Description

This long-awaited volume presents the fifth and final category of Noh plays, often called kiri-nō, or "ending Noh," because they are staged last in a formal performance. This group comprises fifty of the most active and exciting of all plays in the Noh repertoire. They include deities, ghosts, or living humans, as well as a plethora of supernatural beings such as tengu (strange long-nosed creatures), monstrous creatures, demons, and fiends. The fifth-group Noh with such shite are all supernatural or visional. None of them is totally realistic. These ghosts, deities, and monsters sometimes appear to attack men, sometimes to help them, and sometimes just to tell their stories. Dividing the plays into seven subgroups according to structure, the authors fully analyze their dramatic characteristics. The book includes line-by-line translations of eight Noh representing all of the subgroups, together with the Romanized original Japanese texts, detailed introductions, and running commentaries.

Supernatural Beings from Japanese Noh Plays of the Fifth Group

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Hardback by Chifumi Shimazaki , Stephen Comee

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Short Description:

This long-awaited volume presents the fifth and final category of Noh plays, often called kiri-nō, or "ending Noh," because they... Read more

    Publisher: Cornell University Press
    Publication Date: 30/11/2012
    ISBN13: 9781933947310, 978-1933947310
    ISBN10: 1933947314

    Number of Pages: 414

    Non Fiction , Art & Photography

    Description

    This long-awaited volume presents the fifth and final category of Noh plays, often called kiri-nō, or "ending Noh," because they are staged last in a formal performance. This group comprises fifty of the most active and exciting of all plays in the Noh repertoire. They include deities, ghosts, or living humans, as well as a plethora of supernatural beings such as tengu (strange long-nosed creatures), monstrous creatures, demons, and fiends. The fifth-group Noh with such shite are all supernatural or visional. None of them is totally realistic. These ghosts, deities, and monsters sometimes appear to attack men, sometimes to help them, and sometimes just to tell their stories. Dividing the plays into seven subgroups according to structure, the authors fully analyze their dramatic characteristics. The book includes line-by-line translations of eight Noh representing all of the subgroups, together with the Romanized original Japanese texts, detailed introductions, and running commentaries.

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