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A Study on Producing <Noh> Drama

  • 日本硏究
  • 2013, (35), pp.303-326
  • Publisher : The Center for Japanese Studies
  • Research Area : Humanities > Japanese Language and Literature
  • Published : August 20, 2013

유길동 1

1한양여자대학교

Accredited

ABSTRACT

This review paper examines the unique production styles of <Noh>, a traditional Japanese play in detail. First, the individuality of each character in <Noh> is respected unlike other Japanese plays where the unity in performance is more prioritized. Another unique production style found in <Noh> includes both its structured time flow and the existence of two places in every performance. Third, the stage of <Noh> is regarded as not only the place for actor’s performance but also the divine place where performance is staged in collaboration with the audience. Next, an important symbol of <Noh> is <Noh-Myen>, a mask. <Noh-Myen> is considered as the tool for performers’ transformation over time and place beyond the one covering an actor’s facial expression. In a similar vein, music and costume in <Noh> are interpreted as the symbols for the amity between human and nature. These spiritual and mysterious production styles of <Noh> are the artistic assets inherited from the past and continued in the future. In this sense, <Kogaki>, a production note of <Noh>, is important because it plays the role of the channel through which tradition of <Noh> has been kept but, at the same time, due to which another creative and new form of <Noh> has been possible. Lastly, even though the production style of <Noh> is far away from the modern style of Japanese play production, the style has the shared messages in every play of <Noh> - freedom from formality and responsibility for tradition.

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