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Articles 1 - 10 of 10
Full-Text Articles in Japanese Studies
Perceived Phantoms: A Phenomenological Observation Of Spirituality In Atsumori, Nicholas C. Gilomen
Perceived Phantoms: A Phenomenological Observation Of Spirituality In Atsumori, Nicholas C. Gilomen
The Kennesaw Journal of Undergraduate Research
The paper examines the performance and embodiment of spirituality in Japanese Noh Drama during the Muromachi era from 1336 CE to 1573 CE. It also observes the art form from a modern perspective. Specifically, this research examines the classic Noh Drama play Atsumori by Zeami Motokiyo through the phenomenological lens. Phenomenology is a qualitative study that focuses on the perceptions of the human consciousness, and it allows me to examine the impact of subjective experiences on a person’s sense of truth. This paper examines the spirituality present through the various religious influences that went into the development of Noh Drama …
Ataka, Anthony H. Chambers
On Mochizuki: Interview With Mikata Shizuka And Udaka Tatsushige, Diego Pellecchia, Rebecca Teele Ogamo
On Mochizuki: Interview With Mikata Shizuka And Udaka Tatsushige, Diego Pellecchia, Rebecca Teele Ogamo
Mime Journal
No abstract provided.
Guise And Disguise: Nō Costumes In The Context Of Cultural Norms, Monica Bethe
Guise And Disguise: Nō Costumes In The Context Of Cultural Norms, Monica Bethe
Mime Journal
No abstract provided.
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki, Diego Pellecchia
Introducing Genzai Nō: Categorization And Conventions, With A Focus On Ataka And Mochizuki, Diego Pellecchia
Mime Journal
No abstract provided.
Mochizuki: History And Context, Michael Watson
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play, Katherine Saltzman-Li
From Ataka To Kanjinchō: Adaptation Of Text And Performance In A Nineteenth-Century Nō-Derived Kabuki Play, Katherine Saltzman-Li
Mime Journal
Nō techniques and play borrowings provided important infusions into kabuki throughout its history, but in the nineteenth century, a genre of kabuki plays in close imitation of nō or kyōgen wasadded to the kabuki repertoire. The genre came to be called matsubamemono, meaning “[nō/kyōgen-derived kabuki] plays [performed] on a stage with a pine painted on the back wall” or “pine-boardplays.”1 These plays are the focus of this article, in which I first introduce the genre and its place in kabuki history, and then discuss its most famous example, the play Kanjinchō (Hattori 17–40; Meisakukabuki zenshū 181–197; Brandon, The Subscription List …
Paragons Of Loyalty On The Japanese Stage, J. Thomas Rimer
Paragons Of Loyalty On The Japanese Stage, J. Thomas Rimer
Mime Journal
No abstract provided.
On Ataka: Interview With Udaka Michishige And Sugi Ichikazu, Diego Pellecchia, Rebecca Teele Ogamo
On Ataka: Interview With Udaka Michishige And Sugi Ichikazu, Diego Pellecchia, Rebecca Teele Ogamo
Mime Journal
No abstract provided.
The Demonic Women Of Premodern Japanese Theatre, Jasmine C.E. Umeno
The Demonic Women Of Premodern Japanese Theatre, Jasmine C.E. Umeno
Scripps Senior Theses
This thesis aims to examine the ways in which women are used as vehicles within the noh and kabuki theatre traditions to perpetuate moral and religious doctrine. Using the theoretical frameworks of Michel Foucault, Judith Butler, and Jill Dolan, I examine two plays which feature a female demon as their antagonist, Momijigari and Dojoji, and focus on the ways they incorporate Buddhist and Neo-Confucian ideology in their respective noh and kabuki renditions.