The Noh (11 results)

Trade Paperback. Condition: Used - Very Good. Pages unmarked, reading wear to edges.

Soft cover. Condition: Very Good. 98 pages. Alice Ruhle "Trotsky" / Luise Hausmann "Wittgenstein" / Luigi Barzini "Malaparte" / Amos Oz "Jerusalem to Cairo" / Y Takahashi "Beckett & The Noh" / Robin Fox "Unnatural Rights".

Paperback. Condition: Sehr gut. 25 p. Der Einband ist minimal berieben, ansonsten ein sehr gutes und sauberes Exemplar ohne Anstreichungen. The binding is minimally rubbed, otherwise a very good and clean copy without markings. - (excerpt:) ON KYÔGEN By Mrs. Tamae Hatae: The origin of both the Kyôgen comedies and the Noh dramas Some hold that the Kyôgen comedies are lost in antiquity. have a common origin with the Noh drama, while others deny this. It may be said, however, that both the dramas and the comedies were at first religious performances and the actors were mostly captives who were forced to act comedies called "Sarugo" and others, as the result of their defeat in war. This is often the case in many other countries of the world. A special sacred piece, "Okina (Old man)," is often referred to as the ancestor of the Kyôgen comedies. "Okina" is not a dramatic composition but a performance of religious rites, and is currently performed in a comical form, for the amusement of the audience. The Kyôgen comedies may have originated from "Okina" and eventually established themselves as short classic comedies maintaining close contact with the actual life of the people. They are performed between the performances of Noh dramas, which are mostly of a serious nature which do not provoke laughter. The Kyôgen comedies sometimes portray a sort of humour which may no longer be appreciated at the pres-ent time. They are often tinged with pathos and are sometimes subtled and sophisticated. The form of humour has varied in accordance with the development of the comedies. With the transformation of the Noh into a ceremonial entertainment of the Shogunate government, and its trans-ference into the hands of the ruling class, it was natural that the Kyôgen also should be performed in the presence of nobles and should be forced to take on some sort of formality. Thus it came to pass that the Kyôgen was required to refine its comicality and to shun vulgarity, and a certain stiffness in content as well as form came to take the place of its former freedom. Its laughter, too, became refined, and the Kyôgen was improved. Every aspect of its representative became stereotyped: the words, the emotions as expressed in words, the actions, the actors' impersonations, the costumes, and so on []. Sprache: Englisch Gewicht in Gramm: 250.

Condition: Fine. The book is in fine condition.

Condition: Fine. The book is in fine condition.

Condition: Fine. Number of books: 1 book.

Condition: Fine. Number of books: 1 book.

Condition: Fine. The book is in fine condition.

Condition: Fine. The book is in fine condition.

Condition: Fine. The book is in fine condition.

Condition: Fine. Size: B5 Number of books: 1 book.