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	Zeami Motokiyo - Encyclopedia.com
		Zeami Motokiyo or Kanze Motokiyo, c.1363-c.1443, Japanese actor, playwright, and drama theorist.
		Later Zeami's fortunes fluctuated with changing political circumstances; at the age of seventy, he was banished to a remote island for two years.
		As drama critic, Zeami produced both practical instruction for actors and highly theoretical work which elevates the art of the No theater to the level of court poetry and linked verse.
	www.encyclopedia.com /doc/1E1-ZeamiMot.html (526 words)

	Kanze Zeami Biography \| Encyclopedia of World Biography
		Zeami always spoke of his father in the most adulatory and respectful terms as a great actor, playwright, composer, and choreographer, for talent in all these capacities is required in the creation of a No drama.
		Zeami was not spoiled by his new success, for he realized that only with the passing of years and the coming of wisdom was the actor's true "flower" achieved.
		In 1434 Zeami was banished to the remote island of Sado in the Sea of Japan.
	www.bookrags.com /biography/kanze-zeami (911 words)

	Standard Speech
		Zeami's references to breath, in the treatises available in English translation, are infrequent but significant, for in context of the generally hidden and mysterious aspects of the Nô the entire structure of the performance depends on deep level (Bone) skills.
		Zeami insists on the importance of the physical workings of the breath, as far as he was able to describe them, and writes of the "five 'storages' and the breath that comes from them" (77-76).
		Zeami's theories are descriptive of practice, and are not abstract, however seemingly metaphorical, for they are based in experience (the awareness, feelings, and actions) of the body, as is spirituality (as contrasted with autocratic religion or hallucinatory mysticism).
	www.fitzmauricevoice.com /zeamiarticle.htm (3387 words)

	NOH & KYOGEN -An Introduction to the World of Noh & Kyogen-
		When Zeami was about 12 years old, he performed a Noh in Kyoto with his father, Kan'ami, that was seen by the shogun, Ashikaga no Yoshimitsu.
		Zeami was quick to respond to the tastes of audiences, took the best elements of famous actors of the past and his own day, and further refined the art of mimicry left by his father into a performing art of song and dance that is based upon the ideal of quiet elegance (yugen).
		From the writings of Zeami, we can see that Noh and Kyogen were performed alternately, that Kyogen had developed into an art of laughter, and that the restraints on actors in Kyogen troupes had relaxed, such that there was much exchange going on among the actors.
	www2.ntj.jac.go.jp /unesco/noh/en/history/history2.html (301 words)

	Japanese Drama - MSN Encarta
		Zeami developed nō into refined aristocratic drama, but after his death it tended to lose its creative vitality and become ritualistic.
		Many nō plays performed at present are by Zeami, and his books of criticism are considered the final authority on the subject.
		For a short period after the revolution known as the Meiji Restoration in 1868, nō was threatened with extinction because of its connections with the discredited shogunate.
	encarta.msn.com /encyclopedia_761558395/Japanese_Drama.html (1155 words)

	The Noh theatre of Japan
		Zeami was able to transform what had been essentially a country form of entertainment possessing ritual overtones into a remarkable total theatrical experience.
		It was at this time that Zeami set down the experiences of his father and extended them with his own observations as a performer.
		After this time Zeami lost favour and problems continued until he was banished to the island of Sado in his seventy-second year, in 1434.
	www.max.hi-ho.ne.jp /nohjinkai/topics_vol10.html (2234 words)

	Japan to 1615 by Sanderson Beck
		Lady Han by Zeami is a mad-woman play in which this post-station courtesan is driven to despair by her love for an officer that is symbolized by a fan he gave her.
		In Zeami's The Damask Drum an old gardener is attracted to a princess, who tells him to beat the drum hanging from a tree if he wants to see her, but the drum made of cloth makes no sound.
		Zeami's plays about crones include Higaki, which shows the plight of an old woman, who had been a dancer, and Obasute (The Deserted Crone), whose ghost tells how she was abandoned on a mountain by her nephew at the bidding of his wife, who kept her husband from returning in time to save her life.
	www.san.beck.org /3-11-Japanto1615.html (17262 words)

	The rare beauty of Noh theater
		Noh was developed and brought to maturity in the fourteenth and fifteenth centuries by Kan`ami Kiyotsugu and his son, Zeami, two great dramaturgists who distilled the crude entertainments of the open fields into a predominantly tragic drama of illusion played upon an empty stage.
		It is difficult to try to explain the magic of a theatrical form that although involving music, dance, spoken text, and exhilaratingly beautiful costumes and masks in a highly ritualised form, can also bore to death audiences which are not used to the slow tempo and static settings of Noh theater.
		And this is conected to Zeami´s change of direction from dramatic phenomenal pieces to the phenomenal pieces of a dreamworld.
	www.ifi.unizh.ch /groups/richter/people/riedl/Noh.html (764 words)

	[No title] (Site not responding. Last check: 2007-10-26)
		Considered the father of all Noh playwrights, Zeami has written the most honored Noh plays to date; in fact most of his plays are so famous that they are even performed to this day.
		Zeami’s plays mirrored the supposed Golden Age of the Heian Period by basing plays on emperors and heroic upper-class people of the time.
		The actors must first have had training in the lifestyle of the methods that Zeami has transcribed and they must go through years of training to be honored the title of a Noh theatre actor.
	www.ccs.neu.edu /home/sheky/papers/japanese_noh_theatre_music.doc (1483 words)

	Zeami Biography \| Dictionary of Literary Biography
		As a youth Zeami, the son of a lowly performer, was given access to the highest social and literary circles of fourteenth-century Japan.
		After his oldest son and artistic heir died and he was exiled to Sado Island at the age of seventy-two, Zeami had little hope that his legacy would endure.
		According to the Kanze-Fukuda genealogy, Zeami was born on the twelfth day of the eleventh month of 1363 in Nagaoka in Yamashiro province to Kanze Kiyotsugu (better known as Kannami or Kan'ami), the lead actor of the Yuzaki troupe (later known as the Kanze troupe), and a daughter of the priest T.....
	www.bookrags.com /biography/zeami-dlb (201 words)

	Noh Robe As Perfection
		Aside from the writing of plays, Zeami also wrote important words explaining what was necessary for a Noh drama to exist.
		When Zeami is obscure, it is only because of his extreme wish to be accurate.
		Zeami said that Noh (and therefore yugen) "enlarges blessings and promotes long life." Noh preserves the nation.
	www.bro-pa.org /noh.html (1527 words)

	Noh Theater
		There are plays believed by scholars to be by Kanami (1333-1385), but they seem to have been heavily revised by his son Zeami (1363-1443), and no surviving play can be securely dated to before their era.
		Zeami is the prime figure in Noh, having written a vast quantity of plays for his troupe to perform, many of which are still regularly performed to this day.
		Noh exists today in a form almost unchanged since Zeami's day, and while the repertoire may have shrunk from the over one thousand plays in the Muromachi period, there have been several plays written over the years, at least one of which, "Kusu no Tsuyu", written in the late nineteenth century, is often performed.
	www.artelino.com /articles/noh_theater.asp (1186 words)

	Hogan: Ethnocentrism and the very idea of literary theory (Site not responding. Last check: 2007-10-26)
		(Zeami's writings, for example, were addressed only to members of his own acting troupe and to their descendants; they were not published for almost 500 years after his death.) Nonetheless, they articulate notions which are highly suggestive even to the non-initiate.
		Indeed, this is very strict in Zeami's formulation-if one action of a character is furious, another must be calm; if a character is decrepit with age, he/she must have some aspect which is youthful (like "an old tree that puts forth flowers" [12]).
		Her essay suggests that Zeami's ideas would prove useful to our explanation and appreciation of much plotless writing-including, for example, such post-modern work as that of Samuel Beckett (which was in part inspired by Zeami's plays).
	cogweb.ucla.edu /Abstracts/Hogan_ethno.html (5218 words)

	Zeami Introduction
		Zeami, not very long ago a name with which only Japanese theatre specialists were familiar, has in the past few decades become increasingly well known as one of the great figures in the history of world theatre.
		Zen Buddhism is one of the more overt forces at work in Zeami's plays and, while Ôtomo Taishi's "Zeami and Zen" is not precisely about the use of Zen in the plays, it is nevertheless important in its clarification of the historical background that led Zeami to employ Zen concepts in his writing.
		In "Zeami Motokiyo and Etienne Decroux: Twin Reformers of the Art of Mime," Kathryn Wylie-Marques details the striking parallels between the artistic goals of the medieval Japanese nô master and the revolutionary modern French mime, himself quite possibly influenced by nô.
	web.gc.cuny.edu /Mestc/OtherPublications/ZeamiIntroduction.htm (1174 words)

	Theatre Nohgaku [ About Noh ] Noh Glossary
		Noh developed into its present form during the 14th and 15th centuries under the leadership of the distinguished performer-playwrights Kannami and his son Zeami.
		Zeami, in particular, wrote numerous plays which are still performed in today’s classical repertory of some 250 plays.
		He also wrote a number of once secret works which explain the aesthetic principles governing noh and give details on how the art should be composed, acted, directed, taught, and produced noh flourished during Zeami’s time under the patronage of the military shogun Ashikaga Yoshimitsu.
	www.theatrenohgaku.org /aboutnoh/glossary_e.php (1252 words)

	Zeami Motokiyo - Wikipedia, the free encyclopedia
		Zeami was educated by his father, Kan'ami, who was also an actor.
		After Zeami succeeded his father, he continued to perform and adapt his style into what is today Noh - a mixture of pantomime and vocal acrobatics.
		Zeami also wrote practical instructions for actors and established the Noh theatre as a serious art form.
	en.wikipedia.org /wiki/Zeami_Motokiyo (313 words)

	Yamazaki, M., ed.; Rimer, J.T., trans.: On the Art of the No Drama: The Major Treatises of Zeami.
		Zeami, who transformed the No from a country entertainment into a vehicle for profound theatrical and philosophical experience, was a brilliant actor himself, and his treatises touch on every aspect of the theater of his time.
		"Zeami's treatises on the art of No rank among the finest of all writings on the theatre.
		Though speciticatly devoted to the drarna of a particular place and time--Japan in the early fifteenth century--they contribute to an understanding of the dramatic arts of the world.
	press.princeton.edu /titles/1807.html (284 words)

	Japan - Noh
		Zeami was a prolific writer and around 100 of the 241 plays known at the time.
		He said that the poetry used needed to be familiar to the audiences in order to be effective, and that actors should study poetry to help them learn give a more elegant and graceful aspect to the delivery of their lines.
		Zeami also said that there were three guiding principles for Noh, the first being imitation.
	www.bookmice.net /darkchilde/japan/jnoh.html (3291 words)

	[No title] (Site not responding. Last check: 2007-10-26)
		Zeami, who perfected Japanese theater in the fifteenth century, says in his essay on theater,, that the actor must faithfully follow this principle and never let his own fancy lead him.
		Zeami terms the beauty which is created by the body of an actor, (flower).
		Zeami considers the beauty of the movements as the supreme flower.
	lycos.cs.cmu.edu /info/japanese-art--paintings.html (399 words)

	CageZeamiEngl
		With less naivety, Zeami does not furnish the stage with a complete candour, but he allows it to live along with other chromatisms.
		The usual dialectical axiom is followed, according to which the opposite may combine themselves in unity, in order to realize their respective forces: the male combines with the female, and life combines with death.
		Cage's art does not seem to be influenced by the three aspects that Zeami, the Japanese Aristotle, considers to be the pillars of good taste, or of daily events.
	members.tripod.com /~leonardoarena/CageZeamiEngl.html (3144 words)

	Amazon.fr : Developing Zeami: The Noh Actor's Attunement In Practice: Livres en anglais: Shelley Fenno Quinn (Site not responding. Last check: 2007-10-26)
		Quinn begins by tracing Zeami’s transformation of the largely mimetic stage art of his father’s troupe into a theater of poiesis in which the playwright and actors aim for performances wherein dance and chant are re-keyed to the evocative power of literary memory.
		Zeami developed this dramatic prototype in his one treatise on composing, Sandô, (The three techniques) and in his play Takasago, both of which are discussed at length here, with annotated translations appended.
		Eminently readable and accessible, Developing Zeami is a thorough treatment of the evolution of Zeami’s thought in the broad context of his work as a performer and playwright.
	www.amazon.fr /Developing-Zeami-Actors-Attunement-Practice/dp/082481827X (683 words)

	Zeami Motokiyo, Atsumori
		Fenollosa, Ernest Francisco and Ezra Pound, The Classic Noh Theatre of Japan (1959) PL887.F45 1959
		Hare, Thomas Blenman, Zeami's Style : The Noh Plays of Zeami Motokiyo (1986) PL792.S4 Z72 1986.
		Rimer, J. Thomas and Yamazaki Masakazu, On the Art of the No Drama : The Major Treatises of Zeami (1984) PN2924.5.N6 Z4213 1984
	mockingbird.creighton.edu /worldlit/works/zeami.htm (215 words)

	Zeami
		The play starts with the prime of Zeami's life when he reached the top of his career as a Sarugaku player.
		Although he won the favor of Ashikaga Yoshimitsu, shogun of the time, and gained much glory, he was keenly aware that his existence as a performing artist was a shadow in the eyes of the general public, and he spent many an agonizing day searching for his true self.
		Zeami is a masterpiece by Yamazaki Masakazu that takes a sincere look at the internal conflicts of the Sarugaku player and vividly depicts the path he followed, with the relationship between the power of the time and the art of public entertainment as the axis of its plot development.
	www.nntt.jac.go.jp /english/season/s206e/s206e.html (313 words)

	ArtandCulture Movement: Noh Theater (Site not responding. Last check: 2007-10-26)
		Kam'ami and his son Zeami pioneered Noh theater in fourteenth-century Japan by reconfiguring the traditional form of Sarugaku.
		Although Kam'ami was undoubtedly the progenitor of Noh, the plays of Zeami are usually considered the genre's exemplars, and Zeami himself has often been called the Japanese equivalent to Shakespeare.
		Besides writing numerous plays, Zeami also defined the principle aesthetic features of Noh theater in a series of essays that still form the basis of the theater as it's known today.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/movement?id=913 (567 words)

	IN SHORT: FICTION - New York Times
		And neither is this painstaking but equally slow-moving novel, which has been constructed from the little that is known about the 14th-century actor and playwright Zeami, who has been called the Shakespeare of the world of Noh.
		Following the prevailing custom, Yoshimitsu and Zeami separate when the latter reaches adulthood, taking a wife and building his father's troupe into a formidable company for the performance of his masterly, introspective plays.
		But at the death of his patron, Zeami and his band of artists are made aware of the precarious nature of their lives as they are sucked into the rivalry of hostile warlords, sabotaged by the shogun's resentful heirs and threatened by the ambition of Zeami's own adopted son.
	query.nytimes.com /gst/fullpage.html?res=9A0DEED8173CF934A3575AC0A960948260 (221 words)

	William Scott Wilson Home Page
		Although Fushikaden is about No drama, Zeami incorporates into his text his philosophical outlook on the art of life - "the way" - and how one goes about living according to these principles, providing invaluable teachings on the aesthetics and spiritual culture of Japan.
		Zeami brought his wide-ranging education in Zen Buddhism, his knowledge of classical Japanese poetry, and his exposure to the aristocratic lifestyle to his writing of this classic work.
		William Scott Wilson has contributed several important adjunct pieces to Zeami's classic work -- an Introduction about the history of No drama, copious notes explaining the background of the book, an appendix containing a translation of one of Zeami's greatest plays Atsumori, and an Afterword that connects No drama with the warrior class.
	www.williamscottwilson.net (819 words)

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