ASIAN AND AFRICAN STUDIES, 77, 2008, 2, 261-289 FORMATION OF EARLY NOH DRAMA AND LEGENDS OF YÜZAKI Ivan R. V. RUMÁNEK Institute of Oriental Studies, Slovak Academy of Sciences, Klemensova 19, 813 64 Bratislava, Slovakia
[email protected] This paper is based partly on official noh research done in Japan and overseas, and partly on my field research at Yüzaki in February 2008. I am outlining the development from the earliest known records of performing forms towards the medieval sarugaku, and through that onto the classical noh drama. The breaking point might have been at Yüzaki, a countryside community in central Nara Basin. It is reported to be the birthplace of Zeami and the cradle of the classical noh which Kannami made out of the sarugaku performances played at the local Itoi shrine. Two lines of development started then, the one leading to the formation of the exclusive art of noh in Kyoto, while the original annual sarugaku performances at Itoi shrine in Yüzaki might have continued unchanged well into the 19th century. Key words: noh, Kannami, Kan’ami, Zeami, sarugaku, sangaku, shushi sarugaku, okina, Itoi shrine, Kasuga shrine, Yamato sarugaku, Kanze, Menzuka, Töya, Ise-kö, Yüzaki The earliest period and Shin Sarugaku ki One of the oldest primary sources of noh are considered to be the Chinese performances called sanyue (sangaku in Japanese) which were introduced to Japan still before the 8th century together with the first Chinese cultural influences and probably consisted of music, dance, singing and acting. In the Heian period (794-1192) the humorous element of the performances started to get emphasized, leading to the change of the name “sangaku” into “sarugaku”, monkey plays, written and this development culminated in the formation of kyogen, comedy or farce indispensably connected with noh.