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Ze-Ami and his Theories of Noh Drama

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What is Noh? In short, it is the ancient and elite mask dance theatre of Japan. It is deeply connected both to Buddhist and Shinto belief, tracing back to the 12th century. Frankly, there aren't many books in English on noh. Fortunately, this book is an informative and excellent guide to gain core understanding of the history and heart of noh drama.

"Noh drama is an exquisite theatrical art in the throes of a lingering death." This has been repeated from time to time since the modern theatre era (beginning of the 20th c) in Japan. The arcane art form, though beautiful and atmospheric, was inadvertently fossilized by its foremost theorist/practitioner Ze-ami Motokiyo (1363-1443), whose jealous refusal to share his secrets belied his brilliant insights into the art.

Ze-ami wrote his unedited treatises on the training, history and meaning of noh drama for the eyes of his next of kin, believing that one actor in a generation should have access to these seminal ideas. These essays were repetitious and difficult to understand; Ze-ami was an actor and theory-maker, but perhaps not the best writer and teacher of his age. Furthermore, these writings were not seen by subsequent generations until 1909, when the Society for the Study of noh Literature convinced the family that they should be shared. The first definitive texts were issued by Nose Asaji in the 1940s. Not in any way the format of a modern book, the text is all but indecipherable in Japanese. How then to distill and faithfully communicate the complex ideas in English?

It is this point which noh actor and researcher Sekine Masaru addresses in his readable Ze-ami and His Theories of Noh Drama. In the introduction, Mr. Sekine outlines the tragic story of Ze-ami and his life work of codifying noh. Chapter I, "The History of Noh," is in fact the history of Ze-ami as well. The untimely death of his father Kan-ami when Ze-ami was twenty-two inspired Ze-ami to train hard and record the essence of his father's teachings in a series of essays. The nature of these writings are the basis of the rest of Mr. Sekine's book.

Sekine brings into high focus the contributions and ideas of Ze-ami to noh in their historical context. The English reader is illuminated regarding the theoretical and aesthetic underpinnings of the art, including the elusive concept of hana (flower), which, in all its forms, meta-meanings, symbolisms, and miraculous mysteries, becomes an infinite source of inspiration for noh training and spirit. Also contained within these pages is the inescapable conclusion, though subtly alluded to, that Ze-ami sowed the seeds of noh's eventual decline. The noh performances of today cannot be said to enjoy wide public support in Japan among young people. They are seen as atmospheric and mysterious, but also kurai (dark, scary) and easily relegated to the realm of "what old people like."

What will be the future of noh if its few young practitioners dwindle? If so, Sekine will have fingered the root causes in his excellent reference for the scholar and layman.

Personally, I'm betting on such essentially beautiful, meditational, and sublime art to continue to hold a firm place in the theatre of Japan. Ask international noh classical and fusion teachers like noh actors Rick Emmert and Matsui Akira about the enthusiastic receptions they continue to receive in their performances and classes! Will noh performance be lost in the future? Noh way!