A Companion to Nō and Kyōgen Theatre (CSET vol.1-2)
A Companion to Nō and Kyōgen Theatre (CSET vol.1-2)
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English
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Description
This comprehensive study of nō and kyōgen covers the full range of the cultural, historical, political, performative and aesthetic characteristics of Japan’s longest dramatic traditions, presenting the latest research of Japanese and non-Japanese scholars, for an international readership. (This is a 2-volume work).
Reiko Yamanaka, Ph.D. (The University of Tokyo, 2000) is Professor at Hosei University. She has published many articles on Noh plays, including “Fraternizing with the Spirits in Noh Plays Saigyōzakura and Yamamba,” (Università Ca’ Foscari Venezia, 2017). Monica Bethe, director of the Medieval Japanese Studies Institute, both practitioner and scholar of nō, has co-authored Nō as Performance, Dance in the Nō Theater, Nō Performance Guides, and Miracles and Mischief, Noh and Kyogen Theater. Eike Grossmann, Dr. phil. (Trier University, 2008), is Professor at Hamburg University. Her research areas include Japanese traditional theatre and folk performing arts, the history of childhood and material culture, and perceptions of the body. Diego Pellecchia, PhD (University of London 2012) is Associate Professor at Kyoto Sangyō University. His research focuses on on training, performance, and reception. Publications include the editing of Mime Journal 27 on “Present-time Nō Plays” (2021). Tom Hare is professor of Comparative Literature at Princeton University. He has translated Zeami’s writings on training and performance as Zeami, Performance Notes (Columbia UP). His book The Writing on Portraits is expected in spring 2025 from Zone Books. Michael Watson, D.Phil. (University of Oxford, 2003), is professor emeritus of Meiji Gakuin University. He has published on nō and Heike monogatari, co-editing Like Clouds or Mists: Studies and Translations of Nō Plays of the Genpei War (2013).
Reiko Yamanaka, Ph.D. (The University of Tokyo, 2000) is Professor at Hosei University. She has published many articles on Noh plays, including “Fraternizing with the Spirits in Noh Plays Saigyōzakura and Yamamba,” (Università Ca’ Foscari Venezia, 2017). Monica Bethe, director of the Medieval Japanese Studies Institute, both practitioner and scholar of nō, has co-authored Nō as Performance, Dance in the Nō Theater, Nō Performance Guides, and Miracles and Mischief, Noh and Kyogen Theater. Eike Grossmann, Dr. phil. (Trier University, 2008), is Professor at Hamburg University. Her research areas include Japanese traditional theatre and folk performing arts, the history of childhood and material culture, and perceptions of the body. Diego Pellecchia, PhD (University of London 2012) is Associate Professor at Kyoto Sangyō University. His research focuses on on training, performance, and reception. Publications include the editing of Mime Journal 27 on “Present-time Nō Plays” (2021). Tom Hare is professor of Comparative Literature at Princeton University. He has translated Zeami’s writings on training and performance as Zeami, Performance Notes (Columbia UP). His book The Writing on Portraits is expected in spring 2025 from Zone Books. Michael Watson, D.Phil. (University of Oxford, 2003), is professor emeritus of Meiji Gakuin University. He has published on nō and Heike monogatari, co-editing Like Clouds or Mists: Studies and Translations of Nō Plays of the Genpei War (2013).