By Eike Grossmann
Within the Sixties, Kurokawa’s old nō culture, as theatre and competition, got here less than the highlight of the japanese public. marketed as ‘secret nō of the snow kingdom’ it quickly turned probably the most famous and long-studied people appearing arts traditions. secluded village remoted by means of mountainous nation round it's going to have built and sustained a excessive cultural leisure akin to nō theatre and built-in it into Shinto shrine gala's, caused significant curiosity between folklore students, theatre researchers, politicians, and travelers alike. Even this present day Kurokawa nō is still considered as an instance of an prior type of eastern tradition and folks culture that primarily has been frozen in time over the process many centuries.
In this quantity, the writer presents a close checklist of the background and improvement of Kurokawa nō and the procedures of its transmission over the generations. the writer additionally examines its effect at the wider cultural lifetime of Japan and its literary background, the trip undefined, executive coverage and folklore traditions in Japan commonly. furthermore, Kurokawa Nō deals a useful, genuine case examine within the wider context of notions of jap self-perception and self-representation.
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Additional resources for Kurokawa Nō. Shaping the Image and Perception of Japan’s Folk Traditions, Performing Arts and Rural Tourism
By Nishino Haruo and Hata Hisashi (3rd ediNkj tion, 2006) ZZ Zeami Zenchiku, ed. by Omote Akira and Katō Shūichi, 1974 NOTES ON TRANSLATION AND TRANSLITERATION The English translation of Japanese words immediately follows them in the text, at least the first time they are used. When a word does not appear often, its translation is repeated. The following method of translation and transliteration has been applied: Japanese names are given in their original order, with family name first unless an author publishes in languages other than Japanese.
Members of the Group of Elders of the upper guild sit around the stage with their lanterns (Ōgisai 2007). Bridgeway and backstage curtain of the lower guild on the leftside; the Fan Pillar with the ōgisama leaning on it in the middle of the backside and the Hōkōin Temple Pillar in the middle of the front-side (Ōgisai 2007). Performance of Sanbasō by the sanba dayū of the lower guild during the Shikisanba at the Kasuga Shrine (Ōgisai 2006). The okina dayū of the upper guild performing in Tokoro bussoku no okina at the upper House of Office during the Ōgisai in 2006.
Takadate 高舘山 7 Mt. Haguro Mt. Kimbo Kurokowa 羽黒山 金峰山 Mt. Atsumi Mt. Gassan 温海岳 月山 The Shōnai Area maps To Haguro Ōsugikawara To Tsuruoka lv Mt Chōkai Urushihara Mt Haguro Ōsugi Narizawa Nakamura Rokusho jinja Tate To Asahi To Yamagata Ōgi kaikan Kozaike Akagawa River Hōkōin Denshūkan Kasuga jinja Tanaka Mt Kinbō Takinoue Hashimoto Miyanoshita Uenoyama Tsubaide Mt Hokari Sakaki yashiki Asobi no niwa shimoza Boarder between kamiza and shimoza kamiza Temple Shrine Kurokawa Mt Gassan lvi maps bridgeway curtain ai kyōgen 1 shite pillar kōken-za - stage assistant 2 kagami ita 4 5 flute pillar Chorus 6 7 3 Audience shirasu - white sand bar metsuke pillar Audience stage waki pillar 1 san no matsu – third pine 5 ōtsuzumi – hip drum 2 ni no matsu – second pine 6 kotsuzumi – shoulder drum 3 ichi no matsu – first pine 7 fue – flute 4 taiko – drum A common Nō Stage maps lvii deer statue deer statue ōgi pillar passageway fireplace fireplace shimoza gakuya kamiza gakuya 7 kamiza curtain 3 6 5 2 4 kamiza board shimoza curtain shimoza board 1 hōkōin pillar fireplace reception inner sanctuary 1 shimoza audience (wooden floor) 5 stage 2 shimoza audience (tatami mats) 6 shimoza bridgeway 3 kamiza audience (wooden floor) 7 kamiza bridgeway 4 kamiza audience (tatami mats) The Nō Stage in the Kasuga Shrine in Kurokawa ACKNOWLEDGEMENTS A great many people and institutions have helped me throughout the research and writing of this study.