Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Refine search results

Journals help

  1. 3 Asian and African Studies

Authors help

  1. 3 Rumánek I.

Years help

  1. 1 2009

  2. 1 2008

  3. 1 2006

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

FORMATION OF EARLY 'NOH' DRAMA AND LEGENDS OF YUZAKI

100%
Rumánek I.
Asian and African Studies
|
2008
|
vol. 17
|
issue 2
261 - 289
EN
This paper is based partly on official 'noh' research done in Japan and overseas, and partly on author's field research at Yuzaki in February 2008. The author is outlining the development from the earliest known records of performing forms towards the medieval 'sarugaku', and through that onto the classical 'noh' drama. The breaking point might have been at Yuzaki, a countryside community in central Nara Basin. It is reported to be the birthplace of Zeami and the cradle of the classical 'noh' which Kannami made out of the 'sarugaku' performances played at the local Itoi shrine. Two lines of development started then, the one leading to the formation of the exclusive art of 'noh' in Kyoto, while the original annual 'sarugaku' performances at Itoi shrine in Yuzaki might have continued unchanged well into the 19th century.
2

NOH AS A MUSICAL PERFORMANCE WITH REGARD TO THE HISTORICAL DEVELOPMENT

100%
Rumánek I.
Asian and African Studies
|
2009
|
vol. 18
|
issue 1
51 - 79
EN
Japanese noh drama is, similarly to the Western opera, a performance in which the textual, musical and choreographic parts unite to form a unique whole. The text written by the original playwright was inseparably interwoven with the musical element and it cannot be fully understood or appreciated without each other. In the times of the classical noh playwrights Kannami and Zeami, the performances are known to have attracted audiences, of all social strata, by their musical charm as well as by the rich texts and spectacular dance. Today, it is difficult to figure out the fascination the spectators must have felt then, as the musical side has undergone a centuries long development which has blurred the supposedly captivating original melody of the sung fushi parts. I am trying to get at the core of what can be reconstructed of the musical part of noh, on the basis of outlying the development of musical scales used in Japan.
3

THE ORDER OF THE COLUMNS IN THE JAPANESE KANA SYLLABARY

100%
Rumánek I.
Asian and African Studies
|
2006
|
vol. 15
|
issue 1
32 - 39
EN
The Japanese kana script is derived in its form from Chinese characters. But the order of the kana letters is based on that used generally in scripts of India. The study centres on the historical background of this order and searches for historical values of the old Japanese sounds as reflected in this order.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.