Zeami Motokiyo


Also found in: Dictionary, Wikipedia.

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.

Bibliography

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

The Columbia Electronic Encyclopedia™ Copyright © 2013, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/
References in periodicals archive ?
Whatever Fenollosa may have done in the way of awakening his Japanese friends to the need of more active preservation of Japanese values must be set against the spark lit here by his unedited manuscripts." (44) Among Pounds incomplete editions of Fenollosa's translations is Ashikari, by Zeami Motokiyo, a play of Confucian background celebrating the bond of marriage.
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.
In addition, Die Stucke 1 includes various sketches, scenes, and fragments that must be classified, either quantitatively or qualitatively, as minor, such as "Das Laken" (The Bedsheet) -- prompted by the prelude of Bertolt Brecht's Antigone des Sophokles, that provocative and most drastic revision of the ancient Greek tragedy -- and the fragmentary "Die Reise" (The Journey), modeled after the Japanese NO play Kagekiyo by Zeami Motokiyo), or the lapidarily titled "Glucksgott," which Muller tried to revise and complete to form a libretto for Dessau, though ultimately in vain.
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.