A Companion to Nō and Kyōgen Theatre

[Michael Watson]

Dear PMJS members,

I am pleased to announce the following publication:

A Companion to Nō and Kyōgen Theatre
Editors: Yamanaka Reiko, Monica Bethe, Eike Grossmann, Tom Hare, Diego Pellecchia, and Michael Watson

Leiden: Brill. Published in December 2024. Copyright Year: 2025.
HdO series (Handbuch der Orientalistik), Section 5 Japan, vols. 19/1 and 19/2.

Vol. 1. E-book (PDF) ISBN 978-90-04-70084-0, Hardback ISBN 978-90-04-53966-2 [https://brill.com/edcollbook/title/62128]

Vol. 2. E-book (PDF) ISBN: 978-90-04-72278-1, Hardback ISBN 978-90-04-72273-6 [https://brill.com/edcollbook/title/71772]

 A Companion to Nō and Kyōgen Theatre is available both as a two-volume hardback and in e-book (PDF) format. Individual chapters are also available for purchase. The "Front Matter" and the Index are freely available online. The DOI links in the Table of Contents below allow you to see a "PDF preview" of the first two pages of each chapter.

Volume 1 contains the Front Matter and Chapters 1-5. 
Volume 2 contains Chapters 6–10, Appendices, and Back Matter (Glossary, Index)

TABLE OF CONTENTS

Front Matter:

Preface

                   Yamanaka Reiko

            Notes to Readers / Illustrations / Notes on Contributors

Introducing Nō and Kyōgen  

                   Tom Hare and Yamanaka Reiko

[pp. 1-13] https://doi.org/10.1163/9789004700840_002

1          The History of Nō

                     Edited by Eike Grossmann and Miyamoto Keizō

[pp. 14–148] https://doi.org/10.1163/9789004700840_003

1.1 The Origins of Nō, Sangaku, and Sarugaku until the Fourteenth Century

       (Eike Grossmann and Miyamoto Keizō)

1.2 The Emergence of “Nō” and the Formation of Performers’ Organizations during the

                    Fourteenth and Fifteenth Centuries

        (Eike Grossmann and Miyamoto Keizō)

1.3 Nō in Kyoto and Its Dispersion during the Fifteenth and Sixteenth Centuries

          (Eike Grossmann and Miyamoto Keizō)

1.4 Nō in the Age of Exploration

          (Patrick Schwemmer)

1.5 Nō and Political Leaders from the Late Sixteenth to the Early Eighteenth Century

       (Eike Grossmann and Miyamoto Keizō)

1.6 Nō Practices and Nō Culture during the Seventeenth and Eighteenth Centuries

        (Eike Grossmann and Miyamoto Keizō)

1.7 The Reorganization and Standardization of Nō Practices during the Eighteenth and        

       Nineteenth Centuries  (Eike Grossmann and Miyamoto Keizō)          

1.8 The Crisis of Nō at the End of the Nineteenth and the Early Twentieth Centuries

         (Eike Grossmann and Miyamoto Keizō)

1.9 Nō from World War I until the 1980s

         (Eike Grossmann and Miyamoto Keizō)
References

 

2          Nō Performance 

Edited by Monica Bethe and Diego Pellecchia

[pp. 149–315] https://doi.org/10.1163/9789004700840_004

2.1 Fundamentals of Nō Performance (Monica Bethe)

2.2  The Stage (Monica Bethe, Yamanaka Reiko, and Diego Pellecchia)

2.3 Performance Conventions (Monica Bethe)

2.4 Movement (Monica Bethe with Diego Pellecchia)

2.5 Music (Takakuwa Izumi with Monica Bethe)

2.6  The History of Nō Chant  (Takakuwa Izumi with Monica Bethe)

2.7  Shōdan: The Building Blocks of Nō (Monica Bethe and Takakuwa Izumi)     

2.8  Masks (Monica Bethe)

2.9 Costumes (Monica Bethe)

2.10  Fans (Diego Pellecchia)

2.11 Properties (Monica Bethe)

2.12 Interpreting Conventions for Standard and Variant Performance

(Yamanaka Reiko)

2.13 Underlying Principles of Nō Dramaturgy (Monica Bethe)

References

3          Training, Practice, and Production 

Edited by Diego Pellecchia and Yamanaka Reiko

[pp. 316–383]  https://doi.org/10.1163/9789004700840_005

3.1 Introduction (Diego Pellecchia and Yamanaka Reiko)

3.2 Training (Diego Pellecchia and Yamanaka Reiko)

3.3  Female Performers in Nō (Barbara Geilhorn)

3.4 Practice and Production (Diego Pellecchia and Yamanaka Reiko)

3.5 The Role of Amateur Practitioners (Diego Pellecchia and Yamanaka Reiko)

3.6 Kurokawa Nō (Eike Grossmann)

 3.7 Recent Developments and Future Perspectives (Diego Pellecchia and Yamanaka Reiko)

References

4        Plays: Their Conventions and Backgrounds 

               Edited by Tom Hare, Takeuchi Akiko, Michael Watson, and Yamanaka Reiko

               [pp. 384–485] https://doi.org/10.1163/9789004700840_006

4.1 Introduction (Takeuchi Akiko)                                                                         

4.2 Categories of Nō Plays (Yamanaka Reiko)                            

4.3 Sources of Nō Plays (Takeuchi Akiko)

4.4 Nō and Its Belief Systems (Tom Hare and Takahashi Yūsuke)

4.5 Reading Nō: Mugen nō and Genzai nō (Monogurui nō)

      (Yamanaka Reiko)                                       

4.6 Aspects of Time and Character Relations (Paul S. Atkins)                                         

4.7 Stylistics and Poetics (Takeuchi Akiko)                                                                     

4.8 Narration and Ambiguous Voice (Takeuchi Akiko)       

4.9 Religious and Political Allegory in Nō (Susan Blakeley Klein)                                   

4.10 Medieval Commentaries and Nō Theatre (Susan Blakeley Klein)                                        

 4.11 Bangai kyoku and Shinsaku nō: Noncanonical Plays and Modern Nō Plays
                   (Fukazawa Nozomi and Takeuchi Akiko)                                                                 

4.12 Conclusion (Takeuchi Akiko)                                                          

4.13 Excursus: Dramaturgy in Nō and Greek Tragedy (Mae J. Smethurst)

References       

 

5          Authors 

    Edited by Tom Hare and Yamanaka Reiko

[pp. 486–524] https://doi.org/10.1163/9789004700840_007

5.1 Introduction (Tom Hare and Yamanaka Reiko)

5.2 Kan’ami (Tom Hare and Yamanaka Reiko)

5.3 Zeami (Tom Hare and Yamanaka Reiko)

5.4 Motomasa (Tom Hare and Yamanaka Reiko)

5.5 Zenchiku (Tom Hare and Takahashi Yūsuke)

5.6 Nobumitsu (Ikai Takamitsu and Lim Beng Choo)         

5.7 Nagatoshi (Ikai Takamitsu and Lim Beng Choo)          

5.8 Zenpō (Ikai Takamitsu and Lim Beng Choo)          

5.9 Miyamasu (Ikai Takamitsu and Lim Beng Choo)

5.10 Amateurs (Ikai Takamitsu and Lim Beng Choo)         

References

      

Volume 2 continues with Chapters 6–10, Appendices, and Back Matter (Glossary, Index).

https://brill.com/edcollbook/title/71772

6          Treatises and Criticism
                   Edited by Tamamura Kyō and Shelley Fenno Quinn

[pp. 525–574] https://doi.org/10.1163/9789004722781_002

6.1 Introduction (Tamamura Kyō)
6.2 Zeami’s Treatises: An Overview (Shelley Fenno Quinn)                    

6.3 Zeami as Philosopher: Who Makes the Flower Bloom? (Tamamura Kyō)

6.4 Zenchiku’s Treatises and Criticism (Takahashi Yūsuke)

6.5 Konparu Zenpō’s Treatises and Criticism (Ikai Takamitsu)

6.6 Nō Treatises from the Late Muromachi to Edo Periods (Miyamoto Keizō)

6.7 Modern Theories of Nō (Yokoyama Tarō)

References

 

7          Material Culture of Nō and Kyōgen

                 Edited by Eike Grossmann

[pp. 575–668]  https://doi.org/10.1163/9789004722781_003

7.1 Introduction (Eike Grossmann)

7.2 The Production of Costumes, Masks, and Fans (Monica Bethe)

7.3 The Transmission of Masks: Carvers and Their Lineages (Adam Zollinger)

7.4 Instruments: Artistic Value and Development of Their Forms (Takakuwa Izumi)

7.5 Performance Spaces: History and Materiality of the Nō Stage (Miyamoto Keizō)

7.6 Tsuke: Notes on Movements, Gestures, Music, and Stage Properties

         (Fukazawa Nozomi, Nakatsuka Yukiko, and Yamanaka Reiko)

7.7 Utaibon for Amateurs and Connoisseurs (Ikai Takamitsu)

7.8 Nō and Kyōgen Illustrations (Monica Bethe)

7.9 Nō and Kyōgen Prints and Paintings in Modern Japan (Richard Smethurst)

7.10 Nō Culture in Everyday Life: Koutaibon, Sugoroku, Karuta, Yubimen, Netsuke, and Nō   

         ningyō (Eike Grossmann)

References

 

8          Reception

                Edited by Diego Pellecchia and Yokoyama Tarō

[pp. 669–725]  https://doi.org/10.1163/9789004722781_004

8.1 Introduction (Yokoyama Tarō)

8.2 Reception of Nō in the Late Nineteenth and Early Twentieth Centuries

               (Diego Pellecchia)

8.3 Nō and Modernism (` Pellecchia and Takeuchi Akiko)

8.4 Nōgaku and Film (Kodama Ryūichi)

8.5 Nō and Contemporary Theatre Abroad and in Japan

                  (Diego Pellecchia and Yokoyama Tarō)

8.6 Why Not Nō? (Reginald Jackson and Yokoyama Tarō)

8.7 Nōgaku and Kabuki (Kodama Ryūichi)

References

9          Kyōgen

                Edited by Monica Bethe

 [pp. 726–844] https://doi.org/10.1163/9789004722781_005

9.1 Introduction (Monica Bethe)

9.2 Plays, Plots, and Role Types (Jonah Salz)

9.3 Dramaturgy (Jonah Salz)

9.4 Costumes and Masks  (Monica Bethe)

9.5 Organization, Training, and Creativity (Jonah Salz)

9.6 History (Monica Bethe)

9.7 The Evolution of Texts (Taguchi Kazuo)

9.8 Discourses (Taguchi Kazuo)

9.9 Sagi kyōgen (Frederick Rogals)

9.10 Women in Kyōgen (Barbara Geilhorn)

9.11 Inspiration, Fusion, and Form: Kyōgen Outside Japan 

                       (Ondřej Hýbl)

References

 

10        Research Overview

                   Edited by Yamanaka Reiko, Tom Hare, and Michael Watson

 [pp. 845–876] https://doi.org/10.1163/9789004722781_006

10.1 Introduction  (Yamanaka Reiko)

10.2 Research into Nō before the Meiji Period (Yamanaka Reiko)

10.3 Nō Scholarship from the Meiji, Taishō, and Shōwa Periods to World War II     

                     (Tom Hare and Yamanaka Reiko)

10.4 Postwar Studies of Nō (Yamanaka Reiko)

10.5 The History of Nō Research and Translations in Western Languages: French, Italian,   

         German, and English (Diego Pellecchia, Eike Grossmann, and Tom Hare)

References

 

Appendices

 [pp. 877–1013] https://doi.org/10.1163/9789004722781_007

I Finding List for Nō Texts (Michael Watson)

II Summaries of Nō Plays (Nakatsuka Yukiko and Michael Watson, with contributions by  

Fukazawa Nozomi, Inoue Megumi, Hana Lethen, Pia Schmitt, Patrick Schwemmer, and Tomiyama Takahiro)

    References (Michael Watson)

                       Western-Language

                       Japanese-Language

III Summaries of Kyōgen Plays (Monica Bethe)

 

Glossary (Monica Bethe)
[pp. 1015-1051] [No PDF preview available] 

            Index

[pp. 1052ff] [FREE ACCESS]

https://brill.com/edcollchap/book/9789004722781/back-2.xml

 * * *

Best wishes,

Michael Watson 

wats...@gmail.com

Iwaki, Fukushima, Japan

[Susan Matisoff]

Congratulations to everyone involved in this comprehensive undertaking. With such authoritative authors it surely will prove to be a sturdy, reliable companion.

Susan Matisoff 

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