Dramatic representations of filial piety: five Noh in translation, with an introduction
East Asia Program, Cornell University, 1998 - 172 ページ
This volume of five noh translations (containing an introduction, translations, short commentaries and a glossary) differs from most others in that none of the plays are of the mugenno type, but are instead genzaino, real-life noh. The plays focus on living characters rather than spirits or ghosts, and on dramatic action rather than poetry, song and dance. In addition, the five noh satisfy several of the most important features of Aristotle's definition of good tragedy. That is, they all have plot, which Aristotle says in his Poetics is the imitation of action.
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action actor Aristotle battle of Ishibashiyama battle of Uji brother carries a fan character child chorus dance distanciation dramatic enemy Eshin father Gikeiki Greek tragedy Hakubunkan hashigakari Japanese Ji=Chorus Kamakura kamishimo kill kimono kitsuke Kokata Bijo Kokata Shun'ei Kokata Umewaka Kyogen servant large-sleeved long streamers Lord Suketomo lord's Maezure Suketomo Manju Minamoto Mishima Nanori narrow belt Oedipus the King performance pine plot poem Poetics priest robe role Sado Island Sanari Sasaki Nobutsuna saying SECTION servant of Homma Shichikiochi Shimazaki ship Shite goes Shite Izumi Shite Nakamitsu Shite Sanehira Shite Tanenao Shun'ei silk kimono small sword Sochi Spoken stage back right stage directions stage front left stage right streamers in back Sung Taiheiki tall samurai Tokyo translated Tsure Tsure Manju turns type of noh Wada Waki Nishikido Waki Takahashi Waki the yamabushi Waki Yoshimori Wakizure boatman Wakizure Homma warrior white divided skirt words Yasuhira Yes sir Yoritomo Yoshitsune