Zeami

From notebook

Revision as of 00:52, 6 December 2011

Bushido

http://books.google.com/books?id=Hp9_LiNUIe8C&printsec=frontcover&dq=bushido&hl=en&ei=yq_2Tee_KqH40gHVxr3rDA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCwQ6AEwAA

世阿弥元清 『風姿花伝』（花伝書） 1978 岩波文庫・1979 講談社文庫 他 岩波文庫（野上豊一郎・西尾実 校訂）　 講談社文庫（川瀬一馬 校注）

Zeami emphrasized a students active and repeated attempts to imitate the master's performance, without being given any verbal explanation. At the same time, however, he indicated that emulation isnot the end state of mastery. The student should be able to do what his master does (or did) without any consciousness of imitation (Ikuta, 1987)

Suzuki method of violin teaching and other instruments of Western music, as well as in various genres of Japanese traditional music (Umemoto, 1985 in Berry, Poortinga, Pandey, 1997)

p352

John W. Berry, Ype H. Poortinga, Janak Pandey (1997) Handbook of Cross-cultural Psychology: Basic processes and human development

http://books.google.com/books?id=LMu07rycDu0C&pg=PA78&dq=zeami&hl=en&ei=ZqH2TeCuEsHjrAeI8dWaCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCwQ6AEwAA#v=onepage&q=zeami&f=false Theater East and West: perspectives toward a total theater By Leonard Cabell Pronko

"At first he [the apprentice actor] should be allowed to act as he pleases in what he happens to take up naturally and follow his own inclinations. He should not be instructed in minute detail or told that this or that is good or bad. If he is taught too strictly he will lose heart and also become unitersted in the Noh and forthwith cease to make any progress in performance" note 16 p79

excercise, study, meditation body, mind spirit p81

Rene Sieffert sees this concordance between actor and audience as the central idea of ZeamI's philosophy. p82

The karma of words: Buddhism and the literary arts in medieval Japan By William R. LaFleur

花は心、種は技成るべし

稽古と能のパフォーマンス⇒座禅と悟り

修証一等 修行は悟りのための手段ではなく、修行と悟りは不可分で一体のものだということ

幽玄　と　強き「この別目をよくよくみるに幽玄と強きと、＊真似る対象と＊別地にあるものと心得る上に迷う也」１２８ Adequate consideration of these distinctions shows that our going astray is due to a belief that grade (=yuugen) and strength (=tsuyoki) have an existence separate *from the objects of our miming* [*The underlined* words are those interpolated into the text by the translators (Shidehara and Whitehouse)]

As for what has been called hana or flower in these secret teachings, it is important to understand first of all why the flower that blooms in nature has been used here as a simile for many things. Since every variety of tree and plant comes into bloom in its own time in one of the fours seasons, we prize the timeliness and rarity of the blooming of each. SO too in Noh: our minds take as "Interesting" that which we experience as a rare thing. Now what we call *hana* or "flowering," that we call "Intersting," and what we call flowers eventually are scattered: none stays in bloom. And it is preciesely because it blooms and perishes that a flower holds our interest as something rare. SO also in Noh: to know the flowering is first of all to know that nothing abides. The rare things exists because it does not stagnate but moves on from one style to another. 129

Generally a good chapter but more on Noh itself then Zeami's method.

Zeami, "Zeami Juuroku Bushuu, Kwadensho" trans. Michitarou Shidehara and Wilfrid Whitehouse, p.199. See also Motokiyo Zeami "The Secret of Noh Plays: Zeami's Kadensho, p. 74 for another interpolation: "seperate from the subject."

McKINNON, R.N. 'Zeami on the art of training' in Harvard Journal of. Asiatic Studies, vol 16, 1953.

Riken no Ken. Zeami's Theory of Acting and Theatrical Appreciation Michiko Yusa Monumenta Nipponica Vol. 42, No. 3 (Autumn, 1987), pp. 331-345 (article consists of 15 pages) http://myweb.facstaff.wwu.edu/yusa/docs/riken.pdf