The NO Plays of Japan: An Anthology [Unabridged] [Paperback]

Arthur Waley (Author)

Book Description

Publication Date: March 21, 2012

Part prose, part verse, the visually-stunning No plays of Japan deal with such subjects as insanity, obsession and historical characters, and frequently have as their focal points demons, gods, and beautiful women. Among the 19 works and 15 summaries included here are Ukai (The Cormorant-Fisher), Hatsuyuki (Early Snow), and many more.

Product Details

• Paperback: 304 pages
• Publisher: Dover Publications; Unabridged edition (March 21, 2012)
• Language: English
• ISBN-10: 0486401561
• ISBN-13: 978-0486401560
• Product Dimensions: 8.4 x 5.4 x 0.6 inches
• Shipping Weight: 3.1 pounds
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #954,260 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

5 of 5 people found the following review helpful:

5.0 out of 5 stars Fascinating Introduction to a Traditional Japanese Art, June 7, 2004

By 

Baroness Von Grim "Ophelia Grim" (Verslums) - See all my reviews

This review is from: The NO Plays of Japan: An Anthology (Paperback)

A Japanese No play is an age-old theatrical art form flowing with grand emotions and dramatic stories. I have never read anything on No plays before, but Arthur Waley satisfied my curiosity by supplying layouts of the stage, summaries of all the plays included, lots of footnotes, and a section on Buddhism which is almost essential in order to truly appreciate the spiritual depth of No plays due to the deeply ingrained Buddhist beliefs.

A No play consists of relatively few, if any, stage props or scenery. A chorus recites much of the story and a drummer and flutist provide musical accompaniment. The main players dress in elaborate costumes and masks while slowly performing intricate dance-like movements. The dialogue is elegantly poetic. The subject matter of the plays in this book cover romance, tragedy, hell-fire, and historical events. Needless to say, they are intense.

Nineteen plays are included, all brief and quick reads. Like Zen itself, they are surprisingly simple but not the least bit simplistic. As much as I enjoyed reading them, I would much prefer to see one performed live. Considering the importance of the grandeur and on-stage artistry, to merely read one of these plays is certainly to be missing an integral part of the experience.

Still, I recommend this book to anyone who is interested in traditional Japanese theater or those who enjoy dramatic stories told with stirring eloquence.

"The Spring of our love is passed!
Like a moon left lonely
In the sky of dawn, back to the hills I go,
To the home where once we dwelt"

-from the play "Hanakatami"