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70 Cards in this Set
- Front
- Back
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ROLES IN NOH:
Shite |
lead character
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ROLES IN NOH:
Chorus |
group of shites on the side who represent the main character's emotion through song
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ROLES IN NOH:
Waki |
side character, usually a priest, doesn't wear a mask, explains the situation
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ROLES IN NOH:
Hayashi |
musicians: flute and drum
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ROLES IN NOH:
Kyogen |
clown, comic relief, commentary
also had own type of drama, performed between Noh plays |
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NOH TERMINOLOGY:
Kata |
stylized movement patterns used to represent emotions, subtle, similar to Indian mudras
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NOH MISC.
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song primary art, 5 major Noh families, each with own style; draws on Amida and Zen Buddhism and Shinto; night performances
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NOH TERMINOLOGY:
Geino |
artistic skill, traditional word for performance/theatre
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NOH HISTORY:
Kagura |
Shinto ritual that Noh draws upon, goal was to entertain gods, see example of the Myth of Amaterasu
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NOH HISTORY:
Myth of Amaterasu |
fights with brother, god of storms, and hides (eclipse), people entertain her to get her out of the cave, woman's idea to dance erotically and hold a mirror up so that Amaterasu gets curious
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NOH HISTORY:
Time span |
10th - 13th cent. (until present)
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NOH HISTORY:
Sarugaku |
"monkey dance" - spectacle
kyogen sketches Chinese origin trickster |
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NOH HISTORY:
Dengaku |
"field dance" - entertain while working, rice planting, New Year's
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NOH PERFORMANCE:
Parts |
Part 1: shite disguised
Part 2: shite supernatural |
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NOH HISTORY:
Kanami and Zeami |
Kanami 1333-1384
Zeami 1363-1443 - Kanami's son, structured the rules of Noh, wrote Kadensho (see Kadensho), half of the 250 Noh plays are ascribed to Zeami |
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NOH HISTORY:
Kadensho |
7 books about playwriting and performance theory, written by Zeami
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NOH PERFORMANCE:
Masks |
wood, worn by all but Waki, faces for nobler characters more refined because they were closer to spiritual fullness
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TYPES OF NOH PLAYS:
Name all 5 |
god, warrior, woman, "living person" misc. madness/passion play, demon
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NOH PERFORMANCE:
Mirror room |
place for actors to meditate and get into character, very religious process, costume and makeup done here, takes a long time
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NOH PERFORMANCE:
Yugen |
beauty from skill or virtuosity, leading to inner peace, felt in audience
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NOH PERFORMANCE:
Hana |
"flower" rigid training and sacrifice, done to achieve ran-i and yugen, takes time to "blossom"
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NOH PERFORMANCE:
Ran-i |
feeling of ecstasy and exaltation, performer feels
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NOH PERFORMANCE:
Stage |
spectators on 2 sides, pine tree painted on back wall, 15 posts, very traditional, bridge to mirror room
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Komachi at Sekidera
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People on way to Tanabata (Star festival), meet Komachi without family, left to die, early fall play, sad but not tragic, highly educated with lots of poetic references, about immortality of art, can't be artist and mother, tries to dance but can't, then watches boy dance, paradox between dying body and living spirit
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KABUKI MISC.
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makeup instead of masks, fast-paced, plot-oriented, dancing, special effects, show-stopping, also uses kata, musicians behind partition
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KABUKI HISTORY:
Onna Kabuki (origins) |
1603 - 1629
Portuguese landed, feudal to mercantile, performed for fringe society "kabuki-mono" - tilted people, later other women copied, closed because people fought, also because samurai in debt to merchants |
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KABUKI HISTORY:
Okuni |
Buddhist priestess - sent to raise money for temple, but rebelled, cross-dressed, advertised services and taught Portuguese how to procure
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KABUKI HISTORY:
"kabuki" literally |
"ka" - song
"bu" - dance "ki" - erotic skill |
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KABUKI HISTORY:
Wakasho Kabuki |
1629 - 1653
Young men took the stage after women banned, pederasty ensued, onnagata tradition began |
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KABUKI HISTORY:
Yaro Kabuki |
1654 onwards
Grown men with weird haircuts, somewhat successful in elevating Kabuki as an art form |
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ROLES IN NOH:
Tsure |
accompanies shite, Robin to his Batman
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ROLES IN NOH:
Kokata |
child, represents new order
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TYPES OF YARO KABUKI
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Onnagata - female impersonation
Wagato - based on Noh, philosophical Aragato - stylish, 100 yrs after other two, very masculine, popularized by Ichikawa Danjuro |
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KABUKI TERMINOLOGY:
Mie |
pose held at peak of action, "show-stopper", usually cross-eyed,
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KABUKI TERMINOLOGY:
Hanamichi |
catwalk attached to stage, used for roppos
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KABUKI TERMINOLOGY:
Roppo |
dramatic walk/dance
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KABUKI PERFORMANCE:
acts, length, time, etiquette |
5 acts, 12 hours, day to night, audiences come and go
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KABUKI PERFORMANCE:
4 types included in program |
Samurai/history, dance, domestic, humorous
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Kanjincho
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part of the Juhachiban (favorite Kabuki plays), based on Noh play Ataka, Wagato style, Benkei, Togashi, Prince
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KABUKI TERMINOLOGY
Giri |
duty or obligation (dharma?)
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KABUKI TERMINOLOGY:
Nijo |
sentiment, sympathy
Note that the Japanese considered emotion an essential part of decision-making |
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LOVE SUICIDES MISC.
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Focus on merchant class, Confucian relationships, not necessarily melodramatic resolution, theme of tension between samurai and merchants, performed as Kabuki or puppet plays (bunraku)
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LOVE SUICIDES HISTORY:
Time frame/situation |
early-mid 1700s, transition from feudal to mercantile, merchants frustrated because they couldn't rise in society
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Sonezaki
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Tokubei, in love with Ohatsu, tricked by friend to lend money that was given to him as dowry, and so can't escape marriage to someone else, Ohatsu chooses suicide, silently asks him, can't do it herself, violence of death avoids glorifying suicide, and shows turmoil
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BUNRAKU
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puppets almost life-sized, life-like, more literary art form than Noh or Kabuki
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Amijima
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Jihei has a family, Koharu feels guilty about taking him away, tries to scrape up enough money to buy Koharu, then kills self and her
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MEDIEVAL DRAMA HISTORY:
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banned until 10th cent. CE
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MEDIEVAL DRAMA HISTORY:
Time frame |
900-1550 (see individual types)
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MEDIEVAL DRAMA HISTORY:
Quem Quaeritis trope |
about 900-1000
congregation participated in partial reenactment of Easter, because most people illiterate |
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MEDIEVAL DRAMA HISTORY:
Easter, Christmas, and Innocent's Day drama |
about 1000-1100
Non-liturgical dramatizations, like Adam and Eve, tended to embellish |
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MEDIEVAL DRAMA TYPES:
Miracle play |
1100-1500
based on lives of saints, free of biblical constraints, St. Nick most popular, superhero-ish |
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MEDIEVAL DRAMA TYPES:
Morality play |
1300-1500, prominent 1400s
Dramatizes spiritual crisis in life of one representative Christian, highly allegorical, encourages good behavior, personification, greatest influence on Renaissance drama, reflects increasing secularity |
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MEDIEVAL DRAMA TYPES:
Mystery play |
1350-1550
closest relative to church tropes, used vernacular, performed by Maestri (craftsmen), hellmouths, cycle plays, used wagons, church steps, and booths for stages, anachronistic, Corpus Christi, "secrets" like flying machines |
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Everyman
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morality play, always prepared for death, god decides to kill Everyman, tries to bribe/postpone/weasel, only help is Good Deeds and Knowledge, whips to repent, goes with Everyman to death, rhymed to help actors remember lines
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MEDIEVAL TERMINOLOGY:
Psychomachia |
trope of angel and devil on shoulders to represent internal conflict
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Mankind
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Mischief boss, New Guise, Nought, and Now-a-days mini-bosses, tempt farmer Mankind, less polished, humor ok, Titivillus convinces in dream that Mercy is lying to him, believes, audience told not to wake him, Mischief finally goes to jail
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TEMPEST HISTORY:
Differences between then and now |
hierarchy to character importance
right Duke to former Duke savage to inhabitant More pc |
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Tempest
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Prospero takes over island from Sycorax, frees Ariel, Prospero creates storm to restore order (surrogate god), educates Caliban,
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TEMPEST HISTORY:
Historical background |
Storm in Caribbean, ship thought lost, arrived later
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TEMPEST THEME:
Nature bad |
Prospero learned, Sycorax natural and irredeemable, Prospero attempts to "fix" Caliban, doesn't work, natural magic subordinate to Prospero. Ariel slightly better because recognizes Prospero as superior
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TEMPEST THEME:
Femininity as currency |
worth depends on virginity, surprising that she brokers her own marriage (but uneducated, so forgiven)
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SPANISH DRAMA HISTORY
Lope de Vega |
1562-1635, most prolific, over 2k, respectability increased play houses from 2 in Spain to 40 in Madrid, "Spanish Phoenix", no unities, wrote religious plays vs. Shakespeare's secular humanism
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SPANISH DRAMA CATEGORIES:
Cloak and dagger |
intrigue, disguise, good vs. evil, plot-driven
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SPANISH DRAMA CATEGORIES:
History |
not strictly accurate
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SPANISH DRAMA CATEGORIES:
Social life |
more comic, merchant-class characters
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SPANISH DRAMA CATEGORIES:
Religious allegories |
inspired by morality plays, used many of the same techniques like personification
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Life's A Dream
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1st draft 1635, secular, 2nd draft 1673, religious
Rosaura wants to win Astolfo, Clotaldo's daughter, calms Sigismund, Basilio imprisons Sigismund because afraid of a curse instead of teaching, |
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SPANISH HISTORY:
Calderon de la Barca |
1600-1681
died writing a play, Lope's successor, official court playwright, served in army, priesthood |
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LIFE'S A DREAM
Themes |
dreaming/waking, reality/fantasy, honor/duty, marriage/love, reason/superstition, fate/free will, Clarion
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Overall:
Which disciplines included women? |
Onna Kabuki, Indian dance, Spanish theatre, Medieval theatre, occasionally Renaissance theatre
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