INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI* Bell & Howell Information and Leaming 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS Page(s) missing in number only; text follows. Microfilmed as received. 36 This reproduction is the best copy available. UMI NÔ: THE EMERGENT REORIENTATION OF A TRADITIONAL JAPANESE THEATER IN CROSSCULTURAL SETTINGS DISSERTAHON Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Shinko Kagaya, M.A. The Ohio State University 1999 Dissertation Committee: Professor Shelley Fenno Quiitn, Advisor Approved by Professor Xiaomei Chen A ^ Professor Thomas Postlewait Advisor East Asian Languages and Literatures UMI Number: 9941354 Copyright 1999 by Kagaya, Shinko All rights reserved. UMI Microform 9941354 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ©1999 Shinko Kagaya All Right Reserved ABSTRACT This study explores responses to Japanese No theater by Japanese, Western, and Chinese audiences during the period of modernization in Japan. The site of meaning making is the intersection of performance contexts and audience response. Cultural environment, changes in audiences, and various responses to performances are crucial factors. The pressure of Western influence precipitated the fall of die bakufu, the former patrons of No. Nevertheless, it will be shown that the exposure of No to foreign audiences ultimately played a crucial role in helping to reestablish it as an art with both historic importance and a vital, contemporary presence. In its six-hundred years No has been forced to reinvent itself more than once, and each time has gained a wider audience and a stronger base of support. The interactive nature of No has been fundamental to its resiliency. As a multisensory fusion of music, dance and poetry, a performance elicits imaginative participation and lends itself to myriad interpretive strategies. In this respect. No is a prism uniquely suited to revealing the multiple ways that cultural factors shape meaning making. Reactions by Japanese, Western and Chinese audiences illustrate this point. In addition to comments by practitioners and champions of No, reactions of casual observers are considered for what they reveal about crosscultural patterns of reception. This study is divided into three parts. Part One concerns the proliferation of No prior to the Meiji Restoration (1868) within and outside Tokugawa patronage, and early crosscultural encounters with No. Part Two addresses the evolution of No after the dissolution of the Tokugawa bakufu, when a few persistent performers in league with a small, but influential constituency of supporters helped the art survive. Intervention by key political figures, touting No as a 'national' art, furthered its recovery. Also addressed are records left by Chinese studying in Japan during this period. Part Three follows No overseas. Problematic issues surrounding performances in Japanese territories in East Asia are discussed, followed by a brief overview of the postwar growth in popularity of No — both domestically and internationally — in light of its history as an object of cultural scrutiny; III For Naka IV ACKNOWLEDGEMENT Throughout the course of my graduate work, I have been truly blessed with mentors. First and most of all, I would like to express my sincere thanks to Professor Shelley Fenno Quinn for her continued guidance and encouragement. Without her, this project could not have been completed. As her advisee, I was fortunate to be able to work under not only a wonderful scholar but a devoted and caring teacher. Deep thanks also go to Professor Xiaomei Chen, a brilliant teacher with enormous energy and integrity. It was through the inspiration I got from her classes that a new world of academic endeavor opened and I am forever grateful. Also, careful and insightful criticism received from Professor Thomas Postlewait has been indispensable to the completion of this study. I am grateful for the opportunity to have benefited from his guidance. In addition to the members of dissertation committee, I feel deep intellectual and personal debt to my professors in the department of East Asian Languages and Literatures at The Ohio State University. When I look back at my years in graduate school, it seems the struggle and joy of learning began with Professor Galal Walker, for whom I have die greatest admiration — especially for his magic to inspire students in individually unique ways. I cannot properly express the personal and professional debt I owe Professor Mari Noda, who has been instrumental more than once in helping me articulate a professional vision for myself. Her own work in language pedagogy has been and will continue to be a constant source of inspiration. I also wish to acknowledge Professor Charles Quinn, for his diverse scholarship and devoted attention to his students — in whose ranks I thankfully include myself. I have been blessed with such mentors who serve as models what is possible through academic pursuit. I would like to acknowledge those friends with whom I shared graduate school life; most of them are, deservedly, already working in their respective fields. I am very grateful to the Title VI East Asian FLAS Fellowship for 1997- 1999: it enabled my research in Taiwan and Beijing, and then the opportunity to devote myself to writing. The 1998 International Dissertation Research Travel Grant from the Office of International Studies of The Ohio State University, also provided the opportunity to conduct research in Japan. During my tenure in Beijing at the Inter-University Board for Chinese Language Studies, and concurrently as a visiting researcher at the Department of Comparative Culture at Beijing University, the guidance received from Professor Dai Jinhua of Beijing University was a key factor in my study. Towards the completion of the research conducted in Japan, I received generous help from the staff at the Hôsei University Institute of Nôgaku Studies, the library attached to the National No Theater, and the Sanetô Collection at the Metropolitan Central Library in Tokyo. I am especially thankful to Professor Nishino Haruo of the above Hosei Institute for his guidance and encouragement on this project. Professor Joshua A. Fogel of the University of California, Santa Barbara, kindly offered help in the way of vi guiding me to the Chinese sources needed for the completion of this study. During my stay in Taiwan and throughout the process of writing, the support received from dearest friends, Zhang Biyuan and Xu Wei, editor in chief and artistic designer respectively of the Dashu cultural enterprise in Taipei, cannot be forgotten. Special thanks to Ernie Choi, Diane Kadonaga, and Sam for their personal encouragement and recurring hospitality. I am very much grateful to my family in both Japan and the U.S A. for their trust in me. For their love and support and my most precious memories, I reserve a space in my heart for the family of Dr. Gerald and Susan Ebner in Santa Maria, California. Lastly, my deepest thanks go to Thomas O'Connor. VII VITA Bom - Akita, Japan 1989................................................................. B.A. Aoyama Gaknin University 1989-1991....................................................... Graduate Teaching and Research Associate, The Ohio State University 1991................................................................. M.A. The Ohio State University 1991-1994....................................................... Assistant Professor, Department of Modem Languages Hope College, Holland, MI 1994-1997...................................................... Graduate Teaching and Research Associate, The Ohio State University 1997-1999.......................................................Title VI East Asian Studies FLAS Fellow FIELDS OF STUDY Major Field of Study: East Asian Languages and Literatures Japanese Performance Literature Japanese Language Pedagogy VIII TABLE OF CONTENTS Acknowledgments ...........................................................................................................v