Zeami Motokiyo

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Zeami Motokiyo

(zā`ä`mē mō`tō`kē`yō) or

Kanze Motokiyo,

c.1363–c.1443, Japanese actor, playwright, and drama theorist. Son of the itinerant actor Kanami, at the age of eleven Zeami attracted the attention of the shogun Ashikaga Yoshimitsu, who became his first major patron. 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 playwright, Zeami wrote works of astonishing poetic resonance, incorporating myth, legend, and literary allusion into densely interwoven imagery. 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.


See studies by T. B. Hare (1986) and M. J. Smethurst (1989).

References in periodicals archive ?
44) Among Pounds incomplete editions of Fenollosa's translations is Ashikari, by Zeami Motokiyo, a play of Confucian background celebrating the bond of marriage.
Zeami Motokiyo, padre del Noh, teorizo primero sobre nueve tipos posibles de shite: mujer, anciano, hombre sin mascara, loco, bonzo, guerrero condenado en el infierno, kami o santon budista, demonio y extranjero (personaje proveniente del continente asiatico); aunque en sus ultimos tratados los redujo a solo tres: anciano, mujer y guerrero.
Returning to the fractal organization of No drama, Zeami Motokiyo felt the structure of No mirrored nature: "All forms of creation--good and bad, large and small, sentient and insentient--each and every one possesses its own jo-ha-kyu.
But some 600 years before Susan Stroman and John Weidman created their vibrant new musical Contact at New York's Lincoln Center and dubbed it a "dance-play," Kan'ami Kiyotsugu and his son, Zeami Motokiyo, created the art form of noh.
Thornhill's Six Circles, One Dewdrop however, most all attention has been given to Zeami Motokiyo (1363-1443).
Actor, playwright, and theorist of the noh theater Zeami Motokiyo (1363-1443) wrote 21 treatises on such aspects of theater as the nature of dramatic illusion, audience interest, tactics for composing successful plays, somaticity, and body training.
However, the most influential discussions of literary theory do not take place until somewhat later still, first with the important writings of the great No dramatist Zeami Motokiyo (1363-1443), then, after a gap, with the reflections of the great haiku poet Basho (1644-1699) and the great Kabuki playwright Chikamatsu Monzaemon (1653-1725).