Awards

• Winner of Hōsei University Noh Drama Prize in Memory of Kanze Hisao 2009
• Winner of Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature 2010
• Winner of Japan-U.S. Friendship Commission Prize for the Translation of Japanese Literature 2011

Overview

Full Product Details

Author:   Motoyiko Zeami ,  Tom Hare
Publisher:   Columbia University Press
Imprint:   Columbia University Press
Dimensions:   Width: 15.60cm , Height: 3.70cm , Length: 23.50cm
Weight:   0.879kg
ISBN:  

9780231139588

ISBN 10:   0231139586
Pages:   528
Publication Date:   14 April 2008
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Out of stock  
The supplier is temporarily out of stock of this item. It will be ordered for you on backorder and shipped when it becomes available.
Language:   Japanese

Table of Contents

Preface Acknowledgments Abbreviations Introduction Transmitting the Flower Through Effects and Attitudes An Extract from Learning the Flower Oral Instructions on Singing A Mirror to the Flower A Course to Attain the Flower Figure Drawings of the Two Arts and the Three Modes The Three Courses Technical Specifications for Setting a Melody A Collection of Jewels in Effect An Effective Vision of Learning the Vocation of Fine Play in Performance Five Ranks Nine Ranks Six Models Pick Up a Jewel and Take the Flower in Hand Articles on the Five Sorts of Singing Five Sorts of Singing Learning the Profession Traces of a Dream on a Single Sheet The Flower in... Yet Doubling Back Two Letters to Master Konparu Appendix 1. Music, Dance, and Performance in Sarugaku Appendix 2. On the Manuscripts Appendix 3. Zeami's Languages Glossary Bibliography Index

Reviews

Thomas Hare is a highly gifted, graceful, and imaginative translator. Building on his previous masterful work in Zeami's Style: The Noh Plays of Zeami Motokiyo, he has brought Zeami's notes to life in English with great immediacy and verve. Zeami's 'performance notes' became public only in the twentieth century, having been written for his closest associates and artistic heirs and then kept as the tightly guarded property of successor performance lineages. The texts can, most obviously, be read as a window into Zeami's own thoughts, as his legacy and strategic guide for his immediate followers. They make it possible to reimagine a remarkable amount about performance practice in Zeami's day, and they are also of great interest as a window into the matter of writing itself in Zeami's time. The texts vary in the degree to which Zeami uses a consciously elevated style, writing in a sort of pseudo-Chinese. His use of terminology borrowed, adapted, expanded, or distorted from other discourses of his time, notably the discourses of poetry and of Buddhism, is fascinating as a study in its own right. -- Susan Matisoff, emerita professor of East Asian languages and cultures, University of California, Berkeley [Hare's] detailed, thorough, scholarly volume will no doubt serve as the choice for those seeking an in-depth understanding of Zeami... Highly recommended. CHOICE Vol. 46, No. 01 The translations are clear and straightforward. -- Joni Koehn Asian Theatre Journal Vol 26, No 1 this volume will have a great impact on noh scholarship and allow for a better understanding of Zeami's place in medieval culture. -- Eric C. Rath Monumenta Nipponica Vol 64, no 2, 2009

[Hare's] detailed, thorough, scholarly volume will no doubt serve as the choice for those seeking an in-depth understanding of Zeami... Highly recommended. -- CHOICE The translations are clear and straightforward. -- Joni Koehn, Asian Theatre Journal

Thomas Hare is a highly gifted, graceful, and imaginative translator. Building on his previous masterful work in Zeami's Style: The Noh Plays of Zeami Motokiyo, he has brought Zeami's notes to life in English with great immediacy and verve. Zeami's 'performance notes' became public only in the twentieth century, having been written for his closest associates and artistic heirs and then kept as the tightly guarded property of successor performance lineages. The texts can, most obviously, be read as a window into Zeami's own thoughts, as his legacy and strategic guide for his immediate followers. They make it possible to reimagine a remarkable amount about performance practice in Zeami's day, and they are also of great interest as a window into the matter of writing itself in Zeami's time. The texts vary in the degree to which Zeami uses a consciously elevated style, writing in a sort of pseudo-Chinese. His use of terminology borrowed, adapted, expanded, or distorted from other discourses of his time, notably the discourses of poetry and of Buddhism, is fascinating as a study in its own right. -- Susan Matisoff, emerita professor of East Asian languages and cultures, University of California, Berkeley [Hare's] detailed, thorough, scholarly volume will no doubt serve as the choice for those seeking an in-depth understanding of Zeami... Highly recommended. CHOICE The translations are clear and straightforward. -- Joni Koehn Asian Theatre Journal this volume will have a great impact on noh scholarship and allow for a better understanding of Zeami's place in medieval culture. -- Eric C. Rath Monumenta Nipponica

Author Information

Tom Hare is William Sauter LaPorte 28 Professor of Regional Studies in the Department of Comparative Literature at Princeton University. His most recent books include Zeami's Style: The Noh Plays of Zeami Motokiyo and ReMembering Osiris: Number, Gender, and the Word in Ancient Egyptian Representational Systems.

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