Search results

1

HRY O STAROBE AKO ESENCIA DIVADLA NÓ

100%

Hlaváčová A.

Slovenské divadlo (Slovak Theatre)

|

2013

|

vol. 61

|

issue 2

123 - 134

EN

The study examines the issue of aging as reflected in the repertoire of Noh theatre. The analysis of the “old women plays” is based on the aesthetic concept of beauty of old age (rojaku) as particularly rare form of vanishing. Another question raised in the study is the beauty of performance of an aging actor. The author of this study applies conceptual approach to explain the fact that the theme of old poet stands in the centre of actually three of the five plays on her. The by-product of the study is the revelation of morphological proximity of two plays, Sumidagawa and Sotoba-Komachi, which may have an impact on dating and clarification of the authorship.

2

PLAYS ABOUT OLD AGE AS THE ESSENCE OF NOH THEATRE

88%

Hlaváčová A. A.

Asian and African Studies

|

2015

|

vol. 24

|

issue 1

89 – 101

EN

This paper deals with the issue of aging as reflected in the Noh theatre repertory. It analyses plays about elderly women based on the aesthetic concept of the beauty of old age (rojaku) as one of the forms of the ephemeral. The paper also offers an insight into their staging – the beauty of an aging actors acting. The fact that there are three plays revolving around the character of an aged female poet is explained by the conceptual attitude of their author. As a side product, this paper reveals some morphological connections in the staging of the plays Sumidagawa and Sotoba Komachi, which could have an effect on the dating of the plays and the identification of their author.

3

NOH THEATRE IN THE WEST - A JAPANESE BRIDGE OVER ONE CENTURY - FROM W. B. YEATS TO JANNETTE CHEONG (No na zapade - japonsky most cez jedno storocie - od W. B. Yeatsa po Jannette Cheong)

63%

Rumanek R. V. I.

Slovenské divadlo (Slovak Theatre)

|

2010

|

vol. 58

|

issue 2

150-165

EN

In the 19th century, the period of intensive contacts between the West and Japan was renewed. Two waves can be identified in the process of re-introduction of Japanese culture to the West until the continuous reciprocal cultural exchange as we know it after World War II. Fascination of Europe with the Japanese woodcraft (since 1862) that influenced Impressionism and later Art Nouveau can be identified as the first wave, the second wave is characterised by broader familiarity with Japanese culture and literature due to the fact that more and more Westerners mastered the secrets of the Japanese language and the first translations into the European languages appeared. Noh theatre emerged in the West as part of the second wave. It was during the U.S. and European tour of actor Kawakami Otojiro (1864 - 1911) who owned a private theatre Kawakami, and his wife, a former geisha Sadayakko (1871 - 1946), one of the first female actresses in modern Japan. Europe began to realize the authentic form of Noh. In London, the increase in popularity of Noh can be traced into the crucial moment, when a young American poet Ezra Pound (1885-1972,) came here in 1908 longing to get to know the Irish poet W. B. Yeats (1865-1939). Western authors appreciated how the Japanese Noh combines drama, music and dance into the monolithic unit and they considered mask an excellent means of an 'alienation effect', leading the spectators to feel separated from the events on stage and giving them an opportunity to think about the deeper meaning of events. Analysing the history of Noh in the West, we note two milestones, two points in this development which brings in mind two ends of Monet's Pont Japonais (Japanese Bridge) in his garden in Giverny, stretching over the century of its naturalization in the West. One is the work of William Butler Yeats at the beginning of the 20th century and - a century later, Jannette Cheong's work, the latest piece of the Western Noh. Both were written in English and premiered in London.

Refine search results

2 Slovenské divadlo (Slovak Theatre)

1 Asian and African Studies

1 Hlaváčová A.

1 Hlaváčová A. A.

1 Rumanek R. V. I.

1 2015

1 2013

1 2010

HRY O STAROBE AKO ESENCIA DIVADLA NÓ

PLAYS ABOUT OLD AGE AS THE ESSENCE OF NOH THEATRE

NOH THEATRE IN THE WEST - A JAPANESE BRIDGE OVER ONE CENTURY - FROM W. B. YEATS TO JANNETTE CHEONG (No na zapade - japonsky most cez jedno storocie - od W. B. Yeatsa po Jannette Cheong)