аЯрЁБс > ўџ ; = ўџџџ : џџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџьЅС @ №RП 6+ bjbjцц B0 ш ш џџ џџ џџ 2 ж ж ж 8 , : 2 2 X Z Z " | | | | | | Q S S S S S S $ R м м w u A | | A A w | | ь н
н
н
A Ъ | | Q Э
A Q н
н
н
| N @^ЃьЇЩ ж н
5 0 2 н
И И н
2 2 И н
X | r Л
\ ъ W | | | w w 2 2 Є ж Ѕ
2 2 ж Noh Theater and Japanese Religious Culture from the Viewpoint of Art and Ritual
AOKI Takao Hiroshima University
In the Conference of Art and Ritual in Asian Countries
20-21 March, 2009, at зюДѓзЪдДВЩМЏЭј
Summary of the Presentation
Noh play as a cultural heritage of performance
Noh plays as traditional theater, which feature a fixed conventional style of performance, were appointed as an official performance of cultural heritage in 2001. This does not necessarily mean that Noh play is a living tradition, though Noh has managed to preserve its ancient methods of bodily movement in performance.
Noh was established at the summit of Japans medieval period, by incorporating leading performance styles, such as kagura, dengaku, and sangaku. It employed famous stories from The Tale of Genji and The Tales of Ise as well as local legends, poetry, folk music, etc. into a very refined, formalized theater. In this sense, Noh drama and its settings are of interest beyond its artistic value, because they are interwoven with religious culture, including Buddhism, Shinto and Shamanism and thus provide deeper insight into Japanese culture.
This tradition has been preserved through the stage structure, costumes, stage props, etc. When we think of research on the theater, these aspects have been neglected, while the spoken texts of the plays have been the object of much research. However, Noh theater has a fecund, complicated religious background, the deep shadow of which is inscri b e d n o t o n l y i n t h e t e x t s o f N o h d r a m a b u t a l s o i n t h e l i v i n g t r a d i t i o n o f a c t i n g a n d o t h e r a s p e c t s .
F r o m t h i s p o i n t o f v i e w , I w o u l d l i k e t o t a k e u p t h e f a m o u s w o r k M a t s u k a z e t o a n a l y z e a n d t o i l l u s t r a t e t h e a b o v e m e n t i o n e d p o i n t s .
Ц%S y n c r e t i s m o f Buddhism with Shinto, Shamanism forms a religious environment for the Noh play
When we talk about the influence of religion on Noh drama, we tend to focus on the Buddhist influence. Especially regarding the content of Noh drama, we can find such Buddhist marks as samsara *ћ^, t h a t i s t r a n s m i g r a t i o n o f s o u l s , t h e s e n s e o f t h e v a n i t y o f l i f e , !q8^ a, o r t h e y e a r n i n g f o r n i r v a n a , bЯN, t h r o u g h t h e l i b e r a t i o n f r o m d e s i r e o r p a s s i o n i n t h i s w o r l d . I n a d d i t i o n , i n m e d i e v a l d a y s , Z e n B u d d h i s m c o n t r i b u t e d g r e a t l y t o t h e b i r t h o f J a p a n e s e culture, including influences on the tea ceremony, ink painting, and stone gardens. Thus in the secret treaties about Noh Plays which Zeami wrote, we can recognize the deep influence of Zen Buddhism. However, we can find many marks of Shintoism or rather natural religion and shamanism. In other words, we can elucidate the shadow of the natural religion of Shinto and shamanism by analyzing the Noh stage, for example, the pine tree painted on the stage backdrop, various stage props, and the wearing of clothe s a s a k e e p s a k e t o c a u s e g h o s t l y p o s s e s s i o n e t c & T h e s e a s p e c t s o f t h e p e r f o r m a n c e g o b e y o n d t h e a n a l y s i s o f t h e t e x t s o f p l a y s .
Ц%D e v e l o p m e n t o f t h e t h e a t e r s t r u c t u r e o f N o h d r a m a a n d A n a l y s i s o f i t s t a c i t m e a n i n g
T h e N o h s t a g e h a s i t s o r i g i n s i n t h e style of the Kagura ritual cult, which represents a prototype of Japanese festival or ritual performance.
An analysis of the Noh stage hut or Noh theater will make clear its hidden relationship between animism and Noh performance. For example, the pine tree stage prop plays a very important role in this drama, not only as an aspect of the written literary drama, but also in regard to the acting of a play. The pine tree as a stage prop illustrates an essence of natural religion where spirits or gho # $ 4 5 8 B C J K S ы э ќ § ) * - 4 8 : C Z ѓуѓгѓгѓгЧѓгѓгѓКЊѓѓѓ}mamVHhR hЃ0 OJ PJ QJ o(hR hЃ0 OJ QJ hR hR 5OJ QJ hR hR 5OJ PJ QJ o( hї 1 5OJ PJ QJ o( hR hЃ0 5OJ PJ QJ o( hR hnPё 5OJ PJ QJ o( hR hЃ0 CJ OJ PJ QJ o(hR hЃ0 CJ OJ QJ hR h`\ 5OJ QJ hR h`\ 5OJ PJ QJ o( hR hTjз 5OJ PJ QJ o( hR hЃ0 5OJ QJ Е ь э
9 : ц Q И * * + + + + .+ 0+ ї ы ы п п ї ї б ї Х ї Й Й З Ћ Љ З Ћ Љ ќџ &`#$gdJї $Z`Za$gdЃ0 $
Ц @ a$gdд8Є
$0WDњ `0a$gdR $Q `Q a$gdЃ0 $`a$gdЃ0 $a$gdЃ0 + 4+ ўў Z К С ~
і
4 7 8 E J K R S Z Ђ Ї Щ а
#
(
*
Ї
Ў
Ю и Z p т ф ц ѕчѕйѕЫПѕЫПѕЏѕПѕЏППѕѕйѕйxйѕйѕйѕПѕh hR hЃ0 5OJ PJ QJ o( hR hTjз OJ QJ hR hTjз 5OJ PJ QJ o( hR hЃ0 5OJ QJ hR hTjз 6OJ PJ QJ o( hR hsИ 6OJ PJ QJ o( hR hЃ0 6OJ QJ hR hЃ0 6OJ QJ aJ hR hTjз OJ PJ QJ o(hR hsИ OJ PJ QJ o(hR hЃ0 OJ QJ %ц ш P Ѕ О Ю а ж 4 8 Њ Р ` b ю і ѕчечШИШЊШШШЊШШШ}ШnШ^QШ hR h/& CJ OJ QJ hR h/& CJ OJ PJ QJ o( hR hЃ0 CJ OJ PJ QJ hR hУrл CJ OJ PJ QJ o( hR hR CJ OJ PJ QJ o(hR hЃ0 CJ OJ QJ hR hЃ0 6CJ OJ QJ hR hд8Є CJ OJ PJ QJ o(hR hЃ0 CJ OJ QJ "hR hЃ0 5CJ OJ PJ QJ o( hR hЃ0 5CJ OJ QJ hR hЃ0 5CJ
И l q § ( ( ( "( #( $( 3( @( U( Г( Ж( џ( ) 4) ;) Н) У) і) * * * ёщнвЦвИвЊвЊвЈвёв}вrвdвVвVвЦвЦвё hR hЭs: OJ PJ QJ o(hR hR OJ PJ QJ o(hR hR OJ QJ hR hЃ0 OJ QJ aJ hR hУrл OJ PJ QJ aJ o(hR hЃ0 5OJ QJ aJ UhR hУrл OJ PJ QJ o(hR h/& OJ PJ QJ o(hR hЃ0 6OJ QJ hR hЃ0 OJ QJ hR hЃ0 5OJ QJ hR hЃ0 5hR hЃ0 OJ PJ QJ o( ! sts will rest.
An analysis of The Old Pine Tree painted on the stages backdrop will also show an essential feature of the natural religion of Shinto. The Tree is a seat for the god of the area. In front of this divinely inhabited pine tree, the Noh theater will be acted. The true spectator of the Noh theater is the god to whom the Noh performance will be offered. We can find the prototype of this stage structure and its meaning in the Kagura ritual and, even further back, in the Myth of the Secret Sun G o d d e s s .
Ц%T o f u l f i l l t h e p u r p o s e , w e a r e g o i n g t o l o o k a t t h e f a m o u s p l a y M a t s u k a z e t o i l l u s t r a t e t h e a b o v e m e n t i o n e d p o i n t s .
P A G E
P A G E 1
* * 2* 4* * Њ* + + + + + + + + &+ (+ *+ ,+ .+ 4+ 6+ њёфёдёЭУНУНЙУНУЎУНЙЭ hJї 0J mH nH uhJї
hJї 0J j hJї 0J U hR hЃ0 hJї hJї 56OJ QJ aJ hJї 5OJ PJ QJ o( hJї 5OJ QJ hJї 5 0+ 2+ 4+ 6+ § § § @ &P 0p(ѓџџ1~2P :pРQv А. АЦA!АТ"АТ#ћ$ћ%А АSАр Љ D @ёџ D Ѓ0 jn $ CJ OJ PJ QJ _HmH nHsH tH $ A@ђџЁ $ Еk=е0Љ0ѓ0Ш0 B i@ѓџГ B jnn0h і 4ж
l 4ж aі $ k@єџС $ ъ0Й0Ш0j0W0 , ' Ђ ё , Эs: Г0с0ѓ0Ш0ТSgq CJ aJ * @ * Эs: Г0с0ѓ0Ш0eW[R . j . Эs: Г0с0ѓ0Ш0
QЙ[ 5\8 "8 Эs: 9TM0њQW0 CJ OJ PJ QJ aJ 2 @ 22 Jї е0У0П0ќ0
Ц 8!G$ " )@Ђ A" Jї к0ќ0И0juїS Ћ 0 џџџџ Е ь э
9 : ѓ Q я Ї Ј Љ Ќ 0 0 а 0 0 0 0 0 а 0 0 0 а 0 x 0 а 0 @ 0 с @ 0 @00 @ 0 @ 0 @00 ,Ѓ й 0 Lи Z ц * 6+
0+ 6+ 4+ ! !џџџ Йq дy Кq Lб! Лq ,x Мq єF! Нq Ќz Оq ьz Пq ,z Рq lz Сq мА Тq Б Уq \Б V V [ b l Я Я з р Ј Ј Ќ
Z ` k v v ж п ъ ъ Ќ
=
*urn:schemas-microsoft-com:office:smarttags PlaceName = *urn:schemas-microsoft-com:office:smarttags PlaceType B *urn:schemas-microsoft-com:office:smarttagscountry-region 9 *urn:schemas-microsoft-com:office:smarttagsplace
і ќ ў @ E W Z Ў З Y \ { }
! ' Э г \ e Љ Ќ [ k , / J M Ї Ў Y \ Ќ Г D K Љ Ќ 3 3 3 3 3 3 3 3 3 3 ) 8 Є Є Џ К К ш ѓ л
л
Ћ
Ќ
Ў
Б
3 4 D D P e У Ц з з І Ќ Љ Ќ Ќ щ х R < ї 1 ]62 Эs: `\ РQv Ѓ0 /& д8Є sИ Tjз Уrл 2м nPё Jї Ќ 0000џ@ <* p Ћ @ @ ( @ 0 @ P @ * џџ U n k n o w n џџ џџ џџ џџ џџ џџ G z џ T i m e s N e w R o m a n 5 S y m b o l 3& z џ A r i a l G П ћќЧh -џ3џ f g M S M i n c h o q H i r a g i n o M i n c h o P r o N T i m e s N e w R o m a n 7 C e n t u r y c L u c i d a G r a n d e T i m e s N e w R o m a n K5 П ћќЧh -џ3џ Д0З0У0Џ0 M S G o t h i c q H h *гFьгFжгF x x Љ 3 ! % ) , . : ; ? ] } Ђ А 0 2 3 !000 0 0
00000000ћ0§0ў0џџ џ џџџџ џ=џ]џaџcџdџeџџџрџ $ ( [ \ { Ѓ Ѕ 0
0 0000џџ;џ[џbџсџхџ Тћp П 2 d 3Q HX )№џ ? Є џџџџџџџџџџџџџџџџџџџџџЃ0 џџ Q N o h - p l a y a n d J a p a n e s e r e l i g i o u s c u l t u r e f r o m t h e v i e w p o i n t o f a r t a n d r i t u a l R(g][+Y R(g][+Y ўџ р
ђљOhЋ +'Гй0 а ќ ( 4 D X d
Є А И Р Ш Є T Noh-play and Japanese religious culture from the view point of eart and ritualf ТиFv Normal ТиFv 7 Microsoft Word 10.0 @ еЁ @ 4(М ЇЩ@ д
лгІЩ@ 8№ЮЇЩ x ўџ еЭе. +,љЎ0 < h p | Є Ќ Д
М Є Н
T Noh-play and Japanese religious culture from the view point of eart and ritualf Title
ўџџџ ўџџџ" # $ % & ' ( ) ўџџџ+ , - . / 0 1 ўџџџ3 4 5 6 7 8 9 ўџџџ§џџџ< ўџџџўџџџўџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџR o o t E n t r y џџџџџџџџ Р F НьЇЩ> D a t a
џџџџџџџџџџџџ 1 T a b l e џџџџ ! И W o r d D o c u m e n t џџџџ B0 S u m m a r y I n f o r m a t i o n ( џџџџџџџџџџџџ * D o c u m e n t S u m m a r y I n f o r m a t i o n 8 џџџџџџџџ 2 C o m p O b j џџџџџџџџџџџџ f џџџџџџџџџџџџ ўџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџџ ўџ
џџџџ Р F Microsoft Word Ж
MSWordDoc Word.Document.8 є9Вq