Final Flashcards
1
Q
Kan’ami
A
- 1333 to 1384
- noh performer, playwright, and director
- transformed noh from saragaku
- zeami’s father
- collaborated with Ashikaga Yoshimitsu, the shogun of Japan at the time which elevated noh to the elites
2
Q
Zeami Motokiyo
A
- (1363-1443)
- the son of kan’ami kiyotsugu
- built upon his father’s work to be one of the greatest noh playwright, director, and performer
- made noh appeal to elites
- examples of his works: Atsumori, Izutsu, and takasago
- fathered the Fūshikaden (“The Transmission of the Flower of Acting Style”) treatise
3
Q
Ashikaga Yoshimitsu
A
- (1358-1408)
- the third shogun of the Shikaga shogunate
- a major patron of the arts
- worked closely with Kan’ami and Zeami as a supporter of noh theater
4
Q
Astumori
A
- a dream play written by Zeami
- a noh play adaptation of the Heike tale of Atsumori and Kumagae
- Atsumori was a dead spirit lingering in the world that was pacified
- there is a sympathy for low status reapers seen
- atsumori is depicted as a peasant working while playing beautiful music before he transforms into a ghost which shocks the priest
- imagery is suggestive of samsara or falling into the world of reincarnation/illusions attachments
- Zaemi transforms the story by making kumagae who originally kills atsumori in the heike as the buddhist priest in the no play that saves Atsumori through his
5
Q
Kumagae
A
- a highly remembered samurai who fought in the Genpei war
- famously known from the Tale of the Heike, particularly with being the murderer of Atusmori
- renounces his samurai life to become a buddhist priest called Renshō after being moved by Atusmori and his flute
- a character in the classic dream no play known as Renshō or priest
- in Atsumori, he saves atsumori’s soul as a. work of redemption due to his guilt
6
Q
Ono no Komachi
A
- 833-847
- She is known as one of the most famous poets in the Heian period
- we have hundreds of her works although found difficult to translate into English
- she has many lovers during her time
- remembered as a paragon of physical and artistic beauty–known for feminine grace and poetic talent
- many legends surrounded her life, blending fact and fiction of intense passion and tragic romance
- represented in no plays such as Sotoba Komachi or Sekidera Komachi which dramatize her life (often as a ghostly or repentant figure reflecting on her past beauty and love affairs”
- Example of her work: “The Ink Dark Moon”
- The flowers withered. Their color faded away. While Meaninglessly. I spent my days in the world. And the long rains were falling (anth, 81)…Is probably about literal flowers but also about her beauty fading away and to grow old
7
Q
Oda Nobunaga
A
- 1534 to 1582
- warlord during the Sengoku period
- laid foundation of a unified Japan for his successors, Toyotomi Hideyoshi and Tokugawa Ieyasu, to complete unification
- embraced western tech and culture
- depicted in Kabuki and Bunraku (puppet) theater as a bold, ruthless, and unyielding figure that is sometimes romanticized as a tragic hero
- kabuki play Honno-ji Incident dramatize the betrayal by his retainer Akechi Mitsuhide, which led to Nobunaga’s death due to his relentless drive for power
- still popular in novel, anime, and video games now in controversial ways
- “Tenka fubu”: rule the realm by force (shows his ambition)
8
Q
Toyotomi Hideyoshi
A
- 1536 to 1598
- remembered as a brilliant strategist, statesman, and unifier of Japan
- went from peasant to successor of Oda Nobunaga
- defeated Akechi Mitsuhide at the Battle of Yamazaki
built Osaka castle
exemplifies ambition as a self-made man, promoted tea culture - depicted in Kabuki and Nog theater as a dynamic and larger-than-life figure where some focus on his military triumphs where others explore ambition/personal relationships
- he is depicted as clever and resourceful, ambitious, and class transcendence
9
Q
Tokugawa Ieyasu
A
- 1541 to 1616
- founder of the Tokugawa Shogunate which ruled Japan for over 250 years during the edo period
- basically he was a shogun
often depicted as a master of patience and long term planning as well as perseverance “Life is like unto a long journey with a heavy burden – Ningen banji saiō ga uma) - depicted in kabuki and Noh theater where they dramatize his rise to power, emphasizing his strategic brilliance and contrasting him with fiery contemporaries like Nobunaga or Hideyoshi
- these works show him as a clam, calculating figure who achieved greatness through persistence rather than impulsive heroics
- supported edo period’s “floating world” culture
- supported kabuki
- supported ukiyo-e (woodblock prints)
10
Q
Chikamatsu Monzaemon
A
- 1653 to 1724
- He came from the samurai class
- Pretty poor like many of the samurai in this period
- Born into provincial manurai family
- At asge 10 serves in house of noble in kyoto
- Knowledge of classics
- Switch from kabuki to puppet theater
-Started with kabuki but you don’t get attention from this because this is anonymous
But he was ambitious so he decided that he would write puppet plays - He switched from kabuki because he was becoming famous for his plays but no one knew it was him
- After he was competing against kabuki theater because they were drawing from the same audience
- Put alot more qualities on the chanting
11
Q
sarugaku
A
- means “Monkey music”
- a form of popular entertainment that came before noh
- noh is sometimes called this because it is thought to have derived from this
- usually funny, humorous theater where they would mock and make fun of aristocrats
- would attract large crowds and aristocrats would attend sometimes
12
Q
nō or noh
A
- means “talent”
- led by people like kan’ami or Zeami
- one of the earliest forms of theater
- was an art form patronized by the warrior class
- appeared randomly around the 13th century, but could have earlier roots
- humble origins: actors came from the social margins, including outcasts, but the perfect example of the bottom conquering the top which is a medieval literature theme
- link to agricultural rites
- used dong, dance, music, and stylized masks
- Kan’ami and Zeami helped transform noh into an elite art
- was performede in the capital along the river banks after some time instead of the country side
- went from riverbanks to shogun
why riverbanks: public space that nobody controlled, natural place where people would gather, was considered defiled places where a lot of ritual purification rights were held so the pollution would flow down the river - was an elite art of warrior class
13
Q
jo-ha-kyū
A
- this is the preparation-development-fast finale formula for noh plays that zeami developed
- “jo” means “preparation”: the opening of a program where you have to begin with a jo play that is usually auspicious/positive/easy to consume
- “ha” means “breaking”: this is the development phase where you can introduce a shift in rhythm and more intense play (like introducing a demon)
- “kyu” means “rapid or fast”: this is the fast-finale phase where you bring everything to a rapid conclusion with a short play
14
Q
yūgen
A
- means “mystery, depth, and grace”
- developed by Zeami for noh plays
- basically the same thing as Hana
- means that actors require grace, despite how fierce you role is
- a way to disrupt the actors way of thinking
- can not overdo your acting, and need to be subtle
15
Q
hana
A
- means “flower”
- similar to yugen
- basically means you need to be subtle, and not project too much
16
Q
riken no ken
A
- developed by Zeami for noh plays
- means “vantage from a vision apart”
- this means to see with a detached viewing
- when an actor performs, you have yo be able to detach your mind from your physical body
- you should see from behind you, in front of you, around you, and everywhere all at once
- put his actors through rigorous training to achieve this
17
Q
What are the 4 things that Zeami developed to properly perform noh plays?
A
- jo-ha-kyu
- yugen
- hana
- riken no ken
18
Q
What are the 3 different roles in a noh play?
A
- Waki
- wakizaure
- Shite
19
Q
Waki
A
- means “side person”
- a role in a noh play
- also known as the Deuteragonist, or second most important role
- typically a buddhist priest on a journey
- noh play usually begins with the waki introducing himself and explaining in a long description how he is on a journey
20
Q
wakizure
A
- means “wake companion”
- a role in a noh play
- typically does not do much
21
Q
What are the 2 different types of shite (doer, main role) in a noh play?
A
- Maeshite
- Nochijite
22
Q
shite
A
- means “doer or main role”
- a role in a noh play
- most important actor in the noh play with the most elaborate part and dance movement
- typically a ghost
protagonist with unsolved business
23
Q
Maeshite
A
- this is a type of shite or “doer, main role” in a noh play
- this is the shite during the first part of the play
- typically a ghost in disguised form because the true form is not revealed yet
24
Q
Nochijite
A
- this is a type of shite or “doer, main role” in a noh play
- this is the shite during the second part of the play
- typically a ghost that has revealed its true form and identity
25
What are the 5 different structures in a noh play?
1. shidai
2. nanori
3. michiyuki
4. mondō
5. mai
26
shidai
- this is the "opening thematic couplet" part of the structure of a noh play
- this has one or two images that would be amplified and woven into the rest of the play
-basically establishes the mood and transition from the real world to the noh play
27
nanori
- this is the "self-naming" part of the structure of a noh play
- this is where the wake announces his name and identity
28
michiyuki
- literally means "going on the road"
- this the journey part of the structure of the play
- as the wake is traveling, he is describing all of the different things he is encountering
- this takes him from one place to another
- it telescopes time because in reality the journey takes months but on stage it only takes going from one side to the other
29
mondō
- this is the "question and answer" part of the structure of a noh play
- this is where the wake encounters a mysterious individual and gets into conversation, unaware that the individual is actually a ghost
- during their dialogue, the play gets intense and speeds up
- ghost mysteriously disappears after mondo
30
mai
- this is the "climatic dance" part of the structure of a noh play
- this is when the shite would typically perform an elaborate dance
31
Ai-kyogen
- means "interval"
- modern plays leave this part out
- kinda like a play within a play
32
What are the 2 categories of noh plays?
1. mugen nō
2. genzai nō
33
mugen nō
- this is the "dream play" category of noh plays
- typically with the protagonist being a ghost
- usually the plot is a buddhist priest traveling and encountering an unknown person and then after a while the priest will have a dream and realize the unknown individual was a ghost
- the most recited plays
- example: Atsumori
34
genzai nō
- this the the "reality play" category of noh plays
- these take place in real time
- the protagonists are not ghost, but viewed as actual living things
- example: Sotoba Komachi --> a famous poet during Han period with many lovers that kan'ami and zeami made a noh play about where she is actually alive instead of dead
35
woven brocade
- means "embellishment"
- special name to describe the poetry of the noh plays
- shite of noh plays are very poetic and very dense
- composed in a 5-7-5-7 rhythm
- language is filled with images, metaphors, and similes
36
tsū
- means "connoisseur"
- they were experts in art, food wine, or whatever their field was
37
bunraku
- this is "puppet theater"
- led by Chikamatsu Monzaemon
- also known as "ningyo jouri"
- biggest competition was kabuki theater because it was developed side by side
- chikamatsu developed bunraku in Osaka
- appealed to the Urban masses (broad audiences)
- love suicide plays are popular bunraku
38
What are the 2 broad categories of bunraku (and kabuki)?
1. sewamono
1. jidaimono
39
sewamono
- this is "real life pieces, domestic plays"
- one of the two broad categories of bunraku (and kabuki)
- focused on contemporary life and the struggles of common people
- these were psychological portrayals
- displayed conflicts between giri (duty) and ninjo (feelings)
40
jidaimono
- this is "period pieces, historical plays"
- one of the two broad categories of bunraku (and kabuki)
- focused on historical subjects and characters such as samurai, nobility, and historical legends
- could not directly criticize the tokugawa or say anything directly, but you can say it using past tense and making the setting of the play long years in the past
41
Love suicide plays
- significant genre in bunraku ( and sometimes kabuki) where two lovers choose to end their lives together due to insurmountable societal or personal obstacles.
- gained popularity in edo period due to Chikamatsu
- show conflict between giri and ninjo
- ex: The Love Suicides at Amijima
42
giri
- means "duty, obligation"
- their duty or obligation to their societal role
- conflicts with ninjō
43
ninjō
- means "human feelings"
- their personal emotion
- conflicts with giri
44
samisen
- a type of Japanese string instrument
- came from outside the island and had a kind of exotic appeal in the Edo period
- used in kabuki and bunraku
45
bukimi no tani
- this means "uncanny valley"
- this relates to disgust evoked by excessive realism
- Mori Masahiro is credited for this
----basically if puppet looks too realistic, it could cause disgust and impede of empathy
----need to stay between the lines of real and unreal
----bunraku may not be a realistic theater but it has a realistic effect
- showing vs. describing emotions
46
tsukumogami
- hard to find direct translation but means "spooky objects"
- a class of yokai
- mundane objects that you posses that suddenly become animated and alive because they acquire a spirit
- ex: like a musical instrument coming to life
- can be playful, mischievous, or vengeful
47
yōkai
- means "monsters"
- appeared during the Edo period
- a diverse and broad category of supernatural creatures, spirits, and demons
48
hanamichi
- means "flower path"
- a part of the kabuki stage
- where the really good actors would come out and dance and show off and be celebrated
49
haiku
- a form of Japanese poetry
- syllables: 5-7-5 with a total of 17 syllables
- Natsuo Basho is the most famous haiku poetry and prose writer
- during Basho's time:
------composed in group instead of on your own
------people would get together and begin a series of linked poems
-----the first haiku in the linked series would become the main poem
-----sometimes parodies of classical themes
-----can use Chinese and Japanese words combined which is different from only using pure Japanese words in waka
------can use more vulgar words
50
kigo
- means "seasonal word"
- seen in haiku
- words that indicate the season you are in
51
Jumping Sound Deity
- Matsu Basho's name that occurred after his death
- came from his most famous poem which was about a frog jumping into a temple pond
- after Basho's death, his disciples curated his reputation to be enshrined as like a kind of deity
52
ren’ai
- means "romantic love"
- focuses on the emotional and passionate aspects of love relationships
53
jun-bungaku
- means "pure literature"
- prioritizes artistic and literary merit over entertainment or commercial success
- not meant for everybody
54
taishu bungaku
- means "mass literature"
- focus on entertainment, accessibility, and wide appeal, as opposed to the introspective and artistic focus
55
world literature
- literary works that are read and appreciated beyond their culture of origin
- focuses on how texts gain global recognition through translation and circulation.
56
comparative literature
- studies two or more texts across different cultures, languages, or time periods
- it compares explores their similarities, differences, and influences using a structured method
57
global literature
- examines contemporary works shaped by globalization
- highlights how literature reflects and responds to our interconnected, modern world
- authors such as Murakami Haruki and Banana Yoshimoto embrace this by mixing traditional Japanese lit with modern and globalized things
58
Postmodernism
- challenges the traditional literary and cultural forms, blurring the boundaries between genres
- stories reflect ambiguity due to Japan's evolving landscapes
- blends traditional Japanese culture with modern pop culture
- Examples of authors: Murakami Haruki and Banana Yoshimoto
59
Okuni of Izumo
- woman credited with founding kabuki theater in the late 1500s and early 1600s
- a shrine maiden from the Izumo Grand Shrine who began performing unique dances and dramatic skits around 1603 in Kyoto, attracting wide attention for her innovative and often provocative style
- shows how kabuki used to be exclusively performed by females, and sometimes even young boys, until it became popular and the Tokugawa shogunate banned it only allowing older men
60
pleasure quarters
- gated separated part from the city where theater could be performed
- gpt: walled, licensed entertainment and red-light districts established in cities during the Edo period
61
Takemitsu Gidayū
- (1651–1714)
- worked side by side with Cikamatsu
- created a style of joruri (narrative chanting with shamisen accompaniment) that became central to the development of Bunraku
- became the dominant form of music for puppet theater
62
Ihara Saikaku
- (1642-1693)
- a renowned Japanese author during the Edo period, famous for his contributions to books of the floating world
- works focused on themes of sexuality, love, and desire, providing a glimpse into the sensual world of the pleasure districts, especially in Edo
63
Matsuo Bashō
- (1644-1694)
- Born into the lowest rung of a samurai class and Very poor
- Lectures on classics to samurai and merchants in edo
- His entire life was dedicated to poetry but he studied these alot
- Takes up a wandering life at age 37
- Would travel and meet all sorts of people to teach them on literature, and specifically poetry
- Dedicated his entire life to wandering to make a living and to teach sometimes he would give talks
- His life kinda initiated the life of the recluse writers in the medieval period such as Saigyo or Kama no chomei
- People who were wanderers and completely dedicated their lives to art
- He literally would trace the very journey that many of these writers took
- Basho is kinda treated as a saint of poetry and so his work was kinda like sacred literature
- Sora was his companion on these trips
- Many people try to retrace basho’s journey and analyze his work
- They realized basho had rearranged this in order to improve the art
- Like details and where they stopped and stuff
- They found out because Sora kept a realistic account of what actually happened
- Many people were disappointed because it came as a huge shock and seemed insincere
- Basho name also means banana because he had a banana tree
- Yoshimoto Banana refers to him as her author alias
64
Basho's haiku qualities
- Sensation and immediacy
-------Captures a perception of the natural world in a very direct way
- imagistic
-------Has a very pictorall part to it
- influence on modernist movement
-----Had an influence outside japan in the 20th century
65
Toriyama Sekien
- (1712-1788)
- He illustrated like thousands and thousands of yokai
- Shift from invisibility and vagueness to distinct, clearly defined monsters
- Encyclopedic approach to yokai
- Parallels classificatory approach of natural history studies
- helped popularize yōkai imagery in Japan
66
Tsuruya Nanboku
- (1755-1829)
- a renowned Japanese playwright during the Edo period, best known for his contributions to Kabuki theater and his creation of plays in the genre of Jidaimono (historical plays
- the use of complex character psychology in Kabuki plays
- incorporated dark, supernatural elements, exploring themes such as vengeance, the afterlife, and spirits, which influenced later Kabuki and Bunraku works
67
Santō Kyōden
- (1761-1816)
- a prominent Japanese author and playwright during the Edo period, known for his contributions to literature, kabuki theater, and popular entertainment
- He was especially famous for his works in the fictional tales of the "floating world
68
Jippensha Ikku
- (1765-1831)
- Born into a samurai family
- Later edo writer of gesaku fiction
- Write hundreds and hundreds if books for a wide general audience
- Wrote “the monster takes the bride” which is a satire of the edo period marriage guide
------- All the characters are yokai
- Hizakurige (Shank’s Mare)
-------Another book he wrote
69
Jihei
- character from The love Suicides at Amijima
- the main male protagonist who is in love with Koharu
- a paper merchant
70
Osan
- character from The love Suicides at Amijima
- wife to to the main male protagonist, jihei
71
Koharu
- character from The love Suicides at Amijima
- the main female protagonist who is in love with Jihei
- a courtesan or prostitute
72
Birds of Sorrow (utō)
- noh dream play about hunting culture written by Konparu Zenchiku and Zeami
- introducing buddhist thought to hunting culture
- uto is a type of seabird
- centers on a traveling monk who visits a desolate place in Mutsu Province (northern Japan) and encounters a mysterious local woman (the shite)
- She tells the monk a tragic story of two hunters who once lived there: They were killed after they captured and killed a pair of birds—a male and female—causing sorrow and misfortune to fall upon them
- The woman reveals herself as the spirit of one of the birds, who has been unable to attain peace due to the violence inflicted upon her in life
- spirit expresses her deep sorrow, symbolizing themes of regret, karmic retribution, and the interconnectedness of all life.
-birds (often identified as utō, a type of seabird or murre) symbolize innocence and vulnerability.
- he spirit of the bird seeks absolution and release from her suffering. The monk, through his prayer and compassion, offers her a path toward enlightenment and peace
73
The Damask Drum
- Noh play about low level man using a drum to get princess attention
- attributed to Zeami Motokiyo
- reality and dream play
- heavy imagery
- The play revolves around a tragic story of unrequited love.
- A lowly gardener (the shite, or main actor) becomes infatuated with the beautiful and high-ranking Lady of the Court.
- The Lady, to mock him and demonstrate the futility of his longing, tells the gardener that she will meet him if he strikes a drum (made of damask silk) by a pond, claiming she will hear the sound.
- However, the drum is silk and thus makes no sound, leading the gardener to realize he has been cruelly deceived.
- Heartbroken and humiliated, he drowns himself in the pond.
- In the latter part of the play, the gardener's spirit returns in vengeful form, haunting the Lady for her cruelty, illustrating the destructive power of unchecked emotions.
74
Sotoba Komachi
- reality Nō play about the doctrines of non-duality written by Zeami
- Ono no Komachi was a famous poet during the han period with many lovers
- She is the main character and in the play she is actually alive instead of dead
- Medievalization of komachi legend
- -----She is now often depicted as an old decrepit woman that was cruel because she mistreated her lovers, but in the first half of the play he depicts her very positively
- Doctrine of nonduality
-------Vimalakirti Sutra (Yumiagyo)
Basically saying the is diachotamous thinking
-------“All finite things are interdependent, relative and mutally conditioned"
--------------Basically saying everything is an illusion
------“Am entity exists only in relation to other entities
- Contraditioction
-------She defeats the arrogant male priests in the mondo during conversation
------The stupa is a symbolic representation of the buddha and when they see her sitting on it they accuse her of desecrating the buddha but she undermines them by using wit to contradict their every statement
“The voice of the nightingale….to whom my shame is shown.” (keene, Anth, 265)
- chat: The play opens with two Buddhist priests sitting near a stupa. They see an old woman sitting on the steps of the monument, which is considered sacrilegious.
The woman (Komachi in disguise) engages with the priests in a discussion about impermanence, the Buddhist notion of suffering, and the fleeting nature of beauty and youth.
As she speaks, her true identity as the ghost of Ono no Komachi—once renowned for her beauty and poetry—gradually becomes clear.
She recounts how she was loved and pursued by many men, including Fukakusa no Shōshō, a suitor who courted her for 99 nights but died on the final night, unfulfilled.
Haunted by his spirit and burdened by her own karma and regret, Komachi reenacts her past, reliving her beauty, her arrogance, and the suffering it brought.
The play ends with Komachi lamenting her downfall, symbolizing the themes of transience and spiritual redemption.
75
Notes on the Nine Levels
- created by Zeami
- levels of accomplishment and refinement in the training and mastery of Noh performance
- a way to assess and perfect the artistry of a Noh performer
- reflects not only technical mastery but also aesthetic sensibility, emotional subtlety, and spiritual refinement
- 3 broad categories:
------ Earth (Technical Skill)
------ Man (Artistic Refinement)
------ Heaven (Transcendent Spiritual Expression)
- 9 levels
---------First Level (Basic Skill): The performer focuses on mastering fundamental movements, voice control, and techniques with precision.
--------Second Level (Form and Structure): Basic skills are polished into cohesive performances with an emphasis on rhythm and correct form.
-------Third Level (Beauty of Form): Technical perfection is achieved, and gestures and chants begin to reflect aesthetic beauty.
-------Fourth Level (Emotion in Technique): The performer incorporates emotional nuance, moving beyond form to express feelings naturally.
--------Fifth Level (Natural Expression): Performances appear effortless, with movements and voice flowing as though unpracticed and innate.
--------Sixth Level (Subtle Refinement): The actor begins to exhibit yūgen (mysterious beauty), drawing audiences into a deeper emotional and spiritual space.
----------Seventh Level (Masterful Flow): Artistic mastery is achieved, and every movement and sound blends seamlessly, transcending mere technique.
---------Eighth Level (Spiritual Presence): The actor embodies a character’s soul, radiating an aura that deeply connects with the audience on a spiritual level.
---------Ninth Level (Transcendent Art): At the pinnacle, the performer’s artistry reaches an almost divine level, creating an experience that transcends performance and becomes pure, transformative expression.
76
The Dog Pillow Book
- edo period
- written by Tsunetomo Yamamoto
- parody of the pillow books which were personal reflection. books
- humorous and playful reflection on human nature, society, and customs through the eyes of a dog
- he dog's perspective to comment on human behaviors, social dynamics, and cultural mores
- juxtaposes human flaws with canine simplicity, creating a dialogue between the human world and the animal kingdom
- explores human vanity, pride, loyalty, and other aspects of the samurai society during the early Edo period
77
