@article{ART002471989},
author={Hyeon wook Kim},
title={A Study of Noh Syakkyou},
journal={Journal of Japanese Culture},
issn={1226-3605},
year={2019},
number={81},
pages={361-377},
doi={10.21481/jbunka..81.201905.361}
TY - JOUR
AU - Hyeon wook Kim
TI - A Study of Noh Syakkyou
JO - Journal of Japanese Culture
PY - 2019
VL - null
IS - 81
PB - The Japanese Culture Association Of Korea (Jcak)
SP - 361
EP - 377
SN - 1226-3605
AB - Noh “Syakkyou” is a work with strong “Syugensei”. There are many songs with strong congratulatory natures including “Waki Noh”, which was created by Zeami. In “Syugen Nho”, God is the main character. However, Noh “Syakkyou” is made in the middle of Muromachi, and God is not the main character. “Shishi”, the messenger of God, appears as “Nochizite”. “Syakkyou” is often staged in the form of “Han-Nho”. Originally, “Syugen Nho” was performed in “Han-Nho”. At the end of “Syakkyou”, “Shishi” appears and dances the “Shishi dance”. “Syugensei” are included in the “Shishi dance” section. He praises the king's power while dancing the “Shishi-dance”. In addition, he prays that the happy hours will last for a long time. Originally, At the shrine's festival location, the “Shishi-dance” was a dance performed to defeat the devil. Noh was influenced by the “Shishi-dance” when it was performed at the shrine's festival site. In Noh, “Shishi” has red hair and appears using a “Shishi” face because it was directly influenced by the festival. At the festival, “Shishi” is played by two or more people. However, in Noh, one person plays the role of one “Shishi”. There are few cases where one person becomes a “Shishi”, and it can be said that this is a unique effect created by Noh. On the other hand, "Mochizuki" also exists in the Noh where “Shishi” appears. In "Mochizuki", people dance by replicating “Shishi”, but in “Syakkyou”, there is the difference in that the “Shishi” itself dances. Thus, compared to "Mochizuki", “Syakkyou”'s “Shishi” dance is more realistic and dynamic.
KW - Shishi Dance;Syugen-nho;Han-Nho;Mochizuki;Renzishi;Kanze Motoakira
DO - 10.21481/jbunka..81.201905.361
ER -
Hyeon wook Kim. (2019). A Study of Noh Syakkyou. Journal of Japanese Culture, 81, 361-377.
Hyeon wook Kim. 2019, "A Study of Noh Syakkyou", Journal of Japanese Culture, no.81, pp.361-377. Available from: doi:10.21481/jbunka..81.201905.361
Hyeon wook Kim "A Study of Noh Syakkyou" Journal of Japanese Culture 81 pp.361-377 (2019) : 361.
Hyeon wook Kim. A Study of Noh Syakkyou. 2019; 81 : 361-377. Available from: doi:10.21481/jbunka..81.201905.361
Hyeon wook Kim. "A Study of Noh Syakkyou" Journal of Japanese Culture no.81(2019) : 361-377.doi: 10.21481/jbunka..81.201905.361
Hyeon wook Kim. A Study of Noh Syakkyou. Journal of Japanese Culture, 81, 361-377. doi: 10.21481/jbunka..81.201905.361
Hyeon wook Kim. A Study of Noh Syakkyou. Journal of Japanese Culture. 2019; 81 361-377. doi: 10.21481/jbunka..81.201905.361
Hyeon wook Kim. A Study of Noh Syakkyou. 2019; 81 : 361-377. Available from: doi:10.21481/jbunka..81.201905.361
Hyeon wook Kim. "A Study of Noh Syakkyou" Journal of Japanese Culture no.81(2019) : 361-377.doi: 10.21481/jbunka..81.201905.361
