Mariko Anno May 8, 2013 Five College Center for East Asian Studies Webinar “Playing” in Japan: An Introduction to Japanese Theatre

Bibliography for Webinar

Notes 1. For each theatrical form, there are basic introductory books, translations of plays, and specialized sources for further reading. 2. Names of Japanese are written in the order of “last name, first name,” as followed in the Japanese custom.

1. Noh Bethe, Monica and Richard Emmert. Noh Performance Guide Series. 7 Vols. 1: Matsukaze (1992); 2: Fujito (1992); 3: Miidera (1993); 4: Tenko (1994); 5: Atsumori (1995); 6: Ema (1996); 7: Aoinoue (1997). Tokyo: National Noh Theatre, 1992-1997.

This Noh Performance Guide Series consists of seven booklets by Bethe and Emmert. These are helpful booklets for noh enthusiasts of all levels. Each booklet analyzes a play in depth, delving into background (i.e., author, scene, category) of plays, character descriptions, significance of the costume designs, masks, wigs, props, etc. Current performance practice among various actors’ and instrumentalists’ schools are investigated. Furthermore, Bethe and Emmert take the audience through a scene-by-scene snapshot, describing the movements and exchanges among the actors, as well as musical interactions.

Brandon, James R., ed. Nô and Kyôgen in the Contemporary World. Foreword by Ricardo D. Trimillos. Honolulu: University of Hawaii Press, 1997.

A book examining the “relevance and significance” of noh and kyôgen in contemporary society. Articles written by scholars and practitioners in the field.

Fenollosa, Ernest, and Ezra Pound. “Noh” or Accomplishment: A Study of the Classical Stage of Japan. 1st edition, London: Macmillan, 1916. 2nd edition, New York: Alfred A. Knopf, 1917. Reprint, Gretna, Louisiana: Pelican Publishing Company, Inc., 1916.

One of the earlier English translations of noh plays. Pound acted as literary executor of Fenellosa’s posthumous work.

Goff, Janet. Noh Drama and The Tale of Genji: The Art of Allusion in Fifteen Classical Plays. New Jersey: Princeton University Press, 1991.

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Hare, Thomas Blenman. Zeami’s Style: The Noh Plays of Zeami Motokiyo. Stanford: Stanford University Press, 1986.

A “must-read” book for English-language readers in the noh world, covering information on Zeami’s treatise and categorizations of plays. Hare dissects noh plays at the shôdan (building blocks of a noh play) level notating the utai (chant) and musical patterns.

Hare, Tom, trans. Zeami: Performance Notes. New York: Columbia University Press, 2008.

Hoff, Frank, and Willi Flindt. “The Life Structure of Noh: An English Version of Yokomichi Mario’s Analysis of the Structure of Noh.” In Concerned Theatre Japan 2 (Spring 1973): 209-256.

Article can be found on the web. One of the leading translations of the late Yokomichi Mario and Omote Akira’s book, Yôkyoku-shû (volume 1, 1960), investigating the structure of noh plays and their prescribed musical patterns.

Keene, Donald. Nô: The Classical Theatre of Japan. Introduction by Ishikawa Jun. Tokyo: Kodansha International, 1966.

Keene, Donald, ed. Twenty Plays of the Noh Theater (with the Assistance of Royall Tyler). New York: Columbia University Press, 1970.

Komparu, Kunio. The Noh Theater: Principles and Perspectives Noh. Text translated by Jane Corddry, and play translated by Stephen Comee. 1st edition, London: Weatherhill, 1983. Revised and Expanded, Warren, Connecticut: Floating World Edition, 2005.

Good introductory book for those interested in noh. (The second edition can be purchased online through Amazon.com.) This is the English version of Komparu Kunio’s Japanese book, Noh e no izanai (Tankosha, 1980), translated by Corddry and Comee. Book is divided into three parts: (1) Principles and Perspectives, (2) Elements and Patterns, and (3) Structure and Performance. In part one, Komparu analyzes the aesthetic principles of noh, such as jo-ha-kyû (introduction – breaking away – denouement), and time and ma (space), which are salient features of Japanese art forms. Part two examines theatrical elements of noh, including noh stage, noh play categories, performers, music, movements, masks, costumes, and use of space. Last part analyzes the framework and structure of a noh play.

Nakamura, Yasuo. Noh: The Classical Theater. Translated by Don Kenny, and introduction by Earle Ernst. New York and Tokyo: Walker/Weatherhill, 1971.

Rath, Eric C. The Ethos of Noh: Actors and Their Art. Cambridge and London: Harvard University Press, 2004.

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Rimer, J. Thomas, and Yamazaki Masakazu, trans. On the Art of the Nô Drama: The Major Treatises of Zeami. Princeton: Princeton University Press, 1984.

Rimer and Yamazaki translate nine of Zeami’s treatises, some of which have never been translated into the English language.

Pinnington, Noel J. Traces in the Way: Michi and the Writings of Komparu Zenchiku. Cornell East Asia Series 132. Cornell University. Ithaca: East Asia Program, 2006.

Smethurst, Mae J., editor, and Christina Laffin, co-editor. The Noh Ominameshi [A Flower Viewed from Many Directions]. Cornell East Asia Series 118. Ithaca: Cornell University Press, 2003.

Tyler, Royall, editor and translator. Japanese Nô Dramas. London: Penguin Books, 1992.

A “must-have book” if one plans to watch a noh play in the original language. Book gives a brief introduction on noh, followed by English translations of 24 plays, providing a good general representation of the noh repertoire.

Quinn, Shelley Fenno. Developing Zeami: The Noh Actor’s Attunement in Practice. Honolulu. University of Hawai‘i Press, 2005.

2. Kyôgen Kenny, Don. A Guide to Kyogen. Foreword by Donald Richie. Tokyo: Hinoki Shoten, 1979.

A pocket-sized book containing kyôgen synopses. Kenny refers to kyôgen as “comedy vignettes,” performed between pensive, somber noh plays, developed alongside its noh counterpart. Kenny’s translations include drawings of kyôgen plays from literature.

Kenny, Don. A Kyogen Companion. Tokyo: National Noh Theatre, 1999.

A more refined and expansive book of synopses compared to Kenny’s A Guide to Kyogen (1979) pocket-sized book. Many of the synopses from Kenny’s first book (1979) are edited and included in this new edition with pictures of modern day performers. This book contains a section on the history of kyôgen written by Kazuo Taguchi.

3. Kabuki Brandon, James R., and Samuel L. Leiter, eds. Kabuki Plays On Stage. Vol. 1: Brilliance and Bravado, 1697-1766; Vol.2: Villainy and Vengeance, 1773-1799; Vol.3: Darkness and Desire, 1804-1868; Vol.4: Restoration and Reform, 1872-1905. Honolulu: University of Hawai‘i Press, 2002.

Two leading scholars in the kabuki world, Brandon and Leiter, edit this four-volume series of kabuki translations. Each volume begins with an introduction specific to its content. Furthermore, each kabuki translation begins with an introduction to the play, list of characters, and photographs. 4

Brandon, James R., and Samuel L. Leiter, eds. Masterpieces of Kabuki: Eighteen Plays On Stage. Honolulu: University of Hawai‘i Press, 2004. (look up)

Translations of 18 kabuki plays. Glossary found in back.

Brandon, James R., William P. Malm, and Donald H. Shively. Studies in Kabuki: Its Acting, Music, and Historical Context. Honolulu: The University Press of Hawaii, 1978.

This book explores the historical, performative, and musical aspects of kabuki. Different scholar writes each section. Shively surveys the social environment of the Tokugawa (Edo) period that brought forth kabuki and the “floating world.” Brandon discusses the various kata (patterns) that developed during this period, distinguishing the characters’ rank and personality. Music of kabuki consists of many genres, which Malm endeavors to categorize their functions, structure, and instrumentation as on-stage or off-stage music.

Ernst, Earle. The Kabuki Theatre. Honolulu: University Press of Hawaii, 1974.

Ernst discusses the development of kabuki, incorporating materials from history and life during the period. Furthermore, he analyzes the physical structure of the kabuki stage, explaining how the removal of pillars and roof led to its present structure. Oxford University Press first published this book in 1956.

Halford, Aubrey S., and Giovanna M. Halford. The Kabuki Handbook. Rutland, Vermont: Charles E. Tuttle, 1956.

Brief abstracts on 30 kabuki plays in English.

Kominz, Laurence R. The Stars Who Created Kabuki: Their Lives, Loves and Legacy. Tokyo, New York, London: Kondansha International, 1997.

Kominz investigates the history of kabuki and its genres, focusing on performers who created the styles representing kabuki today (i.e., Ichikawa Danjûrô, Sakata Tôjûrô, Yoshizawa Ayame).

Leiter, Samuel L., ed. A Kabuki Reader: History and Performance. Armonk, New York: M.E. Sharpe, 2002.

Well-written articles by kabuki scholars from various angles.

Leiter, Samuel L. New Kabuki Encyclopedia: A Revised Adaptation of Kabuki Jiten. Westport, Connecticut: Greenwood Press, 1997.

Long awaited revision of Kabuki Encyclopedia: An English-Language Adaptation of Kabuki Jiten (1979). All entries are organized alphabetically regardless of subjects (i.e., terms, plays, performers). Detailed appendix on kabuki’s chronology, plays, and 5

genealogies are included. “Subject Guide to Main Entries” can be found in the back of the book for cross-reference. New entries and updated materials have been included.

Leiter, Samuel L., trans. The Art of Kabuki: Famous Plays in Performance. Berkeley: University of California Press, 1979.

Analyses of four kabuki plays. These facilitate in the understanding of Japanese theatrical conventions.

Malm, William P. “Music in the Kabuki Theater.” In Studies of Kabuki (University of Michigan, April 1967). Honolulu: University of Hawaii Press, 1978, 133-183.

Malm gives a detailed account of geza-ongaku (off-stage music) of kabuki. He describes in detail how complex sound effects are produced and used to express various characters, locations, and a multitude of situations.

Malm, William P. Nagauta: The Heart of Kabuki Music. Rutland, Vermont: Charles E. Tuttle, 1963.

This book examines the core of kabuki where music, dance, and acting are at their climax. Different classifications and forms of nagauta are studied.

Malm, William P. Six Hidden Views of Japanese Music. Berkeley: University of California Press, 1986.

Six views on Japanese music, which may not be apparent to Westerners, are discussed. Book includes an excellent explanation on “General Principles of Japanese Music,” comparing Eastern and Western approaches to musical forms.

Motegi, Kiyoko. “Theatrical Genres: Kabuki.” In The Garland Encyclopedia of World Music. Edited by Robert C. Provine, Yosihiko Tokumaru, and J. Lawrence Witzleben. Vol. 7, East Asia: China, Japan, and Korea. New York: Routledge, 2002, 657-661.

Motegi succinctly describes different types of kabuki. Detailed “family-tree-like” figure outlining the evolvement of musical genres included.

Ohkura, Shunji. Kabuki Today: The Art and Tradition. Introduction by Donald Keene, text by Iwao Kamimura, and translation by Kirsten McIvor. Tokyo: Kodansha International, 2001.

Collaborative work with beautiful colored photographs by Shuji Ohkura, introduction by Donald Keene, text by Iwao Kamimura, and translation by Kirsten McIvor. Section entitled “Traditions: Inheriting the Art” capture three generations on the same stage.

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Sadler, A.L. Japanese Plays: Classic Noh, Kyogen and Kabuki Works. Foreword by Paul S. Atkins. Tokyo: Tuttle Publishing, 2010.

Angus & Robertson of Sydney, Australia, first published this book of translations in 1934. However, Tuttle reissued this book, since the original edition has been out of print. This book contains translations of noh, kyôgen, and kabuki.

Shively, Donald H. The Social Environment of Tokugawa Kabuki. Edited by Nancy G. Hume. Japanese Aesthetics and Culture. Albany: State University of New York Press, 1995.

Shivley discusses the cultivation of kabuki theatre from the Tokugawa (Edo) period to the present “classical Kabuki.”

3. Bunraku Adachi, Barbara C. Backstage at Bunraku. Photos by Joel Sackett. New York and Tokyo: Weatherhill, 1985.

Detailed, well-written book on bunraku, examining the backstage preparation and performance at Osaka bunraku theatre. This book builds off of Adachi’s first book, The Voices and Hands of Bunraku (1978), with the addition of black and white photographs by Joel Sackett. Photographs accentuate the text, helping the reader gain an image of the various practitioners’ roles and their interaction. Helpful glossary found in the back.

Ando, Tsuruo. Bunraku: The Puppet Theatre. Introduction by Charles J. Dunn. New York and Tokyo: Walker/Weatherhill, 1970.

General bunraku book surveying its history, performers, musicians, and development. Color and black and white pictures add to Ando’s meticulous explanation.

Hironaga, Shuzaburo. Bunraku: Japan’s Unique Puppet Theatre. Revised by D. Warren-Knott. Photos by Koichi Mimura. Tokyo: Tokyo News Service, Ltd., 1963.

Hironaga traces the history of bunraku and provides the reader with synopses of 98 bunraku plays. Synopses help non-Japanese speakers and readers to follow the plays by giving them basic descriptions of the characters’ movements on stage.

Inoura, Yoshinobu, and Toshio Kawatake. The Traditional Theater of Japan. New York and Tokyo: Weatherhill, 1981.

This book is divided in two parts: first part by Inoura on noh and kyôgen, and second part by Kawatake on kabuki and bunraku. Each section clearly defines the genre, as well as its development throughout history and influences on other genres.

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Kawatake, Toshio. A History of Japanese Theatre II: Bunraku and Kabuki. Tokyo: Kokusai Bunka Shinkokai (Japan Cultural Society), 1971.

Kawatake gives a clear account on the history of bunraku and kabuki, considering the historical and social restraints of the time period. He also discusses the actors’ social status and aesthetic beauty of the art form.

Keene, Donald. Bunraku: The Art of the Japanese Puppet Theatre. Text by Donald Keene, photographs by Kaneko Hiroshi, and introduction by Tanizaki Junichirô. Tokyo: Kodansha International, Ltd., 1965.

A coffee table sized book with beautiful color photographs of puppets by Kaneko. Bunraku section of this book can be found in Keene’s book, Nô and Bunraku: Two Forms of Japanese Theatre (1990), with less photographs, but more financially affordable.

Keene, Donald, trans. Major Plays of Chikamatsu. New York: Columbia University Press, 1961.

Keene, Donald. Nô and Bunraku: Two Forms of Japanese Theatre. Photographs by Kaneko Keizô. New York: Columbia University Press, 1990.

This book is divided into two parts: (1) noh, and (2) bunraku. Keene’s infectious love for the art permeates from this book. At the end of each section, he provides a helpful glossary and bibliography.

Saito, Seijiro, Yamaguchi Hiroichi, and Yoshinaga Takao. Masterpieces of Japanese Puppetry: Sculptured Heads of the Bunraku Theater. Rutland, Vermont, and Tokyo: Charles E. Tuttle Company, 1958.

Beautifully displayed large-sized book with color and black and white photos. Authors analyze 89 bunraku heads, providing details on features and characteristics of each head and use in specific plays.

Scott, A.C. The Puppet Theatre of Japan. Rutland and Tokyo: Charles E. Tuttle Company, 1963.

General book on bunraku, exploring its history and performative aspects including music, manipulation of the dolls, and backstage setup. Scott describes 10 plays in detail. Glossary can be found in the back, which may be helpful for first time bunraku viewers.

Yamada, Tieko. “Theatrical Genres: Bunraku.” In The Garland Encyclopedia of World Music. Edited by Robert C. Provine, Yosihiko Tokumaru, and J. Lawrence Witzleben. Vol. 7, East Asia: China, Japan, and Korea. New York: Routledge, 2002: 663-665.

Succinct article explaining styles and structures, puppets and stage, categories of plays, and music of bunraku.

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4. General Japanese Theatre and Music Books Brazell, Karen, ed. Traditional Japanese Theater: An Anthology of Plays. Translated by James T. Araki et al. New York: Columbia University Press, 1998.

Brazell begins with a concrete, lucid introduction on traditional theatre as a living art form. Introduction followed by translations of noh, kyôgen, bunraku, and kabuki by well- known scholars in the field.

Kenny, Don. On Stage in Japan: Kabuki Bunraku Noh Gagaku. Tokyo: Shufunotomo, 1974.

A pocket-sized booklet on kabuki, bunraku, noh, and gagaku. Kenny gives a brief overview on the history and performance stages. He utilizes 69 photographs, explaining the plays, props, and visual items. At the end of the book, there are useful maps, identifying numerous performing arts theatres in Japan, as well as a glossary of Japanese terms and play titles.

Malm, William P. Traditional Japanese Music and Musical Instruments. 1st edition, Japanese Music and Musical Instruments. Rutland, Vermont: Charles E. Tuttle, 1959. New Revised Edition. Tokyo, New York, and London: Kodansha International, 2000.

Originally published in 1959 under the title, Japanese Music and Musical Instruments, by Charles E. Tuttle Company. First edition was a milestone work, covering the major musical genres of Japan in a Western language. This highly rated, new first edition includes a CD of sample music and a detailed appendix on notational systems in Eastern and Western styles.

Nakamura, Masayuki. A Bilingual Guide to Japanese Traditional Performing Arts. Translated by Jeffrey Hunter. Tokyo: Kodansha, 2009.

Accessible and useful “guide” book written in Japanese and English that can be enjoyed by Japanese and English readers. It covers a vast span of Japanese performing arts along with their history, stage, play categories, as well as colored photographs. Detailed “Japanese-English Dictionary” found at the end of the book.

Ortolani, Benito. The Japanese Theatre: From Shamanistic Ritual to Contemporary Pluralism. Princeton: Princeton University Press, 1995.

Ortolani covers the theatrical history of Japan from the Jômon period (ca. 250 B.C.) to the modern era. Helpful, basic book for those teaching theatre.

Wade, Bonnie C. Music in Japan: Experiencing Music, Expressing Culture. Oxford and New York: Oxford University Press, 2005. (annotate.)

Wade’s book spans a large range of Japanese musical genres from folk music to J-pop. Useful CD attached.

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Internet Sites 1. GloPAC: http://www.glopac.org/ Multilingual performing arts database, founded and directed by the late Karen Brazell. 2. Noh a. www.the-noh.com b. http://www.glopad.org/jparc/?q=en/node/15: GloPAC project c. http://www2.ntj.jac.go.jp/unesco/noh/en/ 3. Kabuki a. http://www.glopad.org/jparc/?q=en/kabukidance/terms: GloPAC project b. http://www2.ntj.jac.go.jp/unesco/kabuki/en/

4. Bunraku a. http://www.glopad.org/jparc/?q=en/puppetry/home: GloPAC project b. http://www2.ntj.jac.go.jp/unesco/bunraku/en/

5. UNESCO on Japanese Performing Arts: http://www.unesco.org/culture/intangible- heritage/19apa_uk.htm

List of Selected Performance Stages in Japan (Theatres in Alphabetical Order) 1. General Japanese Performing Arts (noh, kabuki, bunraku, etc.) • National Theatre in Tokyo: http://www.ntj.jac.go.jp/english/schedule/national- bunraku-theatre.html 2. Noh a. Tokyo • Cerulean Tower Noh Theatre: http://www.ceruleantower.com/nohtheater.html • Ginza Noh Theatre: http://noh-kyogen.org/nohgaku- info/ginzenohgakudo/ • Hoshô Noh Theatre: http://www.hosho.or.jp/ • Kanze Noh Theatre: http://kanze.net/index.php?id=30 • Kita Noh Theatre: http://www.kita-noh.com/ • National Noh Theatre: http://www.ntj.jac.go.jp/english/schedule/national-noh-theatre.html • Yarai Noh Theatre: http://kanze.com/ b. Yokohama • Yokohama Noh Theatre: http://ynt.yafjp.org/ c. Shizuoka • MOA Art Museum Noh Theatre: http://www.moaart.or.jp/en/ d. Nagoya • Nagoya Noh Theatre: http://www.bunka758.or.jp/scd24_top.html e. Kyôto • Kongô Noh Theatre: http://www.kongou-net.com/other.html • Ôe Noh Theatre: http://www.asahi-net.or.jp/~tn4m-ooe/

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3. Kabuki a. Tokyo • Asakusa kabuki: http://www.asakusakabuki.com/ • Heisei Nakamura-za: http://www.nakamuraza.com/ • Kabuki-za: http://www.kabuki-za.co.jp/ • Meiji-za: http://www.meijiza.co.jp/ • Shinbashi Enbujô: http://www.shochiku.co.jp/play/enbujyo/ b. Ôsaka • Ôsaka Shôchiku-za: http://www.shochiku.co.jp/play/shochikuza/ c. Kyôto • Kyôto Shijô Minami-za: http://www.shochiku.co.jp/play/minamiza/

4. Bunraku a. Tokyo • National Theatre: http://www.ntj.jac.go.jp/english/schedule/national- bunraku-theatre.html b. Osaka • National Bunraku-za: http://www.ntj.jac.go.jp/bunraku.html