Classical Noh drama is an art form from which country?
"the world's largest importers of animal feeds and agricultural fertilizers. 70% of the sales of chemical fertilizers in Japan are handled by them. ZEN-NOH is also largely involved in the production of farming equipment, primarily tractors. Zen-Noh , , is a federation of agricultural cooperatives in Japan. ZEN-NOH was formed in 1972 with the joining of the ZENHANREN group (National Marketing Federation of Agricultural Cooperative Associations) and the ZENKOREN group (National Purchasing Federation of Agricultural Cooperative Associations). ZEN-NOH consists of 1,173 agricultural cooperatives and federations that in 2004 had a combined revenue of $53.8 billion (USD). ZEN-NOH is involved in"
"Noh , derived from the Sino-Japanese word for ""skill"" or ""talent"", is a major form of classical Japanese musical drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Traditionally, a ""Noh"" program includes five ""Noh"" plays with comedic ""kyōgen"" plays in between; an abbreviated program of two ""Noh"" plays and one ""kyōgen"" piece has become common in ""Noh"" presentations today. An ""okina"" (翁) play may be presented in the very beginning especially at New Year, holidays, and other special occasions."
"Noh Christmas Carol by Cianna Stewart and Yuriko Doi (1993), True Heart/Kokoro by Velina Houston (1994), Salome/Sarome Kyu Kyu No Dan by Masakatsu Gunji (1994), Elephant/Zo by Minoru Betsuyaku (1995), Down the Dark Well/Mumyo no I by Erik Ehn (1996), Blood Wine, Blood Wedding by Carol Sorgenfrei (1997), Crazy Horse by Erik Ehn (2001) Yuriko Doi Yuriko Doi is a stage director, choreographer, performer and former founding artistic director of Theatre of Yugen (San Francisco, California). Doi specializes in the fusion of traditional Japanese dramatic arts with modern world theater. Japanese-born and trained in the classical theater styles of Noh"
"is extremely codified and regulated by the ""iemoto"" system. The word ""Noh"" is a borrowing from Middle Chinese ""nong"" (cf. Mandarin ""néng""), and means ""skill"", ""craft"", or ""talent"", particularly in the field of performing arts in this context. The word ""Noh"" may be used alone or with ""gaku"" (fun, music) to form the word ""nōgaku"". ""Noh"" is a classical tradition that is highly valued by many today. When used alone, ""Noh"" refers to the historical genre of theatre originated from ""sarugaku"" in the mid 14th century and continues to be performed today. ""Noh"" and ""kyōgen"" ""originated in the 8th century"
"Noh theatre and wrote the classic book on dramatic theory (Kadensho). He uses images of nature as a constant metaphor. For example, ""snow in a silver bowl"" represents ""the Flower of Tranquility"". Yūgen is said to mean ""a profound, mysterious sense of the beauty of the universe ... and the sad beauty of human suffering"". It is used to refer to Zeami's interpretation of ""refined elegance"" in the performance of Noh. refers to the various traditional Japanese arts disciplines: (theater), (Japanese flower arrangement), (Japanese calligraphy), (Japanese tea ceremony), and (Japanese pottery). All of these disciplines carry an ethical and aesthetic"
"are reminiscent of Japanese Noh theater. Noh is a specialized form of Japanese traditional theater requiring highly trained actors and musicians where emotions are primarily conveyed by stylized conventional gestures. The heavy, ghost-like makeup worn by Tatsuya Nakadai's character, Hidetora, resembles the emotive masks worn by traditional Noh performers. The body language exhibited by the same character is also typical of Noh theater: long periods of static motion and silence, followed by an abrupt, sometimes violent, change in stance. The character of Lady Kaede is also Noh-influenced. The Noh treatment emphasizes the ruthless, passionate, and single-minded natures of these two"
"generation after Amanat and Agha Hashr who actually write for stage and not for libraries. Chinese theatre has a long and complex history. Today it is often called Chinese opera although this normally refers specifically to the popular form known as Beijing opera and Kunqu; there have been many other forms of theatre in China, such as zaju. Japanese Nō drama is a serious dramatic form that combines drama, music, and dance into a complete aesthetic performance experience. It developed in the 14th and 15th centuries and has its own musical instruments and performance techniques, which were often handed down"
"as it is first recorded in Zeami's ""Style and the Flower"" written in the 14th century. Some of the masks of the Konparu school belong to the Tokyo National Museum, and are exhibited there frequently. The traditional Noh stage has complete openness that provides a shared experience between the performers and the audience throughout the performance. Without any proscenium or curtains to obstruct the view, the audience sees each actor even during the moments before they enter (and after they exit) the central ""stage"". The theatre itself is considered symbolic and treated with reverence both by the performers and the"
"the new arising from the old. We are to see a mythological and ancient action, interpreted by a 17th-century poet in a modern theatre. Although the last fifteen years of Goehr's output have not received the generous coverage (both in terms of academic writing and frequency of performance) of his previous work, they arguably represent the most interesting of Goehr's compositional phases. This last decade's output is heralded by the striking opera ""Kantan and Damask Drum"" of 1999, premiered at the Dortmund Opera. This opera consists in fact of two plays from the Japanese Noh theatre tradition, separated by a"
"to the above five, ""Okina"" (or ""Kamiuta"") is frequently performed at the very beginning of the program. Combining dance with Shinto ritual, it is considered the oldest type of Noh play. The following categorization is that of the Kanze school. Many Western artists have been influenced by Noh. Zeami and Zenchiku describe a number of distinct qualities that are thought to be essential to the proper understanding of Noh as an art form. Noh is still regularly performed today in public theatres as well as private theatres mostly located in major cities. There are more than 70 Noh theatres throughout"
"opera and face changing of Sichuan opera were influenced by Nuo opera masks. Min Tian, ""Chinese Nuo and Japanese Noh: Nuo's Role in the Origination and Formation of Noh,"" Comparative Drama, Vol. 37, No. 3/4 (Fall/Winter 2003-04), pp. 343–360. Nuo opera Nuo opera or Nuo drama () is one of the most popular folk operas in southern China. Characterized by its special features such as ferocious masks, unique dresses and adornments, the strange language used in performance, and mysterious scenes, Nuo opera has been selected as one of the non-material cultural legacies of China. The opera is a religious performance"
"gain a better future. The ultimate goal was to escape the cycle of death and rebirth by attaining true insight. The four traditional theatres from Japan are ""noh"" (or ""nō""), ""kyōgen"", ""kabuki"", and ""bunraku"". Noh had its origins in the union of the ""sarugaku"", with music and dance made by Kanami and Zeami Motokiyo. Among the characteristic aspects of it are the masks, costumes, and the stylized gestures, sometimes accompanied by a fan that can represent other objects. The ""noh"" programs are presented in alternation with the ones of ""kyōgen"", traditionally in number of five, but currently in groups of"
"Theatre of Japan Traditional Japanese theatre includes Kabuki, Noh (and its comic accompaniment, Kyōgen) and the puppet theatre, Bunraku. The early existing Kyogen scripts date from the 15th century. Kyogen was used as an intermission between Noh acts—it linked the theme of the Noh play with the modern world by means of farce and slapstick. Noh played to the high level class, but there were occasions where Noh was performed for common audiences. Unlike Noh, the performers of Kyogen do not wear masks, unless their role calls for physical transformation. Although they were both very popular forms of theatre, commoners"
"""Nō"" together with ""Kyōgen"" is part of ""Nōgaku"" theatre. ""Noh"" is often based on tales from traditional literature with a supernatural being transformed into human form as a hero narrating a story. ""Noh"" integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized conventional gestures while the iconic masks represent the roles such as ghosts, women, children, and the elderly. Written in ancient Japanese language, the text ""vividly describes the ordinary people of the twelfth to sixteenth centuries"". Having a strong emphasis on tradition rather than innovation, ""Noh"""
"to have a court education for his arts. After Zeami succeeded his father, he continued to perform and adapt his style into what is today Noh. A mixture of pantomime and vocal acrobatics, this style has fascinated the Japanese for hundreds of years. Japan, after a long period of civil wars and political disarray, was unified and at peace primarily due to shogun Tokugawa Ieyasu (1600–1668). However, alarmed at increasing Christian growth, he cut off contact from Japan to Europe and China and outlawed Christianity. When peace did come, a flourish of cultural influence and growing merchant class demanded its"
"needed. These props normally are only outlines to suggest actual objects, although the great bell, a perennial exception to most Noh rules for props, is designed to conceal the actor and to allow a costume change during the ""kyōgen"" interlude. Noh theatre is accompanied by a chorus and a ""hayashi"" ensemble (""Noh-bayashi"" 能囃子). Noh is a chanted drama, and a few commentators have dubbed it ""Japanese opera"". However, the singing in Noh involves a limited tonal range, with lengthy, repetitive passages in a narrow dynamic range. Texts are poetic, relying heavily on the Japanese seven-five rhythm common to nearly all"
"Nuo opera Nuo opera or Nuo drama () is one of the most popular folk operas in southern China. Characterized by its special features such as ferocious masks, unique dresses and adornments, the strange language used in performance, and mysterious scenes, Nuo opera has been selected as one of the non-material cultural legacies of China. The opera is a religious performance intrinsic to the culture of Nuoism, a type of Chinese folk religion. The purpose of Nuo opera is to drive away devils, disease and evil influences, and also to petition for blessings from the gods. Singing and dancing are"
"Noh to what is essentially its present-day form during the Muromachi period (1336 to 1573). Kan'ami was a renowned actor with great versatility fulfilling roles from graceful women and 12-year-old boys to strong adult males. When Kan'ami first presented his work to 17-year-old Ashikaga Yoshimitsu, Zeami was a child actor in his play, around age 12. Yoshimitsu fell in love with Zeami and his position of favor at court caused Noh to be performed frequently for Yoshimitsu thereafter. During the Edo period Noh continued to be aristocratic art form supported by the ""shōgun"", the feudal lords (""daimyōs""), as well as"
"to Meinholtz Japanese Noh drama is a guide to achieving the spiritual goals he intended for Native American drama. Meinholtz is inspired by ancient Native American architecture to create contemporary theater spaces. “The Great Kivas were not the only examples of theatrical structures among Native Americans. The Zuni people build specifically designed rooms onto their houses in which to house the annual Shalako Ceremony.” Geraldine Keams (Navajo Nation TV and film actress) disrupts Native American stereotypes in her work. Keams has challenges stereotypes through writing and creating plays that include Native American history, such as ""Flight of The Army Worm"","
"masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized gestures while the costumes communicate the nature of the characters in a ""Noh"" performance, as in Kathakali. In both, costumed men have traditionally performed all the roles including those of women in the play. The training regimen and initiation of the dance-actors in both cultures have many similarities. Kabuki, another Japanese art form, has similarities to Kathakali. Jīngjù, a Chinese art of dance-acting (""zuo""), like Kathakali presents artists with elaborate masks, costumes and colorfully painted faces. Kathakali Kathakali ()"
"classify Noh plays. All Noh plays can be classified into three broad categories. While ""Genzai"" Noh utilizes internal and external conflicts to drive storylines and bring out emotions, ""Mugen"" Noh focuses on utilizing flashbacks of the past and the deceased to invoke emotions. Additionally, all Noh plays may be categorized by their style. All Noh plays are divided by their themes into the following five categories. This classification is considered the most practical, and is still used today in formal programming choices today. Traditionally, a formal 5-play program is composed of a selection from each of the groups. In addition"
"China. Currently, he is Professor of Japanese Arts and Culture at the Institute for Japanese Culture Studies at Zhejiang Gongshang University. In his work at the university, he specializes in lectures on the topic of Japanese culture and its spiritual background and demonstrates culture and arts including Noh, calligraphy, Japanese painting and haiku; and his discussions focus on the impact that Shinto, Buddhism, and Confucianism have had on Japanese culture, including topics such as Japanese myths and management practices, and the Japanese syncretized Shinto-Buddhist artistic view manifest in the Noh play ""Fuji"" (Wisteria). He serves as Honorary Consul of the"
"facial expressions, hand signals and body motions. Performances are accompanied by songs narrating the story while the actors act out the scene, followed by actor detailing without background support of narrative song. The Japanese Noh tradition has greatly influenced many contemporary mime and theatre practitioners including Jacques Copeau and Jacques Lecoq because of its use of mask work and highly physical performance style. Butoh, though often referred to as a dance form, has been adopted by various theatre practitioners as well. Prior to the work of Étienne Decroux there was no major treatise on the art of mime, and so"
"Miho Museum and Nihon Keizai Shinbun in December 2000. Masako Shirasu Masako Shirasu (白洲正子, Shirasu Masako) (January 7, 1910 – December 26, 1998) was a Japanese author and collector of fine arts. Her husband was the diplomat Jirō Shirasu. She was the daughter of a noble family which originally came from Satsuma. She was the first known woman to perform a Noh play. She became an avid collector of Japanese antiques and published a large number of books on the subject. She was an expert especially on Japanese ceramics. Their house ""Buaisō"" later became a museum. A special exhibition dedicated"
"North Noh stage in Kyoto's Nishi Hongan-ji, the auditorium of the former Shizutani School in Bizen, the Roman Catholic Ōura Church in Nagasaki, and the Tamaudun royal mausoleum of the Ryukyu Kingdom in Shuri, Okinawa. The North Noh stage, dating to 1581, is the oldest extant structure of its kind, consisting of a stage, a , a , and a . Built during the mid-Edo period in 1701, the Auditorium of the Shizutani school, an educational institute for commoners, is a single-story building. It has a hip-and-gable (""irimoya"") tile roof composed of flat broad concave tiles and semi-cylindrical convex tiles"
"in the flourishing cities. Pottery such as Imari ware was highly valued as far away as Europe. In theater, Noh is a traditional, spare dramatic form that developed in tandem with kyōgen farce. In stark contrast to the restrained refinement of noh, kabuki, an ""explosion of color"", uses every possible stage trick for dramatic effect. Plays include sensational events such as suicides, and many such works were performed in both kabuki and bunraku puppet theaters. Since the Meiji Restoration, Japan has absorbed elements of Western culture and has given them a ""Japanese"" feel or modification into it. Its modern decorative,"
"1200 male and 200 female professional Noh performers. Zeami isolated nine levels or types of Noh acting from lower degrees which put emphasis on movement and violence to higher degrees which represent the opening of a flower and spiritual prowess. In 2012, there are five extant schools of Noh acting called Kanze (観世), Hōshō (宝生), Komparu (金春), Kongō (金剛), and Kita (喜多) schools that train ""shite"" actors. Each school has its own ""iemoto"" family that carries the name of the school and is considered the most important. The ""iemoto"" holds the power to create new plays or modify lyrics and"
"namely the new ruling ""samurai"" class of the time. The transferral of the shogunate from Kamakura to Kyoto at the beginning of Muromachi period marked the increasing power of the samurai class and strengthened the relationship between the shogunate and the court. As ""Noh"" became the ""shōgun""s favorite art form, ""Noh"" was able to become a courtly art form through this newly formed relationship. In 14th century, with strong support and patronage from ""shōgun"" Ashikaga Yoshimitsu, Zeami was able to establish ""Noh"" as the most prominent theatre art form of the time. Kan'ami Kiyotsugu and his son Zeami Motokiyo brought"
"offering an intercultural East/West mix. In retelling Medea through a Noh cycle, her work reaches out to other cultural audiences and challenges western social norms. As theatre historian Helene Foley has argued, ""Medea: A Noh Cycle Based on Greek Myth"" ""turn[s] to a reimagined Japanese tradition to empower a more aggressive feminist assault on patriarchal culture."" Sorgenfrei's play achieves the desired effect by portraying the story of a powerful female protagonist through a performance style in which traditionally only Japanese men participated. Her reinterpretation subverts Athen's and Japan's patriarchal theatre while also offering an analytical amalgamation of cultures, which reflects"
"pillar), clockwise from upstage right respectively. Each pillar is associated with the performers and their actions. The stage is made entirely of unfinished ""hinoki"", a Japanese cypress, with almost no decorative elements. The poet and novelist Toson Shimazaki writes that ""on the stage of the Noh theater there are no sets that change with each piece. Neither is there a curtain. There is only a simple panel (""kagami-ita"") with a painting of a green pine tree. This creates the impression that anything that could provide any shading has been banished. To break such monotony and make something happen is no"
"Delusion of the Fury Delusion of the Fury is a stage play by the American composer Harry Partch that is based on a Japanese Noh drama. The first draft for singers, mimes, dancers, and musicians was called ""Cry from Another Darkness""; Partch completed it on December 30, 1964. The second draft, dated January 17, 1965, was a fuller, longer piece, re-titled ""Delusion of the Fury"". It was originally conceived as a play in two acts, with a dramatic first act and a comedic second. Partch completed writing of the music on March 17, 1966. The piece employs Partch's original system"
"the performers and their actions. The stage is made entirely of unfinished ""hinoki"", Japanese cypress, with almost no decorative elements. The poet and novelist Tōson Shimazaki writes that ""on the stage of the Noh theatre there are no sets that change with each piece. Neither is there a curtain. There is only a simple panel (""kagami-ita"") with a painting of a green pine tree. This creates the impression that anything that could provide any shading has been banished. To break such monotony and make something happen is no easy thing."" Another unique feature of the stage is the ""hashigakari"", a"
"Theatre founded by the government in 1983 stages regular performances and organizes courses to train actors in the leading roles of ""nōgaku"". Noh was inscribed in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO as Nôgaku theatre. Although the terms ""nōgaku ""and Noh are sometimes used interchangeably, ""nōgaku ""encompasses both Noh and ""kyōgen"". ""Kyōgen"" is performed in between Noh plays in the same space. Compared to Noh, """"kyōgen"" relies less on the use of masks and is derived from the humorous plays of the ""sangaku"", as reflected in its comic dialogue."" The concept of"