Izumi)

 2.8 Masks (Monica Bethe)

 2.9 Costumes (Monica Bethe)

 2.10 Nō Fans (Diego Pellecchia)

 2.11 Properties (Monica Bethe)

 2.12 Interpreting Conventions for Standard and Variant Performances (Yamanaka Reiko)

 2.13 Underlying Principles of Nō Dramaturgy (Monica Bethe)

 References

3 Training, Practice, and Production

 Edited by Diego Pellecchia and Yamanaka Reiko

 3.1 Introduction (Diego Pellecchia and Yamanaka Reiko)

 3.2 Training (Diego Pellecchia and Yamanaka Reiko)

 3.3 Female Performers in Nō (Barbara Geilhorn)

 3.4 Practice and Production (Diego Pellecchia and Yamanaka Reiko)

 3.5 The Role of Amateur Practitioners (Diego Pellecchia and Yamanaka Reiko)

 3.6 Kurokawa Nō (Eike Grossmann)

 3.7 Recent Developments and Future Perspectives (Diego Pellecchia and Yamanaka Reiko)

 References

4 Plays: Their Conventions and Backgrounds

 Edited by Tom Hare, Takeuchi Akiko, Michael Watson, and Yamanaka Reiko

 4.1 Introduction (Takeuchi Akiko)

 4.2 Categories of Nō Plays (Yamanaka Reiko)

 4.3 Sources of Nō Plays (Takeuchi Akiko)

 4.4 Nō and Its Belief Systems (Tom Hare and Takahashi Yūsuke)

 4.5 Reading Nō: Mugen nō and Genzai nō (Monogurui nō) (Yamanaka Reiko)

 4.6 Aspects of Time and Character Relations (Paul S. Atkins)

 4.7 Stylistics and Poetics (Takeuchi Akiko)

 4.8 Narration and Ambiguous Voice (Takeuchi Akiko)

 4.9 Religious and Political Allegory in Nō (Susan Blakeley Klein)

 4.10 Medieval Commentaries and Nō Theatre (Susan Blakeley Klein)

 4.11 Bangai kyoku and Shinsaku nō: Noncanonical Plays and Modern Nō Plays (Fukazawa Nozomi and Takeuchi Akiko)

 4.12 Conclusion (Takeuchi Akiko)

 4.13 Excursus: Dramaturgy in Nō and Greek Tragedy (Mae J. Smethurst)

 References

5 Authors

 Edited by Tom Hare and Yamanaka Reiko

 5.1 Introduction (Tom Hare and Yamanaka Reiko)

 5.2 Kan'ami (Tom Hare and Yamanaka Reiko)

 5.3 Zeami (Tom Hare and Yamanaka Reiko)

 5.4 Motomasa (Tom Hare and Yamanaka Reiko)

 5.5 Zenchiku (Tom Hare and Takahashi Yūsuke)

 5.6 Nobumitsu (Ikai Takamitsu and Lim Beng Choo)

 5.7 Nagatoshi (Ikai Takamitsu and Lim Beng Choo)

 5.8 Zenpō (Ikai Takamitsu and Lim Beng Choo)

 5.9 Miyamasu (Ikai Takamitsu and Lim Beng Choo)

 5.10 Amateurs (Ikai Takamitsu and Lim Beng Choo)

 References

Volume 2

6 Treatises and Criticism

 Edited by Tamamura Kyō and Shelley Fenno Quinn

 6.1 Introduction (Tamamura Kyō)

 6.2 Zeami's Treatises: an Overview (Shelley Fenno Quinn)

 6.3 Zeami as Philosopher: Who Makes the Flower Bloom? (Tamamura Kyō)

 6.4 Zenchiku's Treatises and Criticism (Takahashi Yūsuke)

 6.5 Konparu Zenpō's Treatises and Criticism (Ikai Takamitsu)

 6.6 Nō Treatises from the Late Muromachi to Edo Periods (Miyamoto Keizō)

 6.7 Modern Theories of Nō (Yokoyama Tarō)

 References

7 Material Culture of Nō and Kyōgen

 Edited by Eike Grossmann

 7.1 Introduction (Eike Grossmann)

 7.2 The Production of Costumes, Masks, and Fans (Monica Bethe)

 7.3 The Transmission of Masks: Carvers and Their Lineages (Adam Zollinger)

 7.4 Instruments: Artistic Value and Development of Their Forms (Takakuwa Izumi)

 7.5 Performance Spaces: History and Materiality of the Nō Stage (Miyamoto Keizō)

 7.6 Tsuke: Notes on Movements, Gestures, Music, and Stage Properties (Fukazawa Nozomi, Nakatsuka Yukiko, and Yamanaka Reiko)

 7.7 Utaibon for Amateurs and Connoisseurs (Ikai Takamitsu)

 7.8 Nō and Kyōgen Illustrations (Monica Bethe)

 7.9 Nō and Kyōgen Prints and Paintings in Modern Japan (Richard Smethurst)

 7.10 Nō Culture in Everyday Life: Koutaibon, Sugoroku, Karuta, Yubimen, Netsuke, and Nō Ningyō (Eike Grossmann)

 References

8 Reception

 Edited by Diego Pellecchia and Yokoyama Tarō

 8.1 Introduction (Yokoyama Tarō)

 8.2 Reception of Nō in the Late Nineteenth and Early Twentieth Centuries (Diego Pellecchia)

 8.3 Nō and Modernism (Diego Pellecchia and Takeuchi Akiko)

 8.4 Nōgaku and Film (Kodama Ryūichi)

 8.5 Nō and Contemporary Theatre Abroad and in Japan (Diego Pellecchia and Yokoyama Tarō)

 8.6 Why Not Nō? (Reginald Jackson and Yokoyama Tarō)

 8.7 Nōgaku and Kabuki (Kodama Ryūichi)

 References

9 Kyōgen

 Edited by Monica Bethe

 9.1 Introduction (Monica Bethe)

 9.2 Plays, Plots, and Role Types (Jonah Salz)

 9.3 Dramaturgy (Jonah Salz)

 9.4 Costumes and Masks (Monica Bethe)

 9.5 Organization, Training, and Creativity (Jonah Salz)

 9.6 History (Monica Bethe)

 9.7 The Evolution of Texts (Taguchi Kazuo)

 9.8 Discourses (Taguchi Kazuo)

 9.9 Sagi kyōgen (Alex Rogals)

 9.10 Women in Kyōgen (Barbara Geilhorn)

 9.11 Inspiration, Fusion, and Form: Kyōgen outside Japan (Ondřej Hýbl)

 References

10 Research Overview

 Edited by Yamanaka Reiko, Tom Hare, and Michael Watson

 10.1 Introduction (Yamanaka Reiko)

 10.2 Research into Nō before the Meiji Period (Yamanaka Reiko)

 10.3 Nō Scholarship from the Meiji, Taishō, and Shōwa Periods to World War II (Tom Hare and Yamanaka Reiko)

 10.4 Postwar Studies of Nō (Yamanaka Reiko)

 10.5 The History of Nō Research and Translations in Western Languages: French, Italian, German, and English (Diego Pellecchia, Eike Grossmann, and Tom Hare)

 References

11 Appendices

 11.1 Finding List for Nō Texts (Michael Watson)

 11.2 Summaries of Nō Plays (Nakatsuka Yukiko and Michael Watson, with contributions by Fukazawa Nozomi, Inoue Megumi, Hana Lethen, Pia Schmitt, Patrick Schwemmer, and Tomiyama Takahiro)

 11.3 Summaries of Kyōgen Plays (Monica Bethe)

 References (Michael Watson)

Glossary

Index