Difference between revisions of "Noh"
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[[File:Shogun-2-ArtsB.png|center]] | [[File:Shogun-2-ArtsB.png|center]] | ||
==Description== | ==Description== | ||
| + | '''"Tragedy, laughter and heroism inspire, even as they entertain."''' | ||
| + | |||
<p>Culture brings balance and understanding to the warrior's life. This is particularly true of noh theatre: as a man learns to read the subtlest of emotions on stage, he can also understand the emotions of an enemy in battle. Yet, there is also a practical side to these theatrics: the daimyo who provides his men with entertainment worthy of them can expect their respect for, and loyalty to, him to increase. </p><p>Actor and noh theorist Kanze Kiyotsugu developed the theatrical form during the 14th century. Noh was, and is, an entirely performance-based art. Unlike Europe, where plays could be read as well as watched for pleasure, Noh relied on stories the audience already knew, so the entire point was the skill, drama and poignancy of the actor's performance. A skilled actor could convey great emotions with but the smallest of gestures, and this was the measure of an actor's skill. Appearance didn't matter: the oldest man could play a young girl if he could convey her feelings and inner character through his movements.</p> | <p>Culture brings balance and understanding to the warrior's life. This is particularly true of noh theatre: as a man learns to read the subtlest of emotions on stage, he can also understand the emotions of an enemy in battle. Yet, there is also a practical side to these theatrics: the daimyo who provides his men with entertainment worthy of them can expect their respect for, and loyalty to, him to increase. </p><p>Actor and noh theorist Kanze Kiyotsugu developed the theatrical form during the 14th century. Noh was, and is, an entirely performance-based art. Unlike Europe, where plays could be read as well as watched for pleasure, Noh relied on stories the audience already knew, so the entire point was the skill, drama and poignancy of the actor's performance. A skilled actor could convey great emotions with but the smallest of gestures, and this was the measure of an actor's skill. Appearance didn't matter: the oldest man could play a young girl if he could convey her feelings and inner character through his movements.</p> | ||
Latest revision as of 07:45, 21 April 2019
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Contents
Description
"Tragedy, laughter and heroism inspire, even as they entertain."
Culture brings balance and understanding to the warrior's life. This is particularly true of noh theatre: as a man learns to read the subtlest of emotions on stage, he can also understand the emotions of an enemy in battle. Yet, there is also a practical side to these theatrics: the daimyo who provides his men with entertainment worthy of them can expect their respect for, and loyalty to, him to increase.
Actor and noh theorist Kanze Kiyotsugu developed the theatrical form during the 14th century. Noh was, and is, an entirely performance-based art. Unlike Europe, where plays could be read as well as watched for pleasure, Noh relied on stories the audience already knew, so the entire point was the skill, drama and poignancy of the actor's performance. A skilled actor could convey great emotions with but the smallest of gestures, and this was the measure of an actor's skill. Appearance didn't matter: the oldest man could play a young girl if he could convey her feelings and inner character through his movements.
Requires
- Arts: Zen
