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On the Art of the No Drama: The Major Treatises of Zeami (Princeton Library of Asian Translations) Paperback – February 21, 1984

ISBN-13: 978-0691101545 ISBN-10: 069110154X

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On the Art of the No Drama: The Major Treatises of Zeami (Princeton Library of Asian Translations) + Japanese No Dramas (Penguin Classics)
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Product Details

  • Series: Princeton Library of Asian Translations
  • Paperback: 360 pages
  • Publisher: Princeton University Press (February 21, 1984)
  • Language: English
  • ISBN-10: 069110154X
  • ISBN-13: 978-0691101545
  • Product Dimensions: 0.9 x 4.9 x 7.8 inches
  • Shipping Weight: 15.2 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,374,622 in Books (See Top 100 in Books)

Editorial Reviews

Language Notes

Text: English, Japanese (translation)

From the Inside Flap

"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. The texts make absorbing reading, but they are difficult in the original, even for specialists. We arc fortunate that two authorities on the Japanese theatre, a Japanese and an American, have combined forces to translate and present Zeami's most significant works"--Donald Keene, Columbia University

--This text refers to an out of print or unavailable edition of this title.

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2 of 2 people found the following review helpful By Noh on October 17, 2010
Format: Paperback
Zeami, born in 1363, is the man to whom No theatre owes its form and soul - his writings on the No drama have shaped and determined it for over half a millenium. But his influences do not stop there - his ideas were highly significant to famed British director Peter Brook's productions (he would cite Zeami's concept of 'Jo, Ha, Kyu' again and again) and No drama has inspired countless directors with its attention to precise movement, its masks, and its almost spiritual approach to performance.
It is possible for a theatre practitioner to read Zeami's treatises and, as far as theory goes, never have to read another book. Zeami covers all basic aspects of theatre, for the performer from the necessity of constant physical training, to the inevitable consequences of aging on a performers career, to the concept of the audience as a participant in the show. The text of this book is drawn from a number of different essays, and Zeami does have a habit here of going over the same material again and again (it is quite possible that Zeami never considered the texts would come together as a single volume), but even so it is hard to escape the feeling of primal importance this book conveys. A needed text.
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