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001 203243
003 IT-RoAPU
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008 220302t20052005hiu fo d z eng d
019 _a(OCoLC)1029815968
019 _a(OCoLC)1032687353
019 _a(OCoLC)1037982563
019 _a(OCoLC)1042034439
019 _a(OCoLC)1046608497
019 _a(OCoLC)1047338356
019 _a(OCoLC)1049642480
019 _a(OCoLC)1054881114
020 _a9780824818272
_qprint
020 _a9780824843496
_qPDF
024 7 _a10.1515/9780824843496
_2doi
035 _a(DE-B1597)9780824843496
035 _a(DE-B1597)484332
035 _a(OCoLC)1013963286
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aPER011040
_2bisacsh
084 _aonline - DeGruyter
100 1 _aQuinn, Shelley Fenno
_eautore
245 1 0 _aDeveloping Zeami :
_bThe Noh Actor's Attunement in Practice /
_cShelley Fenno Quinn.
264 1 _aHonolulu :
_bUniversity of Hawaii Press,
_c[2005]
264 4 _c©2005
300 _a1 online resource (496 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tIntroduction --
_tAbbreviations --
_tPart I: Zeami's Shift in Representational Styles --
_t1. The Social Context of Zeami's Secret Treatises --
_t2. Developing Zeami's Representational Style --
_t3. Fierce Moons, Gentle Demons: From Ends to Means --
_tPart II: Zeami's Literary Turn --
_t4. Composing the Text --
_t5. Zeami's Theory in Practice: An Analysis of the Waki Play Takasago --
_tPart III: The Actor's Attunement and Nikyoku Santai --
_t6. Actor and Audience --
_t7. Mind and Technique: The Two Modes in Training --
_tCoda --
_tAppendix 1: An Annotated Translation of Sandō --
_tAppendix 2: An Annotated Translation of Takasago --
_tNotes --
_tCharacter Glossary --
_tSelected Bibliography --
_tIndex --
_tAbout the Author
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThe great noh actor, theorist, and playwright Zeami Motokiyo (ca. 1363-1443) is one of the major figures of world drama. His critical treatises have attracted international attention ever since their publication in the early 1900s. His corpus of work and ideas continues to offer a wealth of insights on issues ranging from the nature of dramatic illusion and audience interest to tactics for composing successful plays to issues of somaticity and bodily training. Shelley Fenno Quinn's impressive interpretive examination of Zeami's treatises addresses all of these areas as it outlines the development of the playwright's ideas on how best to cultivate attunement between performer and audience.Quinn begins by tracing Zeami's transformation of the largely mimetic stage art of his father's troupe into a theater of poiesis in which the playwright and actors aim for performances wherein dance and chant are re-keyed to the evocative power of literary memory. Synthesizing this remembered language of stories, poems, phrases, and their prosodies and associated auras with the flow of dance and chant led to the creation of a dramatic prototype that engaged and depended on the audience as never before. Later chapters examine a performance configuration created by Zeami (the nikyoku santai) as articulated in his mature theories on the training of the performer. Drawing on possible reference points from Buddhist and Daoist thought, the author argues that Zeami came to treat the nikyoku santai as a set of guidelines for bracketing the subjectivity of the novice actor, thereby allowing the actor to reach a certain skill level or threshold from which his freedom as an artist might begin.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)
650 7 _aPERFORMING ARTS / Theater / Stagecraft & Scenography.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780824843496
856 4 0 _uhttps://www.degruyter.com/isbn/9780824843496
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780824843496/original
942 _cEB
999 _c203243
_d203243